Murder à la Mod
Murder à la Mod

Watch Murder à la Mod Online Free

- 54/100 based on 1,040 votes

Naive young Karen wants to help her struggling amateur-filmmaker boyfriend Christopher raise enough money so he can divorce his wife. Meanwhile, jolly psycho prankster Otto stalks the building where Christopher is shooting a low-grade adult movie in order to keep himself afloat.... (Full plot summary below)

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Actors in Murder à la Mod:

Andra Akers
William Finley
Margo Norton
Jared Martin
Ken Burrows
Lorenzo Catlett

Full Plot Details

Naive young Karen wants to help her struggling amateur-filmmaker boyfriend Christopher raise enough money so he can divorce his wife. Meanwhile, jolly psycho prankster Otto stalks the building where Christopher is shooting a low-grade adult movie in order to keep himself afloat.

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Movie Reviews

Reel Film Reviews - 0/10 by David NusairBrian De Palma's first (and worst) feature-length endeavor...
User Review - 8/10 by Paul DPretty damn impressive first film from DePalma. Features the kind of stylish and talented camerawork that would become a feature of his films. The story is very twisty and you actually have to pay pretty close attention if you want to catch everything thats happening. It certainly has its oddities and looks and feel as low budget as it is at times, but overall its a great and surprisingly brutal movie and a fitting debut from a grand filmmaker.
User Review - 8/10 by John CA fun early film from De Palma which combines the style of his earlier films (the goofy, counterculture comedies of the late 60s) and his films to come (the thrillers which would make him a brand name). It also feels to be a truly Godardian experiment as well, as the mere craft of cinema plays a big role in the proceedings.
User Review - 6/10 by Ben HBrian De Palma's obscure, experimental low-budget first feature playfully incorporates a lurid tale of sexuality, voyeurism, violence, and deconstruction of filmmaking that he would later explore to better and stylish effect in his later films.
User Review - 6/10 by Lee MThis very early De Palma film is an interesting and entertaining but embryonic and ultra-low budget homage to Hitchcock, Godard, and, yes ... Buster Keaton!!?!?! There is a limit to how far this sort of meta-playfulness can be carried, and De Palma, at this stage in his career, was still exploring and discovering those limits.
User Review - 6/10 by Jacob GAwkward first feature from De Palma which stitches together a variety of discordant influences. Kubrick's The Killing, Lester's A Hard Day's Night, Powell's Peeping Tom, as well as some Godard and Hitchock thrown in all play a part here.
User Review - 6/10 by Sergio OWhen did DePalma get so ponderous? This early feature shows a young director with a sense of whimsy and a pretty light touch for the dark material within. No character development at all but an always interesting 80 minutes.
User Review - 6/10 by Caleb MA fun early DePalma film containing traces of his later work. Nothing great, and it gets old after an hour, but there are some really fun things here, and it's neat to see DePalma mix Hitchcockian thriller elements with film-school tricks and silly '60s humor.
User Review - 6/10 by John L3 stars is generous for what is obviously a very early work showing De Palma when he was still a diamond in the rough perfecting his skills and greatly hampered by a miniscule budget. Didn't want it to be a "negative" review though. The concept and plot are reasonably decent. The real value of this film, if the viewer can look past the elements driven by severe budget constraints, is watching De Palma exhibit some of his techniques seen later. A (partially) non-linear storyline shows the same significant events from several different characters' perspectives (a la Tarantino's Jackie Brown). Camera is frequently 1st person point-of-view and hand held. Jump cuts are used in several scenes as alternative methods and/or the special effects needed were not possible within his budget. Several long tracking shots are used as well. The underlying theme used to carry the plot is about film making, one that's reused later in "Blow Out." Like Kubrick's, Polanski's, and Scorsese's initial feature films, this one also shows rough edges. Look past them and see some of the De Palma that would shine in his later films.
User Review - 4/10 by Brandon MIf you found "Hi, Mom!" and "Greetings" unexpectedly delightful, don't expect to draw similar joys from this even-earlier Brian DePalma film. This tale of a psychotic killer has a decent script, but terrible acting and a tiny budget are too much to overcome. Pretty Karen (Margo Norton) is a dim free spirit whose filmmaker boyfriend Christopher (Jared Martin) is completing a sleazy movie for the paycheck. He needs money to get a divorce from his wife. Karen steals to help him, but obviously has forgotten what happened to thief Marion Crane in "Psycho." Other central players are Karen's rich friend Tracy (Andra Akers), producer Wiley (Ken Burrows, who also produced this movie -- we can tell he has money because he stereotypically chomps a cigar) and the freakish Otto (William Finley, later the star of "Phantom of the Paradise"). Finley's ridiculous mugging -- he doesn't speak, and only communicates through internal ravings presented as narration -- makes "Murder a la Mod" seem a lot more amateurish than it is. Though even Finley isn't the worst actor -- a scene with a bitter bank clerk brings the film to a screeching halt. "Murder a la Mod" is most interesting for its experimental New Wave touches. It opens with the auditions of two other actresses (one is Jennifer Salt) seeking the lead part -- an ironic inclusion, considering that Norton is one of the cast's weak links. Further tricks include aggressive use of fast motion (rather tacky), jump cuts, silly captioning and, most importantly, an extended stretch of reverse-time storytelling that might as well have inspired Christopher Nolan's "Following" and "Memento." To be frank, the action is deadly dull until this backward structure emerges in the second half. At least the music is entertaining -- the score is full of playful, honking woodwinds and Finley adds a hilariously campy title song. The voice of the Firesign Theatre's Phil Proctor cameos during a briefly heard radio broadcast.

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