Killing Them Softly Movie Review 1 52

Killing Them Softly movie review

Based on the 1974 novel by George V. Higgins, Killing Them Softly (formerly titled Cogan’s Trade) follows mob enforcer Jackie Cogan (Brad Pitt) who is called in to find out who was responsible for the robbery of a mob card game and to “take care of them,” with the help of an extra hitman, Mickey (James Gandolfini), brought in from New York.

Evoking some of the great crime films from that stand-out ‘70s era, Killing Them Softly is a bold, dense film that’s more talky than you might expect but the writing is so good and the performances so pitch-perfect that the tense dialogue-heavy scenes sore, utterly gripping with every word, whether it be a tangential conversation about the nefarious afternoon plans of one of the robbers or weighty discussions about American ideals.

The super slow-motion and striking music utilized liberally in some of the more violent (and I stress the word violent) sequences should feel at odds with the extended conversations but under the assured, confident direction of Andrew Dominik – who also made the masterpiece The Assassination of Jesse James by the Coward Robert Ford and brilliant Chopper – it works rather exquisitely. He also manages to somehow make the film very funny too, in that Pulp Fiction-esque way where the cleaning up of a body is more a problem than the fact someone has just been killed. In the same way as Nicolas Winding Refn did with last year’s masterful Drive, Dominik achieves just the right tone while sidestepping the trappings of crassness.

The cast is worth the price of admission alone. Pitt, reuniting with his Jesse James director Dominik, is on absolute top form as Jackie Cogan, effortlessly cool with his slicked back hair, goatee, leather jacket and calm demeanour as he goes about the business of sorting out the mess that’s been forced upon him. We also have Gandolfini, fantastic as the world-weary “New York Mickey” who seems more interested in getting drunk and sleeping around than doing what he was paid to do, as well as Richard Jenkins, Ray Liotta, Scoot McNairy (who some may recognise from low-budget alien flick Monsters) and Ben Mendelsohn. Across the board the casting is top-notch and the performances terrific.

The film is set before President Obama was elected and is not exactly subtle with its social commentary about modern day America and how the idea of being “one people” is nonsense. The political aspect is a tad on-the-nose but there’s something to be admired about a film going all out in that respect, as bold in its social commentary as it is in its visceral, gut-wrenching scenes of violence.

What may seem like just another generic crime thriller on the surface is elevated to a level of its own thanks to impressive technical filmmaking, a smart script and brilliant performances. Unashamedly throwing its audience into the deep end of things with dense conversations that go on longer than your average film of its type, this is an uncompromising and handsomely made modern day crime tale that puts a fresh spin on a familiar set-up. Dominik has now solidified himself as a true talent of modern day filmmaking, able to bring something exciting to whatever material he chooses. One of the year’s best films.

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I’m a freelance film reviewer and blogger with over 10 years of experience writing for various different reputable online and print publications. In addition to my running, editing and writing for Thoughts On Film, I am also the film critic for The National, the newspaper that supports an independent Scotland, covering the weekly film releases, film festivals and film-related features.

I have a passion for all types of cinema, and have a particular love for foreign language film, especially South Korean and Japanese cinema. Favourite films include The Big Lebowski, Pulp Fiction and 2001: A Space Odyssey.

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Movie Review: Home Again 0 416

This review was previously published at The National.

Despite an obviously talented leading lady in Reese Witherspoon and a family pedigree behind the camera in making this sort of rom-com flutter sweetly off the screen, Home Again struggles to finds its way out of cloying cliché and narrative contrivance.

This is the directorial debut of Hallie Myers-Shyer, daughter of genre stalwart Nancy Meyers (The Holiday, What Women Want). It focuses on the life of Alice Kinney (Witherspoon), a single mum who has just turned 40 and tries her best to raise her two daughters Isabel (Lola Flanery) and Rosie (Eden Grace Redfield) in Los Angeles with her job as an interior decorator.

Freshly separated from her British music mogul husband Austen (Michael Sheen), she embarks on a drunken birthday night celebration that leads to her meeting a trio of 20-something lads – Harry (Pico Alexander), George (Jon Rudnitsky) and Teddy (Nat Wolff) – who are trying their best to break into the Hollywood movie business.

The young men improbably end up staying in Alice’s guest house while they work on finishing the script for their first film. Before long they become an integral part of her life, from Alice embarking on a romantic relationship with Harry to George helping out Isabel with her school play. To quote the title of the director’s mother’s 2009 film – it’s complicated.

Except the film mistakes the kind of enjoyably frothy complexity exemplified by the best of the genre for skin-clawing convolution that renders much of the romantic and comedically-tinged drama of Alice’s life lacking in authenticity. Not that it needs the ring of truth that comes with, say, a Ken Loach picture but you need to be able to invest and believe in these characters’ lives as presented.

The approach to gender and generational relationships is simplistic which, of course, is nothing new to a genre that, at least in its Hollywoodized state, so often throws up films meant to be taken as easy-going fluff. But it’s particularly frustrating here when it squanders the potential thrown up with the initial concept of a woman trying to find herself again once she’s out of a stale relationship by entering into one with a much younger man.

It strangely seems far more interested in the plight of the three young men working as three cogs of one creative machine – director/producer, writer and actor – to get ahead in the movie business.  But even then it smacks of implausibility, like a cheap rom-com version of the bromance found in Entourage but without any of the snarky wit or Hollywood satire. Despite decent chemistry between a likeable assembled cast, Home Again is a tough pill to swallow as it rings false through and through.

3.5 out of 10

Movie Review: Goodbye Christopher Robin 0 448

This review was previously published at The National.

The world of celebrated children’s author A. A. Milne and the creation of his beloved Winnie the Pooh stories are chronicled in this frightfully polite biopic from director Simon Curtis (My Week with Marilyn) that flirts with dipping its toes into darker waters but steadfastly clings to safe tropes and always with its top button firmly fastened.

We start off in 1941 where we find an ageing Milne (Domhnall Gleeson in questionable make-up and greyed hair) and his wife Daphne (Margot Robbie) living on their secluded East Sussex farm. They receive a telegram informing them that their son, C.R. Milne, is missing presumed dead after heading off to fight in World War Two.

We then jump back in time to Milne on the front lines of the First World War. He returns from the fighting a changed man; suffering from PTSD (popped balloons evoking sudden gunfire et al.), becoming increasingly sick of just making people laugh with his West End plays and the general hustle-bustle that comes with big city life.

He convinces his reluctant wife to move to the country for some peace and quiet and where his infant son, Christopher Robin (played by Will Tilston at the younger age, Alex Lawther as he gets older), can go on the childhood adventures he deserves with the support of loving nanny Olive (Kelly Macdonald).

Settling into the kind of serene life he craves, he is inspired to create Winnie the Pooh and the rest of his soon-to-be-beloved friends inspired by the stuffed animals with which his young son has become so enamoured. Unfortunately for Christopher – referred to by everyone as “Billy Moon” – his father uses his real name in the stories, turning him into one of the most famous boys in the nation.

Despite the obvious attraction of it exploring the world famous Pooh stories, it’s a film much more interested in the effect it has on a fractured family clinging on to peacefulness, not least the unwanted attention thrust upon a young boy who simply isn’t equipped to handle it and how his parents carry on oblivious.

If anything it takes a curiously bleak outlook on what these stories mean to the world once they’ve been put out there, conveying a somewhat confusing message for a film that ultimately wants us to celebrate these stories as immortally cherished tales; that the Winnie the Pooh embraced immediately by the public and has now stood the test of time for almost a century is in some way missing the point of what it truly means to the author and a son who, inadvertently or not, was used as a tool of innocence to sell the idea of an idyllic childhood in Milne’s Hundred Acre Wood.

It’s bolstered by almost uniformly moving performances; Gleeson plays Milne with a kind of damaged empathy that makes you feel like you get to know the author beyond the public persona. Macdonald is oftentimes heart-breaking as Christopher’s devoted caregiver and Tilston walks away with the film as the adorably sweet-natured young Christopher. It’s only with Robbie that the film makes a misstep; she’s miscast as Milne’s wife and never stepping out of the shadow of cold motherly cliché.

In spite of its darker leanings, the film remains too buttoned up to properly wrestle with those themes in any sort of lasting way, far too polite to ever dive head first into the murky waters into which the drama intermittently peers.

Wrapped in Ben Smithard’s handsomely old-fashioned cinematography and soaked in Carter Burwell’s perpetually swelling score, it’s an aesthetically and emotionally appealing but nevertheless fairly vanilla period biopic best suited to being enjoyed on a rainy Sunday afternoon with tea and biscuits.

6.5 out of 10