The Honeymoon Killers
The Honeymoon Killers

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- 70/100 based on 5,613 votes

In the early 1950s, Martha Beck, who lives with her slightly senile mother, is the head nurse in a Mobile, Alabama hospital. She is bitter about her life, she not having male companionship in large part because she is overweight, while her bitterness in turn does not endear her to people. She is initially angry with her best friend, Bunny, for signing her up to a lonely hearts club, but eventually decides to give it a try. Through it, she meets Ray Fernandez, a suave Spanish ... (Full plot summary below)

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Full Plot Details

In the early 1950s, Martha Beck, who lives with her slightly senile mother, is the head nurse in a Mobile, Alabama hospital. She is bitter about her life, she not having male companionship in large part because she is overweight, while her bitterness in turn does not endear her to people. She is initially angry with her best friend, Bunny, for signing her up to a lonely hearts club, but eventually decides to give it a try. Through it, she meets Ray Fernandez, a suave Spanish immigrant living in New York, he who contacted Martha as the first through the club. After Ray's trip to Mobile to meet Martha, they fall in love. Upon a subsequent visit Martha makes to Ray in New York - which leads to her being fired in part for her time off work - he decides to be up front with her: that she is not only not his "first" but that he is really a con man who, primarily through the club, seduces then bilks lonely women of their money. Pretending to be his sister to prospective targets, Martha decides to join Ray on his cons as they travel the country together. Their differences in style causes problems, Martha who is more direct, more impatient and more violent, she who is the first to consider killing to get what they want. But what has the potential to be the primary cause of their downfall is Martha's jealousy over Ray even pretending to seduce other women, let alone any time he may have sex with them.

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Movie Reviews

New York Times - 10/10 by Roger GreenspunWithin the limits of its type it is one of the best and, curiously, most beautiful American movies in recent years.
Los Angeles Times - 9/10 by Kenneth TuranThis pleasantly twisted low-life serenade harks back to several decades earlier, to the golden age of the B-picture and the moody fatalism of film noir. Harsh, gritty, unflinchingly intense and absolutely unforgettable, it’s as heartless as its protagonists, and that is saying quite a lot.
Slant Magazine - 9/10 by Chuck BowenThe Honeymoon Killers is an intense, terrifying portrait of repression and instability.
Variety - 9/10 by Todd McCarthyMade with care, authenticity and attention to detail.
Q Network Film Desk - 9/10 by James Kendrickdepicts crime and violence as a moral vacuum that draws in the narcissistic and the pathetic without ever moralizing or preaching
Los Angeles Times - 8/10 by Susan KingThe acting is second to none: the two leads are frighteningly good in their psychotic roles and supporting characters are also well dileneated. But there are some technical problems with the film, notably too much shadow in the frame, several highly visible microphones and the choppy editing, which jumbles the story at times.
Empire - 8/10 by Kim NewmanShot in a grainy grey and white helps to give the film an amateurish and at the same time realistic feel, particularly as it's based on true events. With standout performances from Lo Bianco and Stoler, this is a forgotten gem that's waiting to be rediscovered.
The A.V. Club - 8/10 by Keith PhippsThat nauseous mixture of laughs and shocks, and the fact that real passion drives Kastle's characters even when they plot against each other, is what makes The Honeymoon Killers such an enduring one-off.
Chicago Reader - 8/10 by Dave KehrLeonard Kastle, a composer who turned filmmaker for this single feature, brings a spare dignity and genuine depth of characterization to his exploitation subject—the series of murders committed by Ray Fernandez and Martha Beck in the late 40s.
Creative Loafing - 8/10 by Matt BrunsonThe reputation of this intriguing cult item far exceeds the Trivial Pursuit tidbits that it was a personal favorite of Francois Truffaut and that Martin Scorsese was the original director until he was fired 10 days into production.

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