It’s been said that our minds function by being drawn into a disaster.
Psychologically, we’re drawn to moments when things have gone awry. We secretly long to witness something dark and mysterious if for no other reason that the inherent need to understand what happened and what were the possible consequences. This is why we might crane our heads to look at the remnants of the car crash off the side of the road, displaying that macabre desire to see something like we’ve never quite seen before and, then, comprehend it, to put the pieces together in a way that may not make sense so much as it justifies or explains what it is we’re seeing. Of course, some just chalk this up to “morbid curiosity,” but that simple answer defies the truth that we’re trying to learn something from a bad situation that, clearly, someone else missed.
This, too, justifies our cultural fascination with serial killers.
We invest time in documentaries and docu-series exploring what these evil people did because somewhere deep inside of us there’s not only a need to know what took place but a desire to also witness as close to firsthand as we’re able how something so dire escaped earlier detection. We long to grasp just how these killers got away with it not so that we might benefit personally from such expertise but to grant us the skills to know what to look for should we ever find ourselves in or near such predicaments. Being naturally curious creatures, men and women are always seeking that central equation for how and why these dark events occur; so, we’re equally always on the lookout because it’s as much part of our DNA as is our desire to preserve our own DNA from falling into the wrong hands. What can I say? It’s entirely ‘human’ to want to remain six feet above ground as opposed to six feet below.
2025’s No Tears In Hell is a dramatized retelling of “The Siberian Ripper,” the tale of one depraved Alexander Nikolayevich Spesivtsev and his equally troubled mother Lyudmila. Though court convictions suggest they may’ve been fairly routine (as serial killers go), the facts point to the conclusion that Alex alone – or with dear momma’s cooperation – may have been responsible for the deaths of over eighty people. Written (in part) and directed by Michael Caissie, the film starred Luke Baines, Gwen Van Dam, Tatjana Marjanovic, Audrey Neal, Gabriella Westwood, and others. The end result is that, sadly, there may not be the answers audiences are looking for by exploring such vivid yarns, but that like won’t detract fans of such unconventional fare from tuning in anyway.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“In Alaska's winter darkness, a mother and son transform their house into a nightmare, drawing people in for abuse and cannibalism.”
Psychologically, we’re drawn to moments when things have gone awry. We secretly long to witness something dark and mysterious if for no other reason that the inherent need to understand what happened and what were the possible consequences. This is why we might crane our heads to look at the remnants of the car crash off the side of the road, displaying that macabre desire to see something like we’ve never quite seen before and, then, comprehend it, to put the pieces together in a way that may not make sense so much as it justifies or explains what it is we’re seeing. Of course, some just chalk this up to “morbid curiosity,” but that simple answer defies the truth that we’re trying to learn something from a bad situation that, clearly, someone else missed.
This, too, justifies our cultural fascination with serial killers.
We invest time in documentaries and docu-series exploring what these evil people did because somewhere deep inside of us there’s not only a need to know what took place but a desire to also witness as close to firsthand as we’re able how something so dire escaped earlier detection. We long to grasp just how these killers got away with it not so that we might benefit personally from such expertise but to grant us the skills to know what to look for should we ever find ourselves in or near such predicaments. Being naturally curious creatures, men and women are always seeking that central equation for how and why these dark events occur; so, we’re equally always on the lookout because it’s as much part of our DNA as is our desire to preserve our own DNA from falling into the wrong hands. What can I say? It’s entirely ‘human’ to want to remain six feet above ground as opposed to six feet below.
2025’s No Tears In Hell is a dramatized retelling of “The Siberian Ripper,” the tale of one depraved Alexander Nikolayevich Spesivtsev and his equally troubled mother Lyudmila. Though court convictions suggest they may’ve been fairly routine (as serial killers go), the facts point to the conclusion that Alex alone – or with dear momma’s cooperation – may have been responsible for the deaths of over eighty people. Written (in part) and directed by Michael Caissie, the film starred Luke Baines, Gwen Van Dam, Tatjana Marjanovic, Audrey Neal, Gabriella Westwood, and others. The end result is that, sadly, there may not be the answers audiences are looking for by exploring such vivid yarns, but that like won’t detract fans of such unconventional fare from tuning in anyway.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“In Alaska's winter darkness, a mother and son transform their house into a nightmare, drawing people in for abuse and cannibalism.”
Now, pardon me if I’m nitpicking here, but No Tears In Hell – a theatrical exploration into a limited timeframe surrounding a notorious Russian serial killer – feels like it’s trying to insult its audience by opening up with a condemnation of capitalism. While I can’t quote it exactly, the gist behind the script from writer/director Michael Caissie is that – somehow – our lead villain believes free enterprise is somehow to blame for Alex (as played by Luke Baines) resorting to a life of murder, necrophilia, and cannibalism. Granted, such sentiment never gets quite the discourse I think it deserved – I mean, you brought it up, Caissie, not me – but given the fact that it’s the first (damn) thing highlighted before the slaughter begins I can only assume that someone behind-the-scenes thought it significant.
Me?
Well, I don’t.
You see, when you introduce such obvious and lazy politics into any story – even if its on the part of the characters or may be drawn from actual statements of the villain – you run the risk of turning off a portion of the audience. While I can understand and appreciate what Alex might’ve had to do to survive in the tumultuous times he did (what with the fall of the Soviet Union, the collapse of that national economy, etc.), the truth remains that this was an event from Russian history … which, the last I looked, wasn’t exactly based on capitalism. I suspect for this reason Caissie and co-scripter Alexander Nistratov were doing the audience a solid by transplanting their story to Alaska – according to the press information – and yet they’ve provided no plausible accounting for what part of capitalism turned Alex into a predator with necrophiliac tendencies.
Hate America is you must. But movies only make money, too, when capitalism works, so … ?
Thankfully, the political swipes largely disappear (there’s an indictment of the police system, but that’s small potatoes) as the story goes along, turning the spotlight truly onto Alex, his mother (Gwen Van Dam), and the small parade of victims. In textbook fashion, the young man has been afflicted by some bad parenting – along with the bullies of his schoolyard – and turned into about as depraved a murderer as is humanly and inhumanly possible. He lures them to his apartment – or Mommie Dearest does – where he kills them, rapes their dead bodies, butchers them into filets (which he ruminates over much like filmdom’s Hannibal Lechter), and allows mother to dispose of what remains by dropping packages in the East River. (FYI: the river’s unnamed. I’m just giving it one for posterity’s sake.)
As tends to happen in life and in fiction, our killer grows increasingly desperate to ‘get his thrills,’ a development which invariably also has him making bad choices. Eventually, he screws up by preying upon a better class of victim, a turn that finally draws the attention of the constabulary because “class matters,” you know. Up until that point, Alex largely engages in behaviors that screens big and small have made bank with, so much so that a good degree of what’s depicted in Tears feels very much like we’ve seen it before.
The truth here is that the deck was stacked against Alex from very early on, and Caissie makes no bones about that foundation. Repeatedly raped by an aggressive father, the young boy developed a hunger for bad behavior that clearly knew no bounds; and the fact that mom thought it appropriate to share crime scene photos with the little tyke likely had him curious about the wrong things when he should’ve been coloring and riding a bicycle. Once he was found to be an outcast by his schoolmates, I suspect the writing was on the wall; so it was only a matter of time before he decided life for those around him wasn’t nearly as valuable as his own, and he took matters into his own hands.
Me?
Well, I don’t.
You see, when you introduce such obvious and lazy politics into any story – even if its on the part of the characters or may be drawn from actual statements of the villain – you run the risk of turning off a portion of the audience. While I can understand and appreciate what Alex might’ve had to do to survive in the tumultuous times he did (what with the fall of the Soviet Union, the collapse of that national economy, etc.), the truth remains that this was an event from Russian history … which, the last I looked, wasn’t exactly based on capitalism. I suspect for this reason Caissie and co-scripter Alexander Nistratov were doing the audience a solid by transplanting their story to Alaska – according to the press information – and yet they’ve provided no plausible accounting for what part of capitalism turned Alex into a predator with necrophiliac tendencies.
Hate America is you must. But movies only make money, too, when capitalism works, so … ?
Thankfully, the political swipes largely disappear (there’s an indictment of the police system, but that’s small potatoes) as the story goes along, turning the spotlight truly onto Alex, his mother (Gwen Van Dam), and the small parade of victims. In textbook fashion, the young man has been afflicted by some bad parenting – along with the bullies of his schoolyard – and turned into about as depraved a murderer as is humanly and inhumanly possible. He lures them to his apartment – or Mommie Dearest does – where he kills them, rapes their dead bodies, butchers them into filets (which he ruminates over much like filmdom’s Hannibal Lechter), and allows mother to dispose of what remains by dropping packages in the East River. (FYI: the river’s unnamed. I’m just giving it one for posterity’s sake.)
As tends to happen in life and in fiction, our killer grows increasingly desperate to ‘get his thrills,’ a development which invariably also has him making bad choices. Eventually, he screws up by preying upon a better class of victim, a turn that finally draws the attention of the constabulary because “class matters,” you know. Up until that point, Alex largely engages in behaviors that screens big and small have made bank with, so much so that a good degree of what’s depicted in Tears feels very much like we’ve seen it before.
The truth here is that the deck was stacked against Alex from very early on, and Caissie makes no bones about that foundation. Repeatedly raped by an aggressive father, the young boy developed a hunger for bad behavior that clearly knew no bounds; and the fact that mom thought it appropriate to share crime scene photos with the little tyke likely had him curious about the wrong things when he should’ve been coloring and riding a bicycle. Once he was found to be an outcast by his schoolmates, I suspect the writing was on the wall; so it was only a matter of time before he decided life for those around him wasn’t nearly as valuable as his own, and he took matters into his own hands.
Technically, Tears looks good occasionally but makes some curious errors in storytelling. For example, we’re shown that Alex lives in a rather expansive apartment community – its shown from the air several times – and yet we’ve somehow expected to believe that none of his victims were discovered when crying out for assistance. (FYI: there’s a lady living right below him, so how is it she never heard a thing?) There’s also the misstep later in the picture wherein Alex is sawing up a body in the bathtub, and the room along with the shower curtain and himself are covered with arterial spray. Well, once a body is dead, it’s statistically far less likely for such spray to occur. The film doesn’t clarify how long the victim has been here, so this might just be a creative decision to make a room appear bloodier than was absolutely necessary.
Though a bit long, Tears still might be exactly what fans of serial killers are looking to – ahem – digest. There’s an almost nonchalant approach to – ahem – meals and meal-prep and the like, so much so that the creepiness to Alex and his increasing appetite never recedes. The torture sequences – yes, we all like to play with our food, I’m told – feature some notable practical effects, so kudos to all involved for making such painstaking moments look authentic. Perhaps I would’ve liked it better had our villain not evolved so much into a ‘chatty Kathy’: something could’ve been gained by allowing for a bit more nuance – Baines is the only one who looks to be enjoying himself in all of this, and I would’ve been nice had Caissie really – ahem – let him cook.
No Tears In Hell (2025) was produced by Bulldog Brothers Entertainment, Cinematic Labs, and Tadross Media Group. A quick Google.com search indicates that the film is available for digital consumption via a variety of internet streaming platforms. As for the technical specifications? While I’m no trained video expert, I can still attest that the provided sights and sounds are very good. (There’s some murky cinematography here and there that helps support the project’s overall themes, so don’t be put off by that.) Lastly, if you’re looking for special features? As I viewed the picture via complimentary stream, there were no extra shorts under consideration.
Alas … only Mildly Recommended.
Frankly, No Tears In Hell (2025) isn’t a bad film. It has the texture of being an independent production – no insult intended – but still boasts some curious work from stars Baines and Van Dam – but it isn’t as if there’s anything in here that audiences haven’t seen before, especially given the extent of Spesivtsev’s possible rap sheet. Expecting less – along with a great deal of predictability and some curious soliloquies from the killer – might go a long way toward increasing one’s enjoyment of the film. Along with some technical and thematic problems (as mentioned above) and the pace being a bit s-l-o-w, Tears is serviceable (at best) and only mildly disappointing (at worst).
In the interests of fairness, I’m pleased to disclose that the fine folks at S&R Films provided me with complimentary streaming access to No Tears In Hell (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Though a bit long, Tears still might be exactly what fans of serial killers are looking to – ahem – digest. There’s an almost nonchalant approach to – ahem – meals and meal-prep and the like, so much so that the creepiness to Alex and his increasing appetite never recedes. The torture sequences – yes, we all like to play with our food, I’m told – feature some notable practical effects, so kudos to all involved for making such painstaking moments look authentic. Perhaps I would’ve liked it better had our villain not evolved so much into a ‘chatty Kathy’: something could’ve been gained by allowing for a bit more nuance – Baines is the only one who looks to be enjoying himself in all of this, and I would’ve been nice had Caissie really – ahem – let him cook.
No Tears In Hell (2025) was produced by Bulldog Brothers Entertainment, Cinematic Labs, and Tadross Media Group. A quick Google.com search indicates that the film is available for digital consumption via a variety of internet streaming platforms. As for the technical specifications? While I’m no trained video expert, I can still attest that the provided sights and sounds are very good. (There’s some murky cinematography here and there that helps support the project’s overall themes, so don’t be put off by that.) Lastly, if you’re looking for special features? As I viewed the picture via complimentary stream, there were no extra shorts under consideration.
Alas … only Mildly Recommended.
Frankly, No Tears In Hell (2025) isn’t a bad film. It has the texture of being an independent production – no insult intended – but still boasts some curious work from stars Baines and Van Dam – but it isn’t as if there’s anything in here that audiences haven’t seen before, especially given the extent of Spesivtsev’s possible rap sheet. Expecting less – along with a great deal of predictability and some curious soliloquies from the killer – might go a long way toward increasing one’s enjoyment of the film. Along with some technical and thematic problems (as mentioned above) and the pace being a bit s-l-o-w, Tears is serviceable (at best) and only mildly disappointing (at worst).
In the interests of fairness, I’m pleased to disclose that the fine folks at S&R Films provided me with complimentary streaming access to No Tears In Hell (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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