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Plot: Finding himself in considerable debt, Chris a Texan drug dealer, decides the only solution is to murder his mother to collect the insurance money. Getting together with his father, the ex-husband of Chris' mother, they decide to hire Joe Cooper a contract killer, who also happens to be a police detective. The plan is that the money will go to Chris' sister Dottie. However due to the size of the contract fee, Chris agrees that Joe can take Dottie as a retainer until the insurance comes through. Runtime: 102 mins Release Date: 28 Jun 2011
in a nut-shell: a wild, soaked-in-gasoline-on-fire film-noir (by Quinoa1984)
This is about... hmm... about a father and son who want to kill the mother of the family to collect the insurance money from her death, and hire a killer also a cop who decides to take 'as a retainer' the younger sister of the family while they come up with the cash to pay him. It's always refreshing when your first though when this ends is - where did THAT come from? By far this is Matthew McConaughey's most WTF-bad-ass performance, with touches of Dennis Hopper in Blue Velvet and even Anton Chigurh. He's such a fantastic, seductive, snake-like villain here, because <more>
after the first couple of times you see him, you're not quite sure where he'll go. Friedkin takes this material into some VERY dark places I imagine based off of the play, once again like 'Bug' from Tracy Letts , and if you aren't offended after the first ten minutes, you just gotta hang on for the rest of the ride. It's a twisted-f**k film-noir comedy of horrors where morality is so screwed that you have to laugh to not recoil from where it goes ultimately. The ending had me howling with laughter, recoiling in pain, and just stunned by McConaughey suddenly shattering an image he's built up for himself over the past fifteen years as a rom-com hack. It's his film, along with the unlikely-attractive actress Juno Temple, who has a seduction scene with 'Killer Joe' that is edge-of-your-seat. For those of us sick- bastards looking for something off the wall, it's one of the must-sees of the year. Not as surreal as Blue Velvet, but not as poorly-crafted trash as a Grindhouse movie. It's in an area somewhere in-between, and I can't wait to see it again.
I just returned from a week at the Toronto Film festival, and was lucky to see many great films, many gorgeous artistic testaments, slow paced dramas, thought provoking documentaries, and even a comedy. On my last day, however, I saw Killer Joe. Um. It is very very very very difficult to write about this film. What I can say first of all and with confidence is that it absolutely blew away anything else I saw at that festival, and pretty much anything I have seen by Friedkin or anybody from his generation for a long time Bug was a good primer for this.. Though a little under the radar, I <more>
found it really impressive.. So for those of you who have seen it, it's worth mentioning that he is collaborating with the same writer here, Tracy Letts . A few days before I had seen the new Coppola film called 'Twixt', and while I was impressed visually with his film, I couldn't shake the feeling that he had somehow lost 'it', that elusive ability to make a gripping and tight narrative picture that so captivates your attention that you forget you are watching a film and just sit back and take it. Killer Joe resets the bar for me - I had almost forgotten about the sheer power of film - to not only captivate you and enthrall you into its trance, but also its ability to shock you into a catatonic submission. You see actors that are familiar - Emile Hirsch, Gina Gershon, Matthew McConoughey, Thomas Haden Church... But no, there is nobody to recognize here. They are all so hidden underneath their personas, and so real and bloodied by their characters that not a moment passes that you question who they are. They simply are these characters, and after watching it you cannot imagine anybody else cast in any of these roles. And I will add that I never in a million years thought that I would consider Matthew McConoughey perfect for ANY role - though weirdly, he might have found the role of his life in Joe. The man is absolutely genius in this film. Dark, sadistic, calm, precise.. Perfect.I am reticent to write more details - I only urge you to see it. That said - it is not for everybody, as evidenced by the massive walk-out in the theater during the last twenty or so minutes of the screening. You will need the stomach for a film of this nature. I hate to compare, but you might consider it an x-rated Coen brothers film hopped up on steroids. Overall, it's mercifully hilarious , brilliantly written with a sly wit about it- which blunts out a lot of the violence, to where the final haunting scenes provoked twisted and maniacal laughs from audience members rather than shocked silence which would have been the only other reasonable response to a story such as this. So. There you have it, my rather cryptic review of a film that took me out of my seat and blew me the hell away. Peace out Friedkin, I'm a major fan again.
Reading a good amount of high praise for this film on IMDb's Film Noir and Horror board,I started to search round to find out if it was being shown anywhere near me.Almost giving up,I ended up finding that the nearest place playing the movie,was a cinema 8 miles away from me!.Feeling that this movie may be something pretty special,I decided to book an appointment,to pay Killer Joe a visit.The plot:Finding himself up to his eyes in debt with a biker gang who are threatening to kill him in a few days time over the unpaid debt,Chris Smith returns home and starts discussing with his dad, <more>
Ansel Smith about ways in which the debt can be paid off.Finding almost every avenue blocked off,Chris remember's that Ansel's ex-wife/his mother's new boyfriend had mentioned to him,that if Chris's mum dies,all of her savings would go to her daughter, Dottie Smith and he would not receive a single penny.Understandably uneasy over his son's plans,Chris eventually gets Ansel on his side,when he tells him that neither of them will have a part in the murder,but instead they were higher a professional called "Killer Joe" Cooper, who will do the dirty work for them.Being impressed by Joe's no-nonsense business approach,Chris and Ansel accept's Joe's demands,but soon start to wonder if hiring Joe will leave them with a deadly debt that they can never pay off. View on the film:Being given a super-cool entrance that most Rock stars would dream of having,Matthew McConaugh gives an astonishing performance as the warped- Johnny Cash "Man In Black" Killer Joe.Destroying any sign of his Rom-Com past with a ten ton hammer, McConaugh keeps away from making Joe into a simple boogie man,to instead give the film a chillingly eerie mood,as Joe slowly transforms from being a tall dark handsome silent man,into becoming a brooding,conniving monster,who gets unwitting souls to commit insane acts,which includes a scene,that does for chicken legs what Psycho did for showers.Impressivly not being over-shadowed by McConaugh's Joe,Emile Hirsch brushes any of his pretty boy looks away by giving an edgy performance as the blood spiting Chris Smith,who along with having extremely strange "family meetings" with his dad, played by a terrific,worn-down Thomas Haden Church is also at his wits end over a debt,which he starts to suspect may only get paid off with the ultimate price.Reuinting with screenplay writer Tracy Letts,director William Friedkin gives the film an unshakable grubby atmosphere,by using the bare minimum of background music to keep the films rough,raw look feeling like a newly opened wound.With the movie being given a short'N bleak 102 minute running time,writer Tracy Letts makes every minute count by brilliantly tackling multiple genres and never making them feel out of place within the movie,Initially making the film look like a trailer park trash drama,Letts soon introduces a Gothic Horror element that gives the scenes that the Smith's share with Joe a hauntingly uneasy feeling,which eventually becomes a wonderfully wild pure Black Comedy Noir,as Letts gives the movie a fantastic down beat Noir ending featuring gallows humour,that although being pretty repulsive is something the you are unable to stop laughing it the sheer grisly nature of,until this amazing film,changes into the colour of Killer Joe's clothes,and fades to black.
William Friedkin serves up Trailer Trash Neo-Noir with a side order of Fried Chicken. (by Spikeopath)
Killer Joe is directed by William Friedkin and adapted to screenplay by Tracy Letts from his own play of the same name. It stars Matthew McConaughey, Emile Hirsch, Juno Temple, Thomas Haden Church and Gina Gershon. Music is scored by Tyler Bates and cinematography by Caleb Deschanel. Plot finds Hirsch as Chris Smith, who because he is in severe debt to local thugs, hatches a plan to bump off his waster of a mother and claim the life insurance. Roping in the rest of his trailer dwelling family, he hires Killer Joe McConaughey , a cop with a sideline in murder, but the Smith's have no idea <more>
just what price they will have to pay for his services.So pulpy, so amusingly dark, Killer Joe is one of those films that will sit at the top of many film fan's best of lists for 2012. Yet if someone came up to me and declared it one of the worst then I certainly will understand. Undeniably it has no widespread appeal, you either get it or you don't, you will either laugh along with Friedkin and his dark observations or you will feel the whole thing is just too ugly to be entertainment. Man it's good to have Friedkin back pushing peoples buttons!Filmed in Texas in under three weeks, Killer Joe is a film that walks the fine line of misogyny and perversity for perversity's sake. But it never falls over that mark, even though these are scummy characters living in a scummy world, where there's sex and violence, and violent simulated sex and nudity; all of which is cloaked by a sweaty crime gone wrong caper. Much of the film is dialogue driven, rest assured this is very talky, but the director wrings out much tension and salaciousness from every character interaction, the slow-burn approach only heightening the sense of dread. When the finale comes, and it's a cracker-jack ending, there's an almost merciful release that it's all over. These are people you wouldn't want to hang out with ever, only there's Friedkin chuckling away to himself having made us spend an hour and forty minutes with this grime laden crew. If you feel like you need a bath afterwards, that's perfectly natural.Friedkin has garnered terrific performances from a top line cast. Hirsch powder-keg , Church naievity extraordinaire , Temple virginal piggy in the middle and Gershon bold and suspicious , are all giving disturbing credibility to the material, but as good as they are they are trumped considerably by McConaughey. One of the most frustrating actors working today, much like Cage, a ream of poor movies adorn his CV, but once in a while he throws in a performance of such genuine quality that it begs to be acknowledged by his peers. Here as Killer Joe he lays on a Faust like menace, delivering his lines with clinically calm precision, yet still there's a glint in his eye, we know a black heart beats there but he can charm a snake out of its basket, a girl out of her underwear...Unflinching direction, bravura performances and neo-noir at its near best, one of the best films of 2012 so far. Well, to some of us at least.... 9/10
Sometimes a performance in itself can boost a movies value and vault it into something spectacular, McConaughey provides the turbo to this otherwise solid but not groundbreaking vehicle of karmic retribution as Killer Joe. The movie itself has been said to be akin to Friedkin aping a Cohen crime caper and that description works. We have a crime masterminded by selfish, unintelligent and or quirky characters, we have the mid-west as our backdrop, and we have the metaphysical shadow of karma hovering over their every move throughout the film. Call it Cohen Brothers on whiskey. The characters <more>
themselves are all very stereotyped but I think Friedkin left that transparent enough. In other words, the stereotype was part of the wardrobe itself. The reason being is this is not about these characters in particular...this is about choices and consequences and Killer Joe is simply a vehicle of karmic arithmetic. All that aside, on any day, or in any movie, McConaughey's performance as Killer Joe is mesmerizing. He is the serpent...cold and dangerous but charming and in control, constantly. He weaves his restrained psychotic energy through the movie as if he was born to play this role. For as silly as this movie can be, this is a brutally adult movie. It is graphic and there is a barrel of bush in it. There is also an almost misogynistic undertone that I don't wish to defend one way or the other, but I will say that for the scenes to not play out as they did would be an injustice to the character that McConaughey plays. The cast all around is very solid. Thomas Haden Church is pretty terrific, Gershon is on point and I've never been happier to see her answer a door. Juno Temple is a lolita-ish young vixen who seems to be almost in a different plane of existence throughout the movie. This is a movie that will stick with you after it's over, the mark of a truly good movie. There's mechanics below the surface that have to be thought about and you have to discipline yourself for the eventual knee jerking that is bound to happen. Adults only. Would go well sandwiched between Blood Simple and No Country for Old Men.
Fearless and zealous Texas noir filmmaking (by StevePulaski)
William Friedkin's Killer Joe proclaims itself as a "totally twisted, deep-fried Texas, redneck trailer park murder story," but to be fair, I'm not sure that is even an accurate summation. Prior to viewing the film, I saw it called everything from, "sick," to "wild," to "weird," to "creepy," to "subversive," to "crazy," to just plain awful, and the only one I can marginally agree with is "weird." This is one of the strangest releases of the year, but I believe "sick" is a huge exaggeration.I too <more>
feel the NC-17 rating this film proudly bears is a bit much. If the film lacked a full frontal Gina Gershon and Matthew McConaughey, I'm sure it would've easily obtained a strong R-rating. The MPAA's bias for sexual content over violent content is wildly known and just the fact that they oversimplify the violence in this film to "a scene of brutality" had me laughing. The film includes some of the most hard-hitting scenes of combat that I've seen in any other film this year, and I'd absolutely love to know just what scene the MPAA was referring to in the first place.The film centers around the family of twentysomething Chris Smith played fantastically by Emile Hirsch, assuming the type of role he should continue to seek out , a lowlife drug dealer residing in a Texas trailer park, with his dim-witted father Ansel Thomas Haden Church , his annoying step-mother Sharla Gina Gershon , and mentally disabled sister Dottie Juno Temple . Chris has plunged himself into debt with another local dealer, and consults his father about his biological mother and her $50,000 insurance payoff that would be collected by Dottie if she were to die. Chris proposes the idea to hire "Killer" Joe Cooper Matthew McConaughey , a sleazy cop who also works as an assassin, to kill his mother and receive a cut of the insurance money, with him, Ansel, and Sharla getting a good chunk of the profits. However, things become incredibly twisted when Killer Joe begins to fall in love with Dottie, and how the whole family begins on an even steeper downward spiral due to a colossal misunderstanding thanks to Chris.Every character in the film is despicable in their own way, either by the shameful atrocities they commit or just because of the fact that their motivation is hopelessly self-centered and shockingly shallow and inept. Thankfully, all these subhuman characters are played efficiently by first-rate performers. Emile Hirsch gives a convincing, dignified performance, in possibly one of the most confident screen roles in his adult life. Juno Temple comes off of Dirty Girl, a wonderful coming of age drama, to embody a wildly different yet extremely interesting character, seemingly taken advantage of due to her intelligence or lack thereof. And Thomas Haden Church and Gina Gershon are consistently wonderful in their roles, especially during the climatic half when they appear to be tested as actors all together. But the award-winning performance here goes to McConaughey, who is three for three this year, with roles in Bernie another film looking to brew the idea of "Texas noir" and Magic Mike buoying him to an actor of near first-rate level. McConaughey's early career was plagued by a number of questionable romantic comedies and the occasional goofy action picture or two, but this year, we've seen nothing but him assuming roles of great confidence, always possessing a firmly dignified slickness and swagger that sets him apart from other actors who have just started recognizing their potential. It would appear that McConaughey just woke up one day and realized that time was fleeting and his real acting career could begin. I never thought I'd say this, but I couldn't see the role of Killer Joe being inhabited by anyone more quirky, unsettling, or thrilling as McConaughey.There's also something seriously notable about the tension director Friedkin whose most known work would be the iconic game-changer, The Exorcist erects during the entire course of Killer Joe. I began to notice it around twenty minutes in, when I felt that I never officially held a comfortable position in my seat, rearranging myself every few minutes. Then, during the scene where Chris is desperately trying to outrun two goons on choppers, taking backroads, alleyways, and literally anything that will get him off the track of the two bikers, I became restless and enthralled. Killer Joe provides us with warm Texas sun, and blends it elegantly with the raw thriller aspects found in a typical film noir picture. The entire climax, taking place in the trailer of the Smith family, is tense and unnerving. This is when I began to realize that this story had been a play prior to a film and that screenwriter Tracy Letts had adapted it so quaintly to film that the transformation was almost not noticeable even if it would've been, it still wouldn't have been a thing to discourage . This is one of the first, if not the first, time I've watched a film that I didn't know was a play until later in the picture. The fact that this film confidently branches out so far past the idea of a stage-play to the point of being unrecognizable from its roots is a huge accomplishment all on its own.I close with a forewarning that while I feel that the NC-17 rating Killer Joe received is somewhat questionable, I state with caution that this is a very violent picture, with several sequences of brutality that nearly channel the lines of sadistic depravity. Friedkin, however, is sure to capture it through a lens of style, similar to how Rob Zombie beautifully captured the horrifying deeds of the three despicable murderers in The Devil's Rejects. The film's charm is indescribable and its execution, fearless and zealous, making this one of the most surprising and impressive motion pictures of this year.Starring: Emile Hirsch, Matthew McConaughey, Thomas Haden Church, Gina Gershon, and Juno Temple. Directed by: William Friedkin.
Just off watching this last night at TIFF 2011, I am still reeling from what I actually witnessed on the screen.First of all, where has Gina Gershon been?? Her character was so believable in this, I almost forgot she was in Showgirls : I could say the same thing about nearly every other character as well. They all have such subtle personalities, it seems as though they are playing themselves.As for the plot, it is somewhat standard fare, as the trailer could easily giveaway, however it's how it progresses and pans out, is the most interesting aspect of the film.There are a few scenes <more>
which some will find very hard to watch in fact, during one now-notorious scene, dozens of people left the screening I was at , but if you stick with them, you will be in for a... treat? I'm not so sure, but you will have never seen anything like it, nor will you. For the cast's performances alone, I highly recommend this film, but if you are feint of heart, or become queasy at the site of blood, maybe skip it.
Famed director William Friedkin The Exorcist returns to fine form. Killer Joe, directed by Friedlkin and based on a Tracy Letts story/screenplay, is a fine rendition of the old player getting played murder plot. A vignette of white trash playing out some worst case scenarios with, thankfully, much more photogenic role-players.The film hangs on the roles of three central characters. The protagonist is a twenty-ish down and out loser named Chris played by Emile Hirsch. Hirsch brings a much grittier less Bohemian Johnny Depp to the table and it works here. His character is smart enough to know <more>
he's in deep and empty enough to unwittingly dig his hole ever deeper. His younger sister, Dottie, played by Juno Temple is an extremely unique character. She's both high functioning and almost mentally deficient in her total naiveté' which we are led to think is a mental quirk. She exudes a kind a helplessness with natural beauty that can draw one in. Juno Temple, a relatively new face to American audiences, is quite effective in her portrayal of this integral character. Finally, Matthew McConaughey is perfect in what is actually a supporting role in spite of being the the title character, Killer Joe. McConaughey is in his best element where he is reined in from Hollywood bombast instead dripping with a sleazy lawman/killer persona. These three characters are this movie aptly supported by Gershon's conniving Sharla and Thomas Hayden Church's witless Ansel.Killer Joe has a down and dirty indie feel which is totally right. The cinematography is immediate and not artsy in any way as if you are clearly seeing something you wish wasn't happening. The final quarter ramps up with a tour 'de force of the macabre supplied by McConaughey's character and taken home with a kind of surprise loose-end "wham-bam" finale. All in all, this really works and separates itself from more typical murder stories, recommended.
William Friedkin's career has been up and down most of his career, I guess it's because he refuses to sell-out and go commercial. His most 'Hollywood' film to date has been The Hunted, from 2003, but even that was unusually muted for a film of that type.His latest effort is yet another adaptation of a Tracy Lett's play that's a male Tracy , after Bug in 2006, and is choc full of warped, in-your-face sexuality, bloody violence, and humor so dark only the most depraved viewers will find funny. In fact, it's more like a David Cronenberg film than Friedkin.If <more>
you've seen movies like The Acid House, or the 1998 Todd Solondz face-punch Happiness and find them amusing through the gaps in your fingers then you'll be sick enough to fully enjoy Killer Joe.Matthew McConaughey plays Joe Cooper, an unorthodox Dallas police detective who is 'hired' by petty drug dealer Emile Hirsch to whack his old lady and thus benefit from an insurance policy with his deadbeat dad Thomas Haden Church in a wonderful performance and virginal, oddball sister Dottie Juno Temple . Only they cannot raise the money to pay Joe so he agrees to spend some quality time with Dottie until the policy pays off in waiver of his upfront fee.It reminded me a lot of an Oliver Stone film called U-Turn, another Texas-based psycho-sexual murder plot filled with heat-waves and perpetual distrust, but was much more enjoyable. The perverse sexuality and dark humor really appeal to a mind like mine, and McConaughey's performance atones for his crimes in various awful romcoms. Joe is a supremely weird but mesmerising character. You never really know what he's going to do next but you can still see the cogs turning as he evaluates every new plot twist. Plus it has full-frontal nudity from Gina Gershon and Juno Temple, which I absolutely do not disagree with.The film has been slapped with the dreaded NC-17 in the US, which massively limits the amount of theatres that will be showing it. But, indirectly, it will only turn it into a cult film, and thus a bigger success with its intended audience than it otherwise might have been.I highly recommend that you a part of that audience, it's as far from Hollywood as Friedkin has gotten since Cruising in 1980. Even at the age of 76, he's still on top form.Edit: I just remembered that U-Turn is actually set in Arizona.