Killer Joe (2011)

Roger Ebert said in his review for "Killer Joe" that the film left him speechless--and that's saying a lot, especially from a guy who's seen a lot of films. Rated NC-17, this was only available at the Opera Plaza Theater in the city (SF), but the small theater was packed! The audience laughed, gasped and--just like Ebert said--were rendered speechless by the shocking, blood-soaked finale.

This is a sure-fire cult classic; there are many memorable scenes (fellatio on a chicken drumstick, anyone?), and a lot of slick, smooth dialog--especially from Joe (brilliantly played by Matthew McConaughey) who just happens to be a police officer who moonlights as a killer for hire.

Hats off to director William Friedkin, at 76 he has lost none of the edge he displayed in the 70's with his gritty police thriller "The French Connection", or his synth-infused masterpiece from the 80's "To Live & Die in L.A.". The story, adapted from a play by Pulitzer Prize winning author Tracy Letts ("Bug"), is right up Friedkin's alley; behind the bloody black humor, his fatalistic view of human nature still shines through.

There's horror in "Killer Joe"; audiences cringed with pure horror back in the 70's with "The Exorcist", this time they gasped and giggled at the same time.

Right now, the common criticism against this film is that the characters are deplorable, and that the ending was "unsatisfying". Question: who says a film has to have likeable characters? Your film school instructor? Ever seen Martin Scorsese's "Raging Bull"? The main character (Jake La Motta) is near sub-human, but the film is now considered a classic character study of a self-destructive man. And the "unsatisfying" ending--well, if you want a classic climax and resolution check out the top 10 grossing films in America, and steer clear from anything that isn't in the top 10.

P.S Friedkin fans, as the screen cuts to black and Clarence Carter's 80's song "Strokin" starts blaring, don't we nostalgically recall the ending of Friedkin's Cruising (Deluxe Edition), the film Al Pacino still refuses to talk about?

William Friedkin has been around for many, many years but the man still knows how to direct a movie. Now in his mid-70s, his sense for movie-making is as sharp as it was 40 years ago when directing "The French Connection" and "The Exorcist" brought his wide acclaim.

"Killer Joe" (105 min.) was originally screened at the 2011 Venice Film Festival but a battle with the MPAA over the film's NC-17 rating held up its US release for almost a year. The distributor LD Entertainment ultimately decided to release the film unchanged and with the NC-17 rating. The plot centers around Chris (played by Emile Hirsch), a small time drug dealer desparately in need of money, and lots of it. With the help and support of several others, including his dad and also his mom's boyfriend, Chris decides to hire a contract killer, Joe, played by Matthew McConaughey, to kill his mom and collect the insurance money. All I will say is that eventually Joe does his part of the deal, but that there are a number of complications. To give away more of the plot would really ruin your viewing experience so you'll just have to see for yourself how it all plays out. This movie is a great example of a "film noir" and then some, hence I'd call it "ultra-noire".

There is a reason that this movie is rated NC-17, so if you are squirmish about violent scenes, do yourself a favor and don't watch this movie. But if you can deal with that, you will be in for one wild and entertaning ride. There are several noteworthy performances. Let's start with Matthew McConaughey, who without a doubt brings a career-defining performance as Killer Joe. It's a shame it comes in a movie not a lot of people are likely to see due to the rating, as for me this is an Oscar-nomination worthy performance. Also bringing an astounding performance is Gina Gershon as Sharla, Chris' stepmother. Towards the end of the movie, when all hell breaks loose, she does one unforgettable scene that will raise the hairs on your neck. And last but not least is June Temple, as Chris' sister Dottie. Temple is rapidly building a name and profile for herself (she recently also was in The Dark Knight Rises and The Three Musketeers). In all, beware of the violence, but this is a very dark, yet entertaining and excellent movie. Miles away from your standard Hollywood fare, "Killer Joe" is HIGHLY RECOMMENDED!

Buy Killer Joe (2011) Now

Few films contain such a palpable mix of dark comedy and brutality as William Friedkin's Killer Joe. The film reunites Friedkin with writer Tracy Letts, who last worked together on 2006's Bug. That film was a memorable little oddity that polarized audiences. If you have the stomach for it, Killer Joe is the superior film. For Friedkin, whose career was built on successes he had decades ago, it's a roaring comeback. For the star Matthew McConaughey, it's a career renaissance. In the last year, after serving time as the go-to guy for romantic comedies, McConaughey has begun taking on more daring roles and this is his most daring yet. It's also his best performance.

Most of Killer Joe takes place in a trailer park somewhere in Texas, home of the Smiths, a family of rednecks for whom the word `philistine' was almost certainly invented. Chris Smith (Emile Hirsch) is a drug dealer whose mother has stolen his stash and left him desperately in debt to some guys who will kill him unless he comes up with $6000. Learning of his mother's $50,000 life insurance policy for which his sister Dottie (Juno Temple) is the beneficiary, Chris approaches his father Ansel (Thomas Haden Church) about the prospect of having his mother killed. Not only would this solve Chris' problem, but it could lead to a big payday for Dottie, Ansel and his current wife Sharla (Gina Gershon). The person to do it is Joe Cooper (McConaughey), a Dallas detective who moonlights as a hitman. After they meet with Joe, he demands $25,000 in advance that Chris and Ansel are unable to provide. But Joe is willing to negotiate and will accept a retainer; Dottie.

There's no telling who is working against each other in the Smiths family. Although they lack any semblance of sagacity, their ignorance spawns both humor and horror. There's a sardonic glee in the way their story unfolds; we never know the length of stupidity they're capable of. The only redeeming character is Dottie, who seems mentally slower than her family (quite a feat), yet innocently more aware.

Letts' script is an adaption of his own play yet, unlike many stage adaptations, there's never a sense that this was made for the stage. One reason is Friedkin's fearless direction and the other is Caleb Deschanel's unflinching cinematography. Killer Joe was initially rated NC-17 (eventually surrendered) and it's hard to recall a film that so deserves it. This is a violent, bloody, misogynistic, and often sadistic film that basks in its lurid tendency to push the envelope. However, there's much more to Killer Joe than mere shock value. It's self-aware and crackles with great dialogue and memorable performances from everyone involved. It jumps right into the plot but slow burns with quiet intensity before erupting into total chaos, fueled mostly by McConaughey's menacing and frightening performance.

Before becoming a romantic-comedy heartthrob McConaughey appeared in Texas Chainsaw Massacre: The Next Generation and for all that film's shortcomings, he did an exceptional job playing crazy. Even with that performance on his resumé, who could've foretold McConaughey could deliver such a memorable performance that allows him to exploit his natural charisma and charm to play completely against type and make Joe Cooper's ferocity and stark brutality all the more shocking? The performance is so unconventional and horrifying that it won't lead him to an Oscar, but few will argue what an Oscar-caliber performance this is. The other stand-out is Church, playing a character so stupid it takes the right kind of actor to keep it from bubbling over the top. Church's comically silly facial hair and his gift for deadpan make Ansel the comic relief of the film, but he keeps the character from seeming contrived or false within the film's context. He's a gifted actor who never fails to please and surprise.

The conclusion of Killer Joe features a long scene involving McConaughey, Church, Gershon, and a chicken leg that stands out as one of the most nail-bitingly intense scenes of any film this year. It's hard to anticipate a scene more startling or suspenseful. Here McConaughey reaches deep into his acting range to show the depths of Killer Joe's (both the movie and character) depravity; this is the moment where he totally sheds the rom-com image. If the Academy were more willing to award edgy, brave performances, this moment would almost certainly win him an Oscar. It's a scene that bristles with energy and no matter how chaotic and shocking it becomes, you can't look away.

Killer Joe is a film that gets in your head and stays there. It's a shocking and powerful film that makes a devastating impact. It's certainly entertaining, but make no mistake, it's not for the faint of heart and will disgust and revolt many an audience member. It's one of the most disturbing films of 2012. It's also one of the best.

GRADE: A-

Read Best Reviews of Killer Joe (2011) Here

Killer Joe is a raw, relentless film that is a welcomed return to form for director William Friedkin. Like his gritty earlier dramas (The French Connection, To Live and Die in L.A.), Killer Joe dwells on the seedy underside of human nature ... and like one of his most controversial works (Cruising), it's certainly not shy about upping the ante for sex and violence. But it's also riveting to watch -anchored my a stellar cast led by Matthew McConaughey in another standout performance. One of the best and bravest films of 2012!

Want Killer Joe (2011) Discount?

I'm amazed at the number of bad reviews this film has gotten. It is, for sure, not for everyone, but many of these reviews operate as if characters need to be likable in order for a film to be worth watching--an utterly bizarre and puritanical stance to take on a piece of art.

In any case, the acting in this film is superb. I mean really top notch. The writing is super sharp. And I got this kind of pleasure in watching just how bizarrely messed up this morally degraded bunch of idiots and sociopaths could be together.

Yes, there were a couple of shocking scenes, and everyone in the film is a moral monster, but it's all so well done: suspenseful, tense, full of menace, and funny in the bleakest possible way. If you're not super sensitive, I'd say ignore the bad reviews, and give it a shot--you may just think it's great.

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