Directed by:
Andrew DominikScreenplay:
Andrew DominikCinematography:
Greig FraserCast:
Brad Pitt, Scoot McNairy, Ben Mendelsohn, Ray Liotta, Richard Jenkins, James Gandolfini, Vincent Curatola, Garret Dillahunt, Sam Shepard, Glen Warner (more)VOD (4)
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Jackie Cogan (Brad Pitt) is an enforcer for the Mob. When a high-stakes Mob protected card game is heisted by some small time crooks Cogan is called in to track them down and restore order to the local criminal economy. Killing Them Softly also features a classic cast of misfits Richard Jenkins, James Gandolfini, Ray Liotta, Scoot McNairy, Ben Mendelsohn, Vincent Curatola, Max Casella, Trevor Long, Slaine and Sam Shepard. (The Weinstein Company)
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When you see a movie with Brad Pitt in it, it's usually a blockbuster. But not every film is the same. Even though it's a collaboration between Brad Pitt and director Andrew Dominik. The movie "The Assassination of Jesse James by the Coward Robert Ford" is definitely worth remembering. But actually, the film "Killing Them Softly" is also a gem. Just don't expect it to be a big Hollywood film, it's more of a smaller-scale showcase of acting, which literally indulges in great bloody effects. Yes, there are few films where a shot to the head looks real, but lately more and more of these films have been appearing. "Killing Them Softly" is a film that handles this perfectly. More: http://www.filmovy-denik.cz/2013/02/killing-them-softly-2012-60.html
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It’s a bit boring, but you still get the bad boy Brad Pitt, who’ll get his head spinning trying to solve a pretty complicated case. Anyways, since the story isn’t that interesting, at least the setting is. It’s been a long time, if ever, since I saw a movie dealing with a financial crisis as urgently as this one does. But I guess it really works this way with thieves. I guess it was supposed to mean that since people don’t have much money in a crisis, people buy much less and the loot isn’t worth much, either. The score certainly wasn’t great here, which the thieves got to understand pretty quickly.
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Modern-day realism in an old-school blazer. Dominik changes the rules of storytelling, while also balancing the human and political angles. Bush and Obama are depicted often as ridiculous figures thanks to their speeches about unity and faith in the stars and stripes in this game dominated by Pitt’s Cogan. The actors are perfect, the message short and sharp. Everything stands on the last few lines. America is not a country, it’s a business. Now fucking pay me.
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Great, great, great! I can’t remember the last time I watched a movie and was 100% enthralled by it, and almost immediately watched it again. A stylistically simple script, a lot of talking (but not too much), a gritty atmosphere, a number of absolutely stunning looking scenes (the fact that most of them are pretty bloody murders doesn't change that this time), Brad Pitt being frightening, unpredictable characters, music (Killing Them Softly doesn't have a classic soundtrack, we only hear songs from the radio) and above all the whole idea of showing the current economic situation of the USA through criminals. The mood of the film reminded me more of something by Jim Jarmusch than the Coen brothers. Andrew Dominik just continues to make me happy. Killing Them Softly gave me in spades what I didn't get from the perfectly awful Drive the other day.
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This gangster flick with a stellar cast tries for a high degree of originality, but its characters (except for Brad) are goofballs who neither inspire respect nor are humorously cool. And the dialogue is dull and unfocused (except for Brad’s last line). The most interesting thing about the film is the underscoring of the story about a gang of petty criminals with lines from televised speeches by George W. Bush and Barrack Obama about how great America is and will be. The visual gags and slow motion give the film the mark of exclusivity, but they’re nothing new and, frankly, they are better suited to The Avengers. A camera mounted on a car door, mirroring its opening and closing motion, had already been done by Tarantino (and God knows where he stole it from). The playful shifts in the narrative are pleasing, but in retrospect they seem gratuitous (Gandolfini’s character and his importance in the story), and in the climax they still lead to the resolution that we assume just from looking at the film’s poster.
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