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Killer in sentence

1828 examples of Killer in a sentence

The killer snowman runs about killing people.
Even when it ends your asking yourself what happened who was the killer.
Instead we are giving a dizzying array of flashbacks that seek to explain the origin of the killer, but fail to address the major point in Dahmer's development.
But all in all, the movie is incredibly stupid, with a detective trying to track down a suspected serial killer, only to find out he may have committed one of the crimes.
To guess who's the killer you will be trapped a few times and that's the best part, but what about the story of the copper in the woods, huh!
I pray that the killer is found and convicted.
It is such a strange movie, you can call it awful or if you sit with friends it can give you a killer laugh-athon.
The killer is always going to come back dressed as someone else, be welcomed into the house by the stupid kid and go on a killing spree again because no one suspects him in that costume!
Fourth and most importantly, the ending is completely anti-climatic partially because of how it ends (setting/who the killer turns out to be) and partially because the dialog is just atrocious.
Whenever a Columbo story deviates from the familiar plot (colorful killer commits crime, Columbo smokes out killer, Columbo becomes a pest in the process), the writers somehow are never able to match the quality and interest of most traditional episodes.
His calm demeanor, but level headed approach to the escape of a killer was what more films of this ilk should have.
Not jog, whilst looking back ever three seconds, gaging the killer's progress, only to trip over every branch and inanimate object in your path.)
Their car, of course, breaks down, and they are taken to an old boring house inhabited by three crazy people--one of whom is the psychotic killer.
When the sheriff orders a curfew in town, the local saloon owner (also a woman) hires a killer to take care of the sheriff.
Abused child turns into serial killer.
A pretty worthless made for television movie that pretty much follows the killer insect script.
Ants mysteriously turn into killer ants near a hotel.
In the end the serial killer get caught.
Coltrane isn't really given much to do, much more attention is spent on the uninteresting killer, and in what he has to act in, he seems uninvolved, almost bored.
It is good that it resembles the book's ending, but it is a killer ending for a film.
It doesn't take Sherlock Holmes to solve the mystery of the killer's identity, as it is revealed to be none other than a scarred Marty who has seemingly been using his nerd rage and high intellect to bend the laws of physics and engineering in order to rig the school for his revenge scenario.
The story of a HK-Cop and a Cambodian killer hunting each other down, while bit by bit losing their humanity, is a strong one.
And while you're at it, make it a double feature with Slumber Party Massacre 2 - there's an "evil rocker" (as stated on the video box)driller killer in black leather w/fringe.
It predates many of the vehicle-inspired slashers to date ("The Trip", "Joy Ride", "Jeepers Creepers") where the killer's vehicle itself becomes an evil antagonist.
The killer himself is quite creepy, and we find solace in the extremely likable heroine in Jennifer McAllister (look at the interesting symbolic contrast of the evil killer in all black, while our benevolent heroine sports all white attire, as scanty and stonewashed as it may be).
He's been mistaken for a killer named Lyle, but instead of doing the job; he plays both sides against each other and eventually plans to make a getaway.
The jazz band sequence where our heroine seeks the information about the killer, is one of the most erotic scenes in Hollywood history, despite being at very low budget and made during WWII in black and white.
His relentless pursuit of Laurie Strode makes him seem like the killer who will never stop.
The plot is simplistic, but the dialogue is witty and the characters are likable (even the well bread suspected serial killer).
It was Richard Widmark's seventh film and arguably went a long way to establishing him as the fine actor he really was rather than merely a psychotic killer.
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