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The Killing of John Lennon
User Score
5.7 out of 10

Mixed or average reviews- based on 7 Ratings

User score distribution:
  1. Positive: 4 out of 7
  2. Mixed: 1 out of 7
  3. Negative: 2 out of 7

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  1. JayH.
    May 23, 2008
    5
    Meticulously accurate and overly detailed account of the murder of John Lennon, but director Andrew Paddington developed a slow moving film with way too many lingering shots that should have been edited out. It's painfully slow at times and only scratches the surface of the killer.
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  2. ChadS.
    Jul 3, 2008
    7
    "Killing" sounds less grandiose than "assasination", less like an achievement for the fame-seeking murderer, less paegantry. We want to remember the victim, not the man who pulled the trigger. "Killing" makes Mark David Chapman's cockamamy enterprise to kill an ex-Beatle appear senseless and pathetic. "Assasination" transmits the connotation of rational cognition and historical magnitude. Chapman did alter history. But don't tell him that. Don't encourage him. A film such as "The Killing of John Lennon" allows Chapman to confirm in his mind that he was somebody, and still is. An overreliance on the moods and textures of Martin Scorsese's "Taxi Driver" is employed as filmic shorthand to explicate the killer's disconnect with the human condition. What at first may seem like an overt self-consciosness of the Scorsese film, starts to seem more like a savvy move when "The Killing of John Lennon" reminds us that soon after Lennon's death, John Hinckley nearly turned Ronald Reagan's two-term presidency into a much more abbreviated one. As Chapman alchemized J.D. Salinger's prose(from the unfairly maligned "The Catcher in the Rye"), Reagan's shooter did the same with Scorsese's mis-en-scene(Hinckley was fixated on Jodie Foster). Both men mistook a passive medium for an inter-active one. To associate Chapman with Hinckley; this is the intent of the movie. But an alternate reading, beyond the artist's control(sound familiar?), emanates from Ronald Reagan's presence as a presidential hopeful, parceled throughout the film in the form of campaign posters and speeches from the various media outlets. Reagan, let's not forget, was an actor, and in Chapman's mind, so was Lennon. If the viewer lumps together the Liverpudlian lad with the star of "Knute Rockne: All-American", instead of the Jodie Foster-enthusiast, Lennon's attributes, which Chapman assigns to him, are reconfirmed, because slanderous labels such as "fat pig" and "phony" sounds conspicously like the names that Reagan would receive from his harshest critics. If you link the late ex-governor of California with the composer of "Lucy in the Sky with Diamonds" and "Imagine", Lennon does become the "fat pig" and "phony" that Chapman believed him to be, through intertextuality and by proxy. A renegade consciousness, contrary to what the filmmaker intended, that Chapman's weird burlesque of Holden Caulfield was an act of righteousness, transforms the anti-hero into a hero.… Expand
    • 0 of 0 users said yes
  3. LDChappell
    Dec 30, 2011
    8
    Very chilling account of the senseless John Lennon murder. It's missing a few factual elements that would have made it a bit more interesting. Mark David Chapman was tubby and had a piggy face. This actor was way too good looking to do him justice.
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Critic Reviews

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Metascore
49 out of 100

Mixed or average reviews - based on 10 Critics

Critic score distribution:
  1. Positive: 3 out of 10
  2. Mixed: 5 out of 10
  3. Negative: 2 out of 10
  1. Village Voice
    Reviewed by: Aaron Hillis
    30
    Director Andrew Piddington's fastidiously researched, dubiously suspenseful character portrait is unable to salvage a lick of hindsight from the tragedy beyond "Murderous narcissists are people, too." (He's a victim of our celebrity-fixated culture? Oh, shut up.)
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  2. The Hollywood Reporter
    Reviewed by: Frank Scheck
    50
    Boasts an undeniable technical proficiency and historical authenticity, but this docudrama detailing assassin Mark David Chapman's obsession, stalking and eventual murder of the beloved Beatle nonetheless has an unavoidably exploitative feel.
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  3. The New York Times
    Reviewed by: Stephen Holden
    50
    Shot in a quasi-documentary style at the actual locations where the events took place, including the sidewalk outside the Dakota, the movie is extremely uncomfortable to watch.
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