Killing Them Softly
Release Date: November 30, 2012
Director: Andrew Dominik
Stars: Brad Pitt, Ray Liotta, Richard Jenkins
Runtime: 97 min
Tagline: In America, you’re on your own
Note: I love the idea of a good mob flick. I have a large list of ones I have to check out, including ‘Goodfellas’ (cue the gasp); and in all honesty, this is my second mafia related film (I think). The first being ‘Road to Perdition’. But I loved this. Enjoy the review.
Ah. Hitmen meet the economy; they go together like peanut butter and jelly.
Jackie Cogan (Brad Pitt) is an enforcer hired to restore order after three dumb guys, who think they’re smart, rob a mob-protected card game, causing the local criminal economy to collapse.
Johnny Amato (a.k.a., Squirrel; portrayed by Vincent Curatola) is the so-called mastermind behind the heist of a mob-protected card game. He enlists the assistance of Frankie (Scoot McNairy) and Russell (Ben Mendelsohn), and the plan is seemingly golden. The host of this card game is Markie Trattman, a man who hosted another card game in the past, and he then robbed his own card game. Due to that, card games went away for a little while. Now they’re back. The local criminal bosses believe that if this one gets robbed, Markie will have to be behind it. That’s what makes these three dumb guys believe that this is a foolproof plan.
Because of all this, Jackie Cogan gets called in to restore a little order to this imperfect local economy.
The film opens with Frankie (Scoot McNairy) walking down a rundown street, and the film cuts between a politician speaking (Obama or George W., possibly) and him. The wording constantly gets off. This is both stylish and artistic, but it will get irritating to the impatient viewer. It becomes known that this film is set when George W. Bush was still leader of the free world, and America was in an economic crisis. The card game being robbed doesn’t particularly assist the local criminal economy in any way.
In that way, this is both a story of violence and despair, and a compelling and complex social commentary of 2008 America in the midst of one of the worst financial situations since the Great Depression. The concepts in Killing Them Softly are complex, but they aren’t hard to comprehend. The film suggests that America is not a place where one could easily raise their kids. It is not a community, it is a business. However, these concepts of economics and capitalism are not subtly explored. The political voice-over speeches are practically right in your face, as if they’re 3D. Though, this barely bothered me.
Jackie Cogan is an awesome character who is filled with philosophy and mystery. Though, he isn’t the only interesting character in this. There is also Frankie and Russell, who may be a little dim-witted, but they are nonetheless good characters. Russell is often really there just for comedic relief, and he is also a representation of the stupid people of America. Frankie may be sort of dumb, but he is much smarter than Russell. Both the characters are good enough to carry the film for their scenes. In fact, they practically carry the film for the first twenty minutes – with a little help from Curatola and Liotta. These actors remind us that a film can be good, even when Pitt isn’t onscreen. Also, Brad Pitt entering the screen to the sound of Johnny Cash’s “The Man Comes Around” is the perfect touch.
Brad Pitt, as usual, is a booming screen presence. Put him next to Richard Jenkins’ character, he’s cool and he has a mysterious bravado. Speaking of Richard Jenkins’ character, his name is never revealed. He is just the middle man of crime who pays Cogan. Though the question of who Jenkins works for is left unanswered. That is one of the pleasant ambiguities and mysteries of the film.
Though, put Pitt next to James Gandolfini’s character of Mickey (another hit man called in by Cogan to help out with killing the twerps), he’s nothing special. Only because he’s listening to Mickey talk his ear off. Mickey’s character hardly fascinated me. He talks too much, and he doesn’t kill enough. Don’t get me wrong, Gandolfini’s a great screen presence. I just wasn’t digging the character. So don’t you tell Gandolfini to put out a contract on my head. I don’t want to die, man. I’m just telling it how it is.
Scoot McNairy has proved to audiences that he is a solid supporting presence (Exhibit A: this; and Exhibit B: Argo) and also a good leading man presence (as shown in 2010’s Monsters). I look forward to more performances by this promising actor.
The story, the cinematography and the editing are the real highlights of the film. There are a few other vividly cool editing sequences, that leave me feeling impressed. There’s one scene where Pitt is firing a gun in the rain in a slow-motion sequence, that is stunning. It’s vividly cool, and is worth the watch simply for that. Don’t stay for just that, though. This is one of the best films of the year!
There is a whole load of killing, but not as much as it seems to promise. In that way, the advertising is sort of deceiving. That’s okay, though, the other things that it never promises make up for it. There’s a fair share of soft, but brutal, killing to satisfy all, even though the kills are far between each other. The social commentary it offers is also profound. Sometimes it gets talky, but it is never uninteresting. The film has its fair share of intensity. The soundtrack is great and the atmosphere it offers is one of the most unique of the year. The writing is great, and the actors are great. They don’t disappoint one bit. There’s enough violence, and enough politics and economics to leave both crime movie lovers and scholars with a smile on their faces by the time the end credits roll. Just don’t expect non-stop carnage, and you’ll be good.