Buzz
WARNING: spoilers. Murder is a heinous, immoral, and evil act. Most individuals would agree that it ranks among the worst actions a person can commit. While the media condemns murderers, there's an undeniable obsession with uncovering every minute detail about their crimes. We are driven to understand the reasons, locations, identities, and methods—how they carried out their acts, what led them to disconnect from society, and what emotions they experience afterward. This fascination with murder and murderers parallels our obsession with celebrities.
Below, I’ve compiled a list of the top ten films featuring murderers who were undeniably sick, vile, and twisted, yet somehow captivating. These are killers we found ourselves rooting for, hoping they would survive, escape, or outsmart the conventional hero. Whether it was their charm, the redemption they sought, their quest for revenge, the underlying messages of their actions, or the motives driving them, these ten murderers (all male) have secured a unique place in our hearts—though we might hesitate to invite them to a family dinner (with the possible exception of #7).
Note: There are only two criteria for inclusion. The film must have been released within the last twenty years (since 1990), and the character must have killed more than one person (either shown on screen or implied within the movie's timeline).
10. Patrick Bateman American Psycho
Bateman stands out as a distinct psychopathic serial killer. He is strikingly handsome, physically fit, wealthy, deeply narcissistic, and a fan of Phil Collins. The superficial, materialistic world he lives in begins to push him over the edge. The unsettling, self-narrated moments where Bateman details his mental breakdown—whether he’s performing over 2,000 sit-ups, lounging in a tanning bed, or applying kiwi facial masks worth more than most people’s cars—are profoundly disturbing.
The reason Bateman earns a spot on this list, aside from being a nerdy, yuppie serial killer (which is admittedly intriguing), is that at some point in the film, we start to sympathize with this shallow, egotistical monster who possesses everything we might desire.
As the audience, we gain insight into the lives of these wealthy yuppies and realize how hollow their inner lives are. Everything is superficial: business cards and attractive blonde fiancées are merely trophies to compare with those of other yuppies. We come to understand that climbing the social ladder and spending endlessly may only lead to more of the same. Bateman’s character ultimately evokes pity. While he exudes a certain coolness, we can’t help but feel sorry for the poor, deranged soul.
In one of the film’s final scenes, Bateman tearfully confesses to his lawyer over the phone (“I guess I’ve killed twenty people… maybe forty.” “I ate some of their brains, and I tried to cook a little.”). In this moment, we sense his genuine fear—for his sanity, his freedom, and the possibility of being exposed for who he truly is. This portrayal mirrors how Dostoevsky depicted a murderer in *Crime and Punishment*—terrified, guilty, ashamed, and utterly alone. It’s a raw and realistic depiction of the emotional toll of such actions.
From the movie’s final monologue: “There is no release. My punishment remains out of reach. I gain no deeper understanding of myself. No new insights can be drawn from my story. This confession has been meaningless.”
Note: Some may argue that the murders never actually happened—that they were all figments of Bateman’s imagination. But that’s incorrect. Completely and utterly wrong.
9. Willis, Jackson, Rhames Pulp Fiction
One of Quentin Tarantino’s greatest talents lies in his ability to blend extreme violence with the mundane. This is what made *Pulp Fiction* so groundbreaking and relatable to nearly everyone who watched it. The film features murder, brutality, and profanity, but it also includes Seinfeld-esque conversations about the most trivial subjects. The idea that hitmen might discuss the same topics we chat about with friends is surreal and undeniably captivating. Additionally, the characters are fully fleshed out and relatable. They’re flawed individuals, but not solely defined by their flaws. They can be charming, worrisome, and even kind. Tarantino humanizes them in a way that resonates deeply.
These three characters epitomize ultimate bad-assery. They refuse to tolerate disrespect from anyone. Ving Rhames and Bruce Willis’s characters stand out for their intense pawn shop scene, where they nearly kill each other but instead bond over their shared decency and mutual disdain for sexual deviants. Despite their animosity, they respect one another. While they may be killers, they draw the line at being perverted monsters.
Samuel L. Jackson’s character earns recognition for his redemption arc. He believes God intervened in his life and, unwilling to dismiss it as mere coincidence, chooses to abandon his murderous lifestyle. “I’m trying real hard here, Ringo.” Although we never see his ultimate fate, we witness the tragic end of his partner (John Travolta), who dismissed the intervention as chance. Jackson’s character is the only one on this list who transforms himself, earning our respect and arguably becoming even more of a bad-ass in the process.
8. John Doe Se7ven
The film *Se7ven* is deeply unsettling, terrifying, dark, and melancholic. The scale of John Doe’s actions is staggering. While many serial killers boast about their body counts, trophies, or the suffering they’ve inflicted, they often lack a broader vision beyond the killings themselves. John Doe, however, uses his murders—even his own—as tools to achieve a greater purpose. Each act is a calculated step toward his ultimate goal, making him uniquely chilling.
His vast ambition, patience, and dedication would be admirable if applied to something like cancer research or the study of ancient civilizations. Instead, he’s a killer—no, a monster. The most sadistic, depraved, terrifying, and intelligent monster ever captured on film. Hannibal Lecter’s actions pale in comparison to John Doe’s. Despite committing only six murders, none shown on screen, and appearing in the film for just fifteen to twenty minutes, he remains one of the most raw and visceral sadists ever conceived.
7. Vic Vega (Mr. Blonde), Reservoir Dogs
Vic Vega is the epitome of a smooth, composed psychopath on screen. Before he even appears, Mr. White and Mr. Pink build a legend around his actions during the failed bank heist, painting him as an unhinged, uncontrollable deviant. Yet, when he finally arrives at the warehouse, casually sipping soda through a straw (a classic Tarantino touch blending food and violence), he exudes calm and coolness. He even stands up to Harvey Keitel, one of the most formidable actors of all time, with the line, “Are you gonna bark all day, little doggy, or are you gonna bite?”
He’s baffled that Mr. White and Mr. Pink are criticizing him for eliminating a few expendable hostages. His composed demeanor makes them seem like nervous schoolgirls at their first dance. In fact, Mr. Blonde’s presence makes nearly everyone else in the film appear like whiny, timid children—except perhaps Joe, the mastermind, and his son.
We sympathize with the cop having his ear severed—for his family, for facing a genuine psychopath who couldn’t care less about extracting information and only wants to inflict pain for his own enjoyment. Yet, despite the horror, it remains one of the most iconic scenes in cinematic history. Thank you, Mr. Blonde.
6. Daniel Plainview There will be Blood
As the film’s title implies, blood is shed, and Daniel Plainview is the one responsible. He’s a self-proclaimed oil tycoon, sporting a menacing mustache, dark, piercing eyes, and a stubborn limp—dragging his leg as if it’s a cursed burden. He’s relentless, impatient, an alcoholic, a self-made millionaire, and a father to his unsettling son. In the movie, he kills two people: first, a drifter who foolishly impersonates his brother, and second, Eli Sunday, the whiny, unsettling preacher who is as miserable and misguided as Plainview himself.
Plainview spends his entire life building an empire, only to find himself lost once he achieves it. He uses every resource at his disposal to climb higher, but in reality, he’s descending further into moral decay.
He earns a place on this list because of his relatability. Many people are self-centered, and countless individuals in the world are far from virtuous. Plainview despises others but deeply desires a genuine connection with someone he can relate to. Initially, his son fills this role, but after a drilling accident leaves the boy deaf, Plainview’s impatience drives a wedge between them. He then believes he’s found his long-lost brother, allowing himself to be vulnerable, only to discover the man is a fraud—a drifter seeking to exploit his wealth. Enraged, he kills the imposter and attempts to reconnect with his son, but it’s too late.
He’s adrift, consumed by loneliness, and drowns his sorrows in alcohol and decadence within his mansion. Eventually, he kills Eli Sunday—not just because Sunday is a slimy opportunist, and not merely because Plainview has nothing left to live for, but because he sees a reflection of himself in Sunday. And above all else, he despises himself more than anyone in the world.
Note: The suddenness and finality of Eli’s murder in the film are shocking and unpredictable. It serves as a stark reminder that killing someone can be disturbingly simple and can occur when least expected.
5. Tommy DeVito Goodfellas
Standing at about 5’4’’, Joe Pesci embodies the ultimate bad-ass in this Scorsese masterpiece. Whether he’s stabbing someone with a pen or gunning down a waiter for a minor slight, no one dares cross Tommy DeVito. He’s ruthless, volatile, and prone to explosive rage, capable of killing with whatever object is at hand. In essence, he’s a deranged, murderous mobster.
Yet, he functions in society. He has stunning girlfriends, wealthy friends, and lives a lavish lifestyle. Plus, he’s incredibly entertaining to watch. He’d be the kind of guy you’d want to hang out with—if there weren’t a high chance he’d stab you in the face. He kills because he enjoys it, but at least he’s upfront about it.
More than anyone else on this list, Tommy exudes charisma. After brutally murdering a made man by stabbing him with a pen and later a knife from his trunk, he casually enjoys pasta at his mother’s house, laughing and drinking as if nothing happened. The most terrifying aspect of Tommy is that he might not even be insane—he simply doesn’t care. He’ll shoot you or harm your loved ones over the slightest offense, yet he remains oddly likable and funny. (“What do you mean I’m funny? Like a clown? I amuse you?”)
Even though he met his deserved fate in the end and was undeniably unstable, part of us still wished Tommy had been made in his final scene instead of being whacked.
4. Karl Childers Sling Blade
Another unforgettable film. While most characters on this list are ruthless killers devoid of morals or empathy, Karl Childers stands apart (even though he casually eats his french-fried ‘petaters’ just meters away from where he bludgeoned someone with a lawnmower blade).
In Billy Bob Thornton’s directorial debut, Karl Childers is a mentally challenged man released from a Southern mental hospital decades after killing his mother with a sling blade (also known as a Kaiser blade). Soon after, he befriends a fatherless boy, who persuades his kind but timid mother to let Karl stay in their garage. While the premise is simple, the film is one of the most heartfelt, uplifting, and authentic stories ever told. Thornton’s portrayal has inspired countless jokes, impersonations, and even parodies, but it also cemented his place among Hollywood’s elite.
Karl is undoubtedly the most gentle character to ever kill two people with long, sharp objects. He’s kind-hearted, with the mental capacity of his young friend, and is incapable of dishonesty. Before killing Doyle, the abusive stepfather (played brilliantly by country singer Dwight Yoakam), with a lawnmower blade, Karl calmly asks him for the police’s phone number. When Doyle questions why, Karl replies, “I reckon I’m gonna kill you with this here lawnmower blade.”
That final scene encapsulates the film’s essence. A simple man, abused by his parents, recognizes the same pattern in the boy he loves and refuses to let it continue. The movie balances humor and heartbreak as it follows this kind, naive man navigating a world far too complex for him to understand.
Note: Dwight Yoakam’s character, Doyle, would undoubtedly secure a place on the list of top ten movie characters you’d love to see meet a gruesome end.
3. Dr. Hannibal Lecter The Hannibal Trilogy
Dr. Lecter, of course, had to claim the top spot on this list. Across three films, he captivated us with his charm and intellect. In *The Silence of the Lambs*, we heard of his heinous crimes before ever encountering him. Initially, we might have thought Hannibal was just a gentle old man, wrongfully imprisoned for exaggerated offenses. However, we quickly realized the truth. His menace and influence are psychological. Within moments of meeting Clarice Starling, he dismantles her confidence (“You know what you look like to me with your good bag and cheap shoes? You look like a rube.”). His murders are among the most brutal, yet he maintains an air of sophistication and respectability, no matter how twisted his actions. With his smooth, mesmerizing voice, he manipulates both victims and fellow killers, standing as the most intelligent and refined serial killer we’ve ever encountered.
While others might settle for greasy diner food, Hannibal demands only the finest caviar and Chianti. Whether he’s flaying a guard’s face, serving an out-of-tune violinist to aristocrats, convincing a patient to self-mutilate, or calmly biting off a nurse’s tongue while his heart rate stays below 85 bpm, Dr. Lecter remains the epitome of a gentleman. He avoids killing good people unless necessary and even sacrifices his own hand over Clarice’s—his muse—when faced with an ultimatum.
As we witness the growing affection Clarice feels for Hannibal (though she’d never admit it), we, too, find ourselves captivated by his charm, despite knowing his dark truths. Detective Will Graham labeled him insane, and he likely is—must be—but fans of Hannibal recognize how fine the line between genius and madness truly is.
Honorable Mentions: Leon (The Professional), Ryan Gosling (Murder By Numbers), Travis Bickle (Taxi Driver), Dennis Hopper (Out of the Blue and Blue Velvet), Benicio Del Toro (21 grams).
2. Anton Chigurh No Country for Old Men
*No Country for Old Men* is a cinematic masterpiece, undoubtedly one of the finest films of the past decade. While the other male leads delivered stellar performances that left me gripping my theater seat in anticipation, it’s Javier Bardem’s portrayal of Anton Chigurh that elevates this film to legendary status.
He’s a ruthless, cold-blooded psychopath with an unkempt appearance, eliminating anyone in his way as he moves from one point to another. While it might seem he’s motivated by money or a love for killing, he’s actually an avenger, punishing the world for its inherent flaws. He doesn’t care if his victims are directly responsible; he’s not a cause but a manifestation of the new evil hinted at by the sheriff and the film’s title. He personifies vengeance and death, claiming the lives of nearly everyone unfortunate enough to cross his path.
His killings stem from a purpose we never fully understand, and his morals are hinted at but remain elusive. Despite his otherworldly nature, his humanity shines through in small, relatable actions—like snacking on peanuts while deciding whether to kill an innocent gas station owner (or is he innocent only by our standards?), or drinking milk in Llewelyn’s trailer after breaking in to murder its occupants. He’s human, a fact we often forget. He can be injured, as seen when he’s shot, bleeding, and limping like anyone else. He’s not an alien; he’s one of us.
His humor, crafted uniquely by the Coen Brothers, is dry, blunt, and unnervingly candid. It’s so bizarre and mesmerizing that it’s hard to tell if it’s meant to be funny or not. This contrast makes him oddly relatable. Add to that his self-sufficiency, intelligence, and cool demeanor, along with the most intimidating weapon ever seen in cinema, and he becomes an unforgettable character.
1. Mickey and Mallory Knox Natural Born Killers
They’re effortlessly cool, confident, and undeniably attractive. They’re hilarious, outrageous, and completely unhinged. Meet Mickey and Mallory Knox, the most captivating serial killers in cinematic history.
Oliver Stone faced significant backlash for creating this film. Several deranged couples have even cited it as inspiration for their own violent rampages. John Grisham attempted to sue Stone, accusing him of inciting violence. Quentin Tarantino, who wrote the script, distanced himself entirely from the project—a move I find puzzling, as I doubt even Tarantino could have improved upon Stone’s vision.
Many argue that this movie glorifies senseless violence, but I strongly disagree. It’s a sharp critique of American society, particularly the media and the artificiality forced upon us daily. Are Mickey and Mallory psychotic? Absolutely. Are they evil? Perhaps. But they weren’t born this way. Stone emphasizes that they are products of their environment, shaped by the world around them.
Neither Mickey nor Mallory were killers when they first met. Yet, their love ignites a relentless killing spree. Mickey’s first kill is to protect Mallory, who embodies pure, natural love. From there, something primal is unleashed. “You’re free, Kevin.” They embark on a rampage, killing indiscriminately because, at least, murder feels real. While they kill without remorse, every other major character in the film is equally, if not more, flawed.
The cop pursuing them is just as unhinged as they are, the warden is a sadistic sociopath, and the journalist (Robert Downey Jr.) is a hypocrite representing everything wrong with America. The journalist is arguably worse because, despite not having blood on his hands (until the end), he symbolizes something far more destructive: the perpetuation of mindless passivity, feeding empty content to a disengaged audience glued to their screens.
In stark contrast to Robert Downey Jr.’s insincere character is the Native American shaman, who attempts to aid Mickey and Mallory. Unlike the society that shaped and rejected them, he remains untainted by its influence, symbolizing the only true purity in the film. Notably, he is the sole victim Mickey and Mallory feel remorse for killing, and his death was accidental.
By the film’s conclusion, they kill Robert Downey Jr.’s character, despite his assistance in their escape and his supposed “epiphany,” which was as hollow as everything else he stood for. One could argue that Mickey and Mallory act as instruments of justice, eradicating the artificiality surrounding them because no other solution exists. Or perhaps they’re simply deranged.
