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The Greasy Strangler (2016)
Ronnie runs a Disco walking tour with his son, Brayden. When a sexy woman takes the tour, it begins a competition between father and son for her love. It also signals the arrival of an oily strangler who stalks the streets at night.
Ronnie runs a Disco walking tour with his son, Brayden. When a sexy woman takes the tour, it begins a competition between father and son for her love. It also signals the arrival of an oily strangler who stalks the streets at night.
The film is an absurdist black comedy that focuses on extreme dysfunction and grotesque humor, rather than engaging with political ideologies. Its narrative explores bizarre personal relationships and a serial killer without promoting or critiquing specific political viewpoints.
The film includes visible diversity within its cast. Its narrative maintains a neutral or positive framing of traditional identities and does not feature explicit DEI critiques as central to its themes.
The film depicts an extremely dysfunctional father-son relationship where parental authority is severely undermined, and highly unconventional sexual dynamics are normalized within the family unit, directly opposing traditional family values.
The Greasy Strangler does not include identifiable LGBTQ+ characters or themes. The narrative focuses on a bizarre father-son relationship and a serial killer, without incorporating any elements related to queer identity or experiences.
The Greasy Strangler does not feature any identifiable transsexual characters or themes. The narrative focuses on the bizarre relationship between a father and son and the father's serial killer alter ego, with no elements related to transsexual identity present in the story.
The movie does not contain any action or adventure elements.
The Greasy Strangler is an original film. It does not adapt existing source material, historical figures, or legacy characters, meaning no characters have a pre-established gender to be swapped.
The Greasy Strangler is an original film production. It does not adapt pre-existing source material with established characters or depict historical figures, meaning no canonical racial identities exist to be altered.
Combines user and critic ratings from four sources























