Tag: gina gershon

Killer Joe


Killer Joe (2011)
★★★ / ★★★★

Chris (Emile Hirsch) owes six thousand dollars to a local gangster and if he does not pay his loan within a couple of days, goons will be sent to kill him. Chris’ mother has just kicked him out of her house and, out of anger, he tells his father, Ansel (Thomas Haden Church), that her life insurance policy is worth fifty thousand dollars. To get that money into their pockets, all they have to do is find a way to kill her. Rex, the boyfriend of Chris’ mother, tells Chris that he knows a man willing to do the job. For twenty-five thousand dollars, Joe Cooper (Matthew McConaughey), a detective, will perform the service. The only problem is that he requires to be paid in advance.

Make no mistake that although its premise has elements of a crime-thriller, “Killer Joe,” based on the play and screenplay by Tracy Letts, is a comedy so grim (but deliciously lurid), each chuckle is almost always accompanied with a feeling of guilt. All of the characters we have the pleasure to observe trade their morals for the possibility of getting a couple thousand bucks richer without a moment’s thought.

The performances are grating during the first twenty minutes. Hirsch as a desperate loser sounds as though he is reading from the script as he attempts to get his sister, Dottie (Juno Temple), to unlock the front door of their father’s trailer home so he can get inside. There is a lack of verve to his performance in the opening scenes and I began to question if he was fit to play the role. Hirsch and everyone else’s performances, however, is elevated once McConaughey’s cold and calculating Joe dives into the mix. When Joe speaks and tells a story from his past, the actor that has starred in a handful of flat and uninspired romantic comedies disappears completely. Since McConaughey takes a risk by not holding a level of intensity but actually playing with it, we almost feel his co-stars being challenged and wanting to feed off the unpredictability in front of them.

Although the picture does not shy away from putting the violence front and center, it excels in creating intimate scenes, most often between two people, under the guidance of director William Friedkin. It feels wrong to watch Joe and Dottie, who we can assume to be underaged, first converse about mundane topics, work up to flirtation over a meal, and eventually get intimate physically, but it is impossible not to want their scenes to continue because the script and the acting have formed a synergistic magnetism. Joe’s need to take the girl’s virginity and the girl’s unsure sexuality is such an interesting combination that it undermines the circumstances involving the possible murder.

And that, ultimately, is the main problem. The central crime in “Killer Joe” neither has the strength nor the off-kilter palate to complement the good, sometimes great, performances. If the individual scenes between Dottie and Joe; Joe and Sharla (Gina Gershon), Ansel’s new wife and Chris’ stepmother; and Chris and Dottie were taken out, what remains fit the description of a hundred bland crime pictures.

Bound


Bound (1996)
★★★★ / ★★★★

Violet (Jennifer Tilly) and Corky (Gina Gershon) met in an elevator. They eyed each other despite the fact that Violet’s boyfriend Caesar (Joe Pantoliano), who worked for the mob, was right there with them. Violet knocked on Corky’s door, offering her a cup of coffee. Their romance started off like a bad porno movie, Corky being a mechanic and all. Violet confessed to Corky she wanted to escape the mob life so both concocted a plan to steal two million dollars from the mob and pin it on Caesar. The film was a success because it relied on very strong writing and three superb performances. Gershon epitomized seduction. She had a perfect balance of the feminine and the masculine. Pantoliano was sublime as a raging bull–the masculine figure. Tilly, the feminine, was funny, sexy, and compelling in every frame. I’ve seen her in many independent features and I believe she’s more than capable of mainstream success because she’s such a wonderful actress. “Bound” wore its modern noir tone on its sleeve; it rivaled Ethan Coen and Joel Coen’s “Blood Simple.” in terms of nail-biting tension that never lets go until the final shot and Quentin Taratino’s “Pulp Fiction” in terms of complex characters with questionable morals and multilayered motivations. It was able to do a lot with a simple shot. For instance, I’ve never seen a gun sliding through white paint looked more elegant and beautiful. The lesbian eroticism may attract some but may repel others. Some could argue it had elements of sexploitation, which I don’t necessarily disagree with. But my counterargument is that the picture did not show anything offensive. It may offend certain individuals either due to homophobia or fear of sexuality in general, but I perceived the images through a feminist scope. For me, it was about two women who had complete control of their wills and bodies. I would even go as far to say that the sex and seduction scenes were necessary because the picture depended so much on the trust between Violet and Corky. Their attraction with one another was the reason we wanted them to get away with stealing without losing any finger, or worse, their lives. Written and directed by Andy Wachowski and Lana Wachowski, “Bound” was a ferocious and unpredictable neo-noir thriller. I loved how it prevented me from thinking ahead because I was so engaged with what was currently happening on screen. That is, how the characters could possibly extricate themselves from an increasingly hopeless and dangerous situation. I suppose two million dollars had to be earned but at what cost?