This movie was not exactly what I was expecting. I thought it would be a more focused character study of Albert Fish - the kidnapper/murderer/cannibalizer of young children in New York City in the late 1920's-early 1930's. That angle isn't lost here. The movie opens with a depiction of Fish as an abused child in an orphanage, giving some insight into where he developed his sado-masochistic tendencies, but really this movie focused more on the police investigation into one case - the kidnapping, murder and cannibalizing of 10 year old Grace Budd. The Budd case was the one that eventually brought Fish down, and the movie really revolved around Police Detective William King, who headed the investigation into Budd's disappearance.Fish seems to have been one of the earliest serial killers to prey on young children. The cannibal angle makes the case even more sensational. The movie, thankfully, isn't very graphic, although the details of exactly what was done to young Grace are talked about but not depicted. What we hear is very disturbing. As far as the Budd case is concerned, the movie seems to be a pretty accurate depiction of real events, but really the Budd case is the only one looked at in any detail, even though there were several other child killings that Fish was responsible for.Patrick Bauchau was pretty convincing as Fish. He captured the part well - the guy was someone we would all think of as crazy, and yet he was sane enough to plan things out pretty methodically. And in a lot of respects he seemed pretty normal and trustworthy - making him even more frightening. Bachau did well. I wasn't entirely taken with Jack Conley as Det. King, and I found the depiction of Grace's mother (Jillian Armanante) to be strange. She was portrayed almost as being more interested in publicity than in her daughter. That may be true (everything else in this seems pretty accurate based on what I've read so I don't know why they writers would make that upon) but it still seems pretty strange to me.Really, this provides a glimpse into the mind and one crime of a notorious serial killer. A little more depth and insight would have been necessary to make this a truly good movie. (6/10)

When I was a kid, I read comic books and in those comics were ads for everything from "sea monkeys" to books about "freaks." One ad showed an elderly, bewhiskered man named Albert Fish; beneath his picture was the word "cannibal." In my neighborhood, there was an old man who looked a LOT like Albert Fish: his skin and his hair were gray, and he wore an ankle-length gray trenchcoat. He would stand across the street from the grade school I attended and accost kids on their way home every day. I asked who he was and someone told me that his name was "Pork Chop." I made a point of avoiding him. But there came a day when I had to stay after school for some long-forgotten reason. As I crossed the street, I realized that someone was following me. I turned, and there was Pork Chop. He reached for me. "Come here, son," he whispered. I backed away, shaking my head, and looked toward the school- but the school was empty and deserted now. Pork Chop came at me, arm outstretched. I ran. My mother called the police when I got home and I went back with them to the place where I'd been accosted, but Pork Chop was gone. A door-to-door search yielded no results. I've never forgotten that close encounter, nor Albert Fish, "cannibal." While I think that Bauchau is probably a lot more cultured than the real-life Fish was, his is still a riveting performance and helps make THE GRAY MAN a true crime movie worth watching. The only real problem with it is the inordinate amount of time that is spent on the obsessed cop: real or a fictional construct, he's not the reason to see THE GRAY MAN.

"The Gray Man" is an important addition to the horror genre. Director Scott Flynn chose to tell the story of Albert Fish, a serial murderer who is believed to have murdered and cannibalized several young children in the late 1920s and early 1930s in the environs of New York City. Fish worked as a handyman and painter in most of the neighborhoods he lived in, and was seen for the most part as a relatively inoffensive and grandfatherly individual by many people. In reality, he is said to have possessed a raging sociopathic pattern that knew its roots in the harsh treatment he received in state orphanages run by religious fanatics in the upper boroughs of the city. Flynn's film gives the viewer a slight background of Fish's character so that even the most offended audience member can understand Fish's motivation. The man remains genuinely creepy in depiction, however, simply due to the deep horror of life that true degeneracy, or "evil", if you must, rarely has a loud "telegraph". Albert Fish is scary because he looks like the earnest, hard working sort of character who you'd hire to repair your furnace. "The Gray Man" is also a significant work in horror, because it puts to rest the idea that a grisly tale must rely upon grisly depiction in order to unsettle the viewer. Director Flynn has wisely chosen not to graphically re-create the murders, and does not bother with lurid presentations of children being dissected or disposed of as meat. It might seem ridiculous that I would even have to point this out, but anyone who knows contemporary horror understands how little credit all too many Gothic film makers lend the imagination of their public anymore. I don't want to belabor the point, suffice it to say that "The Gray Man" puts films like "Saw" and "Hostel" to shame. Very few things in this life are as terrifying as a child murderer, Flynn and his cast put this true story across without much reliance on the sensational. Why, they even rely on a few little tricks like "atmosphere" here. Imagine that.Leading the cast is veteran actor Patrick Bauchau, who brings the character of Albert Fish himself a terrifying but not entirely unlikeable quality. His work in this film is a delicately balanced affair that is more effective than that of Anthony Hopkins in "The Silence of the Lambs". Hopkin's performance in that work is outstanding, of course, but it is relatively melodramatic and over- the- top compared to the craft and restraint Bauchau offers here.. Following Bauchau up as the intrepid Missing Persons investigator Will King is Jack Conley, whose world weary demeanor I found very welcome in this age of celluloid depictions of lantern jawed law enforcement officials who always know what to do. Conley's King is a man unsure in his surety, a gumshoe who's likable for the same reasons we like Jake Gittes in "Chinatown" and Sam Spade in "The Maltese Falcon". He's sort of an anti-bureaucratic bureaucrat.The other supporting cast members are quite good, most notably the perpetually bemused children of Albert Fish, Gertrude and Albert Jr., who know him alternately as both solid family man and abusive personality. The roles are handled by Mollie Milligan and Silas Mitchell. Jillian Armaneni is powerful as the mother of Grace Budd, the victim of Fish whose disappearance finally put investigators on his trail, and Lexi Ainsworth is very fine as Grace herself. Ben Hall holds his own as Grace's brother Albert, and character actor Bill Flynn has an appearance as the notorious Dr. Frederick Wertham (yes, he of the controversial 1950s anti- comic book crusade) who was a defense witness at the Fish trial as Fish and his crew pleaded insanity.As for accuracy, who knows? So much has been written about the case that, now, seventy five years after the events themselves, it's even more difficult to separate the folklore from the reality of the moment. Albert Fish has entered that realm of real-life bogeymen with a distinction known by few, so the scuttlebutt will continue to blossom. Be that as it may, "The Gray Man" is a finely crafted, ambitious and riveting horror film, one of the few in the contemporary samples from the genre that is worthy of the time it takes to view it.

A solid thriller about Albert Fish (a very fine performance by Patrick Bauchau), the real life serial killer of children in 1930's America. Fish seemed a harmless old man, but in 1934 he was arrested as the murderer of several missing children he somehow duped their families into leaving him with (using an assumed name throughout). Part character study and part detective procedural, The Gray Man wisely avoids graphic horror and sensationalism (Fish's murders, for instance, are never shown on camera), and while it is rather conventional, it is nevertheless quite chilling nonetheless and it shows a director with a very keen sense of storytelling.