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Serial Mom is an 1994 American film. The dark comedy is the story of Beverly Sutphin, played by Kathleen Turner, who seems to be a normal wife and mother in a suburb of Baltimore. However, she is hiding a secret. When she experiences the smallest slight or insult, she feels the need to exact an extraordinary level of revenge. She terrorizes another suburbanite named Dottie Hinkle who beat her out of a parking space by making obscene calls in a disguised voice. She kills her son’s math teacher when he calls her in for a meeting and suggests her son needs therapy because of his extreme interest in horror movies.

A short time later, Beverly realizes she and the teacher are alone in the school parking lot and runs him over with her car. She kills a boy who stands her teenage daughter up when she catches the boy with another girl, played by Traci Lord. Beverly becomes offended by a patient of her dentist husband when he dismisses the doctor’s advice to avoid sweets and murders him and his wife. Although she believes she has been careful, witnesses have seen enough of her crimes to make the police suspicious. Beverly sidesteps the police questions when they come to her house.

Her husband Eugene, played by Sam Waterston, defends her to the police and insists the officers leave. But when his wife is out, he looks around their bedroom and discovers her collection of serial killer material.

Fingerprints left at one of the murder scenes give the police the evidence to arrest her, but she escapes and runs to the video store that employs her teenage son. While hiding from the police, she hears her son being criticized by a customer, and follows her home and kills her. When the police catch her, she is tried.

She chooses to represent herself.

This is my first John Waters film and I think I've got a good handle on his style of filmmaking. He's a sort of campy, joyful and irreverent filmmaker. He's not too much of a serious artist -- at least not from what I can tell here -- but he's a heck of an entertainer. He is, well, a master of schlock. He's nowhere near as creative as the Coen brothers and not as uproariously funny as the Farrelly brothers, but we're almost in a state of awe watching the movie, smiling, but wondering if we should be when an overly-sweet, caring mother beats a woman to death with a leg of lamb. Thing is, it never seems bad -- it's not even morally reprehensible the way Waters shows it. It's like when you've just watched a gag in extremely poor taste done pleasantly with such giddy amusement that you just shake your head and say, 'That is just wrong!'