Rating summary

Movie		3.5
Video		4.5
Audio		4.5
Extras		2.5
Overall		3.5

Charlie Says Blu-ray Movie Review

Reviewed by Brian Orndorf July 31, 2019

As 2019 becomes the year of Charles Manson and the revival of interest in all the chaos he created, “Charlie Says” (the second of three movies about the man this year) makes an effort to move away from some of the famous imagery and characterization that usually inhabits tales about the cult leader. The focus here is on the women in his life, with special attention on the ways of Leslie Van Houten, Patricia Krenwinkel, and Susan Atkins. Reteaming after their collaborations on “American Psycho” and “The Notorious Bettie Page,” director Mary Harron and screenwriter Guinevere Turner endeavor to humanize those involved in barbaric crimes, striving to understand the brainwashed drive of three women who were caught up in something they didn’t completely understand, chasing emotional needs to macabre extremes.

Three years after participating in the murder of Sharon Tate, Leslie Van Houten (Hannah Murray), Patricia Krenwinkel (Sosie Bacon), and Susan Atkins (Marianne Rendon) are surviving on death row, struggling with isolation as they lean on each other for support. The women continue to follow the teachings of Charles Manson (Matt Smith), but their daily routine is disrupted by the arrival of Karlene Faith (Merritt Weaver), a graduate student with the Santa Cruz Women’s Prison Project, who’s sent in to connect with the three prisoners, hoping to provide them with enlightenment about themselves through discussion and literature. As the inmates begin to show comfort with Karlene’s message, their minds frequently return to the ways of Charlie, with Leslie the latest arrival at the Spahn Ranch, welcomed into the arms of a madman skilled in the art of manipulation. Karlene has trouble making contact with the women, but Leslie grows receptive to visits, reconsidering the experience Charlie provided, which evolved from bohemian paradise to combat preparations, with the dream of helter skelter about to be realized.

“Charlie Says” opens with the aftermath of the Tate Murders, following the killers as they make their way back to the ranch, enjoying the satisfaction of a completed mission to kill. That’s all there has to be concerning the famous bloodbath, and Turner respects the distance for most of the film, refocusing attention to the prison where Patricia, Susan, and Leslie reside, stewing in isolation while awaiting their final destination on death row. They remain chipper, making friends with the guards and welcoming Karlene like a sister, happy to have the company, which permits them time outside of their cells. It’s an unnerving introduction to the fried mental state of the inmates, but it’s a necessary jolt of denial, with “Charlie Says” establishing a willful ignorance of criminal activity soon challenged by the grad student’s offering of worldly information that isn’t sourced from Charles Mansion.

The brainwashing aspects of life on the ranch interest Turner the most, with much of “Charlie Says” exploring how the community interacted with the false deity. Leslie is the audience surrogate, arriving on the ranch with hopes to achieve some type of clarity in her wayward life, quickly put under the influence of Charlie -- a well-rehearsed musician who carries immense power over his followers, tapping directly into the neediness of young women who crave love and attention. Details of the ranch remain familiar, with Harron documenting all sorts of drug trips and sexual activity, making specific points about Charlie and his ability to contort the preaching of self-worth into complete control. There are fascinating moments in “Charlie Says,” especially when such wicked powers are deployed to maintain authority, keeping Leslie discombobulated as she fights an inner drive to flee, giving herself to the polluted cause instead. The open air of the ranch is discovered in flashbacks, with Karlene’s prison mission returned to repeatedly, contrasting the faux freedom of Charlie’s reign with the tainted mentality of the women years later, with their faith in helter skelter burning bright after enduring persistent programming.

Charlie Says Blu-ray Movie, Video Quality 

The AVC encoded image (2.39:1 aspect ratio) presentation secures an appealing amount of detail, surveying period styles with loose, cottony costuming, and locations are open for study, taking in the expanse of the ranch and the tighter, concrete interiors of the prison meetings. Hair is also textured, making it somewhat easy to spot wigs and bald caps. Colors are strong, capturing the warmth of the Californian sun, the red-drenched sin of Charlie's ranch gatherings, and the steely blues of incarceration. Skintones are natural. Greenery is bright and inviting. Delineation is acceptable, preserving frame information. Some mild banding is periodically detected.

Charlie Says Blu-ray Movie, Audio Quality 

The 5.1 DTS-HD MA sound mix is primarily frontal listening event, focusing on dialogue exchanges, which sound sharp and true, preserving performance choices as rants, mumbles, and whispers are encountered. Scoring is supportive, delivering some circular activity, and soundtrack selections are defined, offering specific string-plucking instrumentation for acoustic moods. Atmospherics are active, identifying the presence of nature and prison movement. Low-end isn't challenged.

Charlie Says Blu-ray Movie, Special Features and Extras 

• Making Of (6:16, HD) is a brief overview of production achievements, using cast and crew interviews (conducted on-set) to examine story points, character motivations, Manson history, and the production's mission to provide a female POV to a familiar tale of manipulation.

• And a Theatrical Trailer (2:18, HD) is included.

Charlie Says Blu-ray Movie, Overall Score and Recommendation 

Humanizing the Manson Family is dangerous, but Turner recognizes such a delicate dramatic proposal. There's time spent with Charlie's failed dreams to become a recording artist (with help from Dennis Wilson) and his gradual increase of violence, instilling a need to kill in his followers. "Charlie Says" touches on the women and their home lives as well, finding inspiration for total submission. A critical error is made by taking the tale back to the Tate Murders (along with other scenes of slaughter) in the third act, with Harron dismantling all the engrossing psychological assessment by giving in to recognizable beats of horror. The feature arrives with impressive ambition, but "Charlie Says" doesn't sustain its curiosity, becoming more of the same Charles Manson mayhem other movies have already covered.