Terrible acting, screenplay and direction.

The film makes a home in your brain and the only cure is to see it again.

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Von Beeber obviously worked very hard in making this film, spending years coming up with completion funds. A tenacious filmmaker he definitely is. And he uses some interesting techniques, particularly the documentary within the film and he sticks close to accuracy, though he seems to borrow some elements from legends about The Family that likely aren't true, apparently taken from Ed Sanders sensationalistic book that preceded the more accurate Helter Skelter (the animal sacrifices for one -- these people and their leader loved animals more than people and according to Helter Skelter Manson berated a family member for even killing a bug). The main problem is there is a definite fetishistic quality to the film in the way it wallows in orgies and more so the extremely bloody murders. It seems to be made (at least in part)for voyeurs with an unhealthy interest in the Manson Family and its murders. For such a low budget, underground film, the acting overall is pretty good though. Basically, proceed with caution.

Of all the highly publicized American murder cases of the 20th century, the massacres committed by cult leader Charles Manson's followers in 1969 are probably the most infamous. Despite never personally killing anyone, Manson is still often seen as some kind of embodiment of evil and thus an object of constant curiosity. Several films have been made about "The Family" over the decades, one of them being Jim Van Bebber's semi-mocumentary finally released in 2003 after having been in production for nearly 15 years.The frame story of the warped cinematic trip takes place in 1996 when a TV reporter named Jack Wilson (Carl Day) is preparing to interview the incarcerated Family members for his program. Some kind of strange modern followers of Manson have sent him a videotape and are not going to leave their interference at that. The bulk of the film consists of faux-interviews with the Family members and psychedelic flashbacks of scenes from the time preceding the murders. The interviewees Leslie, Bobby, Sadie, Patty and Tex seem to regret their actions, while Manson himself is only seen in the flashbacks as portrayed by Marcelo Games.Instead of a clear, tightly-written plot the jumpy movie favours a fragmented sensory mindf**k kind of approach to its subject. The film's exploitation roots become highly evident during the long home video-like flashbacks illustrating the interviewees' memories full of hazy drug use and gratuitous nudity and sex. The lighting is mostly very richly coloured in red or blue, creating a fittingly otherworldly feel to the scenes of cult bonding under the influence of the charismatic Manson who is seen entirely through the eyes of his followers: he doesn't speak much and remains a distant character throughout. The intentionally grainy, worn-out and damaged look of the film (not only the flashbacks) strengthens the alienating atmosphere as well.At times the film effectively captures the distressing, insane state of mind that the Family members can be imagined to have been in. The Devil worshipping orgy is a highlight among the bizarre scenes, but the colourfully lit final massacres testing the audiences' tolerance to excessive gore are a must see for any fan of hard horror too. The prolonged knife violence and maniacally laughing killers are pretty much what people (or at least me) are looking for in sleazy trash movies like this one anyway, so in that sense Van Bebber and Co. have achieved their goal with flying colours. Perhaps some of the acting is not the most realistic ever, but I cannot consider that a major flaw in a film that is so heavily focused on the effects of brainwashing and not being in touch with one's regular self.In a way The Manson Family is a relative of Oliver Stone's controversial media satire Natural Born Killers (1994), but ultimately comes across as sleazier and more nihilistic since the satirical aspect is less pronounced. I am not sure if the filmmakers have taken a lot of artistic license with the presentation of how the actual events took place; in the end it doesn't even matter since the movie never strives to be an accurate portrait of Manson as a person. As an examination of disturbing group psychosis it works enjoyably and is recommended to those into exploitative true crime stories.

THE MANSON FAMILY really is a work of art, and I rarely use that term. It's a savage, carefully made, justifiably violent mix of docu-crime film and '70s drive-in aesthetics. The strange thing is, I've seen low-budget films made for five or six million that look like garbage compared to THE MANSON FAMILY, and, if I'm not mistaken, all told, THE MANSON FAMILY cost less than two million. The editing is nothing short of mad genius. The effects are always convincing - and again, I've seen movies with much bigger budgets whose effects aren't half as real-looking. The acting is fine and, if T&A's your thing, the flick has gobs and gobs of nudity. Contrary to most reviews, I found it more beautiful than disturbing, although I completely agree with director VanBebber - the Manson family slaughtered virtually defenseless people like cattle and should never be viewed as some "hip" counterculture icon. I've always been a huge fan and proponent of VanBebber's work, ever since the early '90s when I purchased a VHS copy of DEADBEAT AT DAWN. It saddens me that VanBebber's script for a TOOLBOX MURDERS remake wasn't used (the ultimate Tobe Hooper remake was laughable and forgettable). I'm glad Phil Anselmo helped VanBebber get THE MANSON FAMILY finished. And, personally, I feel directors such as Tarantino should throw VanBebber a few million and just let him do whatever he wants. If I were in, for example, Tarantino's position, I'd write VanBebber a check and tell him, "Do whatever you want. Don't worry about paying it back, either." Jim VanBebber's a visionary and THE MANSON FAMILY is wholly unique and shouldn't have been so difficult to fund and finish. I'm eagerly awaiting VanBebber's next movie.

Directed by Jim van Bebber, also responsible for related items such as the disturbing Necrophagia: Through the Eyes of the Dead (2002) a collection of gruesome music videos, as well as the violent cult classic Deadbeat at Dawn (1988). The Manson family is similarly disturbing, more so in fact as it is based on true events. The film is very well edited construction of supposed interviews with Family members, news footage and dramatic reconstruction, much of which is more convincing than one might expect through its careful mimicking of 70's shooting colours and style - process enhanced by the 15 years it took in production. None of the principals are well known, which adds to the documentary feel. Oddly enough Marcelo Games (who also appeared in Deadbeat), playing Manson himself, has little charisma, although he manages a fair enough resemblance to Charlie. This is no real disadvantage however as, for the most part the film concentrates on the Family members, rather than their bloody messiah, showing their increasing acquiescence to both cult and violence. The notorious Tate killings are convincingly and chillingly re staged, looking reasonably accurate in their portrayal of a frenzied event which effectively ended the peace & love generation's 60's dream.Van Bebber's film is notable in the way in which it uses jump cuts, short scenes, mixed shooting media and the like to recreate the stoned, psychotic experience of events, very impressive in a low budget film of this type. Less effective is the modern day framing device, in which TV men plan a documentary around the 25th anniversary of the horrific events (perhaps providing the 'source' of the main film, although this is never made entirely clear), face a band of modern day druggie anarchists, as well as final killing due this strand which, in the light of a just seen massacre, is something of an anti climax. Some of the several sex scenes at the Family's farm seem gratuitous, which suggest the exploitation background of the makers but there is no reason not to take this as, overall, a serious work. Strong stuff, uncut in the UK by the BBFC too, as taken from the unrated US edition and available in a well filled 2 disc edition at a very reasonable price.