April 21, 2014

Scrolling Headlines:

UMass men’s lacrosse falls to Hofstra on Senior Night, 11-6 -

Saturday, April 19, 2014

VIDEO: UMass United Rally in support of Derrick Gordon, LGBTQ community -

Friday, April 18, 2014

Student rally in support of Gordon, LGBTQ community -

Thursday, April 17, 2014

John Ashcroft faces criticism during speech -

Thursday, April 17, 2014

UMass football continues move in new direction in annual Spring Game -

Thursday, April 17, 2014

Thousands gather in Amherst Commons for 23rd Annual Extravaganja -

Thursday, April 17, 2014

Sexual violence is not ‘normal’ -

Thursday, April 17, 2014

One year after Boston Marathon bombings, UMass doctor Pierre Rouzier continues passion to help -

Thursday, April 17, 2014

Photo Slideshow: UMass United Rally -

Thursday, April 17, 2014

Get Yourself Tested at UMass -

Thursday, April 17, 2014

Library labyrinth targets stress -

Thursday, April 17, 2014

There is nothing to debate about global warming -

Thursday, April 17, 2014

UMass hits the road to take on LaSalle -

Thursday, April 17, 2014

No. 11 UMass women’s lacrosse looks to extend winning streak against Richmond -

Thursday, April 17, 2014

Southeastern Conference commissioner Mike Slive latest McCormack Executive-in-Residence -

Thursday, April 17, 2014

Got a little Irish in you? -

Thursday, April 17, 2014

UMass doctoral student awarded Soros Fellowship -

Thursday, April 17, 2014

UMass Dressage Team discusses the lesser-known sport -

Wednesday, April 16, 2014

Canelas: Things worth watching in Spring Game 2014 -

Wednesday, April 16, 2014

‘The Walking Dead’ finale resurrects a dull season -

Wednesday, April 16, 2014

“Killing Them Softly” receives mixed reviews

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With big guns, stolen money and a plotline built around organized crime, “Killing Them Softly” looks like any other gangster film from an outsider’s perspective. While the film is, in many ways,  stereotypical of the genre, director Andrew Dominik attempts to take a different approach and create something that will differentiate itself from this well-trodden path with mixed results.

The film centers around two petty criminals, Frankie (Scoot McNairy) and Russell (Ben Mendelsohn), who hatch a devious plan to rob Markie’s (Ray Liotta) mafia funded card game and make a small fortune. This, however, as so often is the case, is not a straight forward job. As things soon spiral out of control, ice cold hit man Cogan (Brad Pitt) is called in to rectify the situation and find the culprits for the crime.

Dominik attempts to avoid genre trappings by adding an extra layer to the film in the form of a social political commentary of today’s America. Although this is not necessarily a new notion as films like “Scarface” have previously discussed the idea of the modern day American dream, never before has the underworld dealings of crime been so explicitly linked to America in its identity, economy and beliefs.

Dominik enforces this subplot through the setting of the 2008 Presidential election, with snippets of candidates’ speeches echoing throughout the film as well as within the character’s dialogue itself. While the gangster-political combination asks some interesting questions, it ultimately fails to provide any meaning or insightful commentary on the realism of the American dream in the current recession. The most political analysis in the film comes from Cogan who retorts to an Obama speech that “America is not a country, it’s a business” during a rant about the country’s state, without actually making a useful or relevant point in the context of the plot. Credit must be given to the director for attempting to add an extra layer to the gangster genre, but its execution in the film is poor and fails to offer any value to the piece in the long run.

With the plot is fairly predictable and the political angle not as prominent or effective as it aims to be, the film relies heavily on the acting, which luckily is superb throughout. Lead man Brad Pitt is irresistibly cool as Cogan, the diplomatic and deadly hit man. The film is dialogue heavy and many of its highlights are found in Pitt’s interactions with his colleagues. His conversations with mafia middle man, Richard Jenkins, are brief but hugely entertaining.

Where the script and acting really stand tall is with the introduction of Mickey (James Gandolfini). Gandolfini’s character is a brash, rude alcoholic hit man who has fallen off his game. It is in the exchanges he has with Pitt, notably a scene in his hotel room, where the witty script shines best recreating something reminiscent of John Travolta and Samuel L. Jackson’s legendry conversations in “Pulp Fiction.” The ability to take mundane conversations and make them enthralling has been perfected by Tarantino over the years and in “Killing Them Softly” his influence can be seen.

There are a lot of things “Killing Them Softly” does extremely well. On top of the excellent acting is some innovative cinematography throughout. The slow, methodical pace of the film coupled with the extensive dialogue means that violent scenes are few and far between, but when they do finally come around they are savoured, adding extra gravitas to them. Cogan’s first hit is an excellent example of this; slowed down and depicted in gruesome detail, making it a powerful scene.

While the film has a strong supporting cast it fails to properly explore their characters, leaving potentially interesting roles for Russell (Ben Mendelsohn) and Frankie (Scoot McNairy) as merely caricatures of what they could be. The film’s inability to explore Mendelsohn and McNairy’s characters beyond the fact they are small time crooks means the audience has little regard for them and their fate in the end, something that damages the film’s already underwhelming climax.

The film’s methodical, often pondering pace hints at a grand climax as Cogan closes in on his targets, however, the film finishes abruptly leaving the audience with a rather disappointing end that lacks the punch it needs to compliment the build-up provided. “Killing Them Softly” explores some interesting ideas and attempts to produce something that will break away from the predictable gangster film, but in the end does not do enough to differentiate itself as the plot falls flat. Like this year’s similar release “Killer Joe,” it is a film that holds promise and a more than able cast but in the end leaves the viewer wondering what could have been. “Killing Them Softly” goes out with a whimper instead of the bang that it so very much needed.

Jonathan Smith can be reached at jnsmi0@student.umass.edu

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