Emile Hirsch plays a desperate Texas debtor who plots to kill his mother, with help of his family. They hire a crooked cop to do the job, but Killer Joe asks for their teenage daughter as a “retainer.”
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Gotta be the highest most awesome of numbers.5! ("If man is Five.." quoting Black Francis epic Pixies' song) 5 stars? Because it was just T-H-A-T good a film. Full of cinema. Full of clever and witty lines. Full of cinematography bravoura. Full of superb actors delivering them as if they were the greatest thing god had ever made (film-wise i mean: god as in Film History). That script? Perfect.That ending? Come on: <3
McConaughey gives a chilling performance in this harsh film from the great William Friedkin who was great at displaying abhorrent characters and the evil that consumes them. A little over the top but then again it is a trailer park melodrama and at its most superficial, Fargo on meth.
Another navigation through broken glass with Freidkin still flexing his slide-rule, edging away with jump cuts amid moral turpitude, but it’s not a refinement of his style. I guess you could say it’s a dark play on bad decisions and retribution, but it’s too brutal to be entertaining and having no moral centre, resembles the proverbial sledge hammer cracking nuts because it can.
Black is black : a family visited by an exterminating angel === La visite de l'ange exterminateur à la famille ==== Juno TEMPLE (Sin City), Emile HIRSCH (Into the Wild) & Gina GERSHON (Bound) at their best ! After a theater play by Tracy LETTS. 4,5/5.
Curious how this film worked better on TV than now in a movie theater. The end at the caravan is a great moment of theatrical performance as well of a cinematographic transcription of a script made from a play. But most of it fails to too many cliches of the genre and its ambiences, which are expanded when seen on a movie screen. Anyway, a credible example of Friedkin's ability to overcome the starting materials.
Since it lacks Friedkin's usual dramatic complexity--- all the characters are one-dimensionally dumb and any high-art subtext about society, trailer-park culture, and morality isn't deep-- it works not as a serious film, but a tongue-in-cheek parody of the southern gothic/film noir genres. Killer Joe is enjoyable as hell. That includes the crazy climax that's a knee-slapper for those who realize it's just a lark.
Has a chicken leg ever been so memorable? If Killer Joe teaches us anything, it's that indie American cinema still has the power to shake up our expectations and rattle audiences accustomed to more reserved psychological explorations.
Um, holy shit. I'm not sure if I'm more shocked by a decent performance from Matthew McConaughey or that Holy-Fucking-Shit ending. Killer Joe is white trash noir with an ending which kind of appropriately reminded me of The Texas Chainsaw Massacre. Killer Joe kind of meanders from time to time but grabs you by the throat and makes goddamn sure it has your attention. Jeeeeesus Christ...!