Directed by:
William FriedkinCinematography:
Caleb DeschanelComposer:
Tyler BatesCast:
Matthew McConaughey, Emile Hirsch, Juno Temple, Gina Gershon, Thomas Haden Church, Danny Epper, Scott A. Martin, Gralen Bryant Banks, Marc Macaulay (more)VOD (3)
Plots(1)
When 22 year-old drug dealer Chris (Emile Hirsch) has his stash of drugs stolen from him by his mother, he has to come up with six-thousand dollars quick, or he's dead. Desperate, he goes to the trailer-park to see his father, Ansel (Thomas Haden Church), and he lays out the plan. Chris's mother, who everyone hates, has a life insurance policy that would clear up his debt and make them all rich. The problem is that Chris' mother is very much alive. Enter Detective "Killer" Joe Cooper, a hired hit man with the manners of a Southern gentleman, who will do the job - for an upfront fee, that Chris and Ansel can't pay. Just as Joe is about to leave, he spots Dottie (Juno Temple), Chris' innocent younger sister. Joe makes Chris an offer, he'll keep Dottie as sexual collateral until the money is collected and his fee can be paid. (LD Entertainment)
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Reviews (10)
William Friedkin is again at the top of his game. Killer Joe is a thriller with a not very original plot, but it compensates that with several pleasantly unexpected twists, an uncompromisingly dirty atmosphere and fantastic performances by most of the people involved. Most of the attention is drawn by the wonderfully sleazy Matthew McConaughey, his Joe will no doubt be one of the best film villains of the year. The other actors are also very good, only Emile Hirsch was a little unconvincing. One of the most pleasant surprises in recent years, thumbs up. Very intense climax. 9/10
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Insanity, and total insanity at that. I absolutely wouldn't dare predict how the whole thing might turn out. It's not a consequence of the "subtlety" and "thoughtfulness" of the story, it's more a consequence of the fact that the behavior of the characters in this film is completely unpredictable, and what may appear to be an overly bizarre solution to the "problem" here (either in physical terms or some kind of reasoning) may be considered one of the alternatives – and even the most "acceptable" alternative. Friedkin bets on the bizarreness of the story right from the beginning – the opening dialogue in the rain lures you in such a way that afterwards you simply devour the whole film like a cherry (though it’s not impossible to vomit some of it up). The ensemble of actors is really great, but Matthew McConaughey towers slightly above the rest.
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The ace up William Friedkin’s sleeve is not the plot but the eccentricity of its characters and what it can lead to. That is, what
they’re capable of and how they deal with situations gone wrong in their redneck shortsightedness. An excellent
“chicken blowjob” scene. I didn’t hope for anything like this from Matthew McConaughey in the age of A Time to Kill and Amistad. This actor is rising to the stars! And it’s not just him, the entire cast is excellent here. A brutal movie with big balls and a
not exactly sound mind.
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If Quentin Tarantino didn’t exist, Killer Joe would certainly be a concept. But this way, especially in comparison with his similarly tuned conversational films, its underdevelopment and superficiality become clear. Friedkin builds primarily on unreadable characters and their conflicts with each other, but the story has too few unexpected twists and only one memorable scene with cult potential. The biggest positives for me remain Matthew McConaughey, who is charismatic as shit, and I'd quickly turn away with my tail between my legs if I met him on the street, and the overall stylistic execution of form and content, which at times is quite close to Quentin's.
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Amazing acting, dialogue scenes like in a Tarantino film, and an incredibly precise redneck touch. Essentially, very good filmmaking, I just didn't quite understand why it all came about in the first place. In most films of a similar nature, there is more or less a hidden message that you have to read between the lines. I couldn't find it here. Very gratuitous, as if Friedkin was trying to prove that he still has the chops.
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