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This movie was done in a style that was quite unique from your standard issue shoot 'em up or Scorsese gangster movie in a number of ways I found refreshing. It slowed down the pace of dialogue scenes to a relatable and believable level, made the violence far more realistic, and didn't overdo the music. Those who can't handle too much, or too realistic of violence won't like this movie.

Some might feel the dialogue makes the movie drag just a bit, but if you like realistic filmmaking, they've made it feel as if you're sitting in on actual conversations. The scenes and cuts are long but are livened up with the fairly constant scummy-ness of the characters. James Gandolfini seemed to prattle on a little too much but I suppose that was the point.

The violence can be summed up as unsentimental; much of it can be defined by the difficult achievement of not falling into played out Hollywood clichés. There are no heros in this movie as the director doesn't use cheap tricks, like voiceovers, disproportionate screen time, or happy music to convince you that one criminal is worth rooting for over the others. There is no glorification or demonization of violence, as it is depicted without the influence of music, and the audience can decide for themselves about what is being shown. There are no Schwartzenegger-style shoot outs, as the violence is usually sudden but brutal and loud. Every gunshot is closer to being as loud as real life, so you get a little jolt with every shot like being at a gun range.

The use of music is also played down and important in making both the violence and dialogue distinct. There is some music which gives the movie some energy, but overall far less than the average Hollywood film. This adds an element of suspense as the music doesn't give away what is about to happen in every scene (like a movie with ominous music when something bad is about to happen, etc.). The lack of music also allows the audience a semblance of neutrality in what they are observing; characters are allowed to be likable without being good.

This is the sort of movie you could expect if the hero was removed and you only had the villains and thugs left over--it is far less boring.

The idea of film being used as a medium for political themes and socio-economic commentary is nothing new, even recently with films such as Wall Street: Money Never Sleeps and Margin Call aiming to tackle the 2008 financial crisis. But few films have been as unsubtle as Killing Them Softly. Set to the backdrop of the 2008 election, the criminal underworld of an American city has been hit by its own financial crisis after a mob poker game is robbed by two criminals (Scoot McNairy and Ben Mendelsohn). With no trades or money being moved, a mob manager (Richard Jenkins) brings in a fixer, Jackie Cogan (Brad Pitt), to solve the situation. But none of his actions brings back confidence, whether right or wrong. Writer/director Andrew Dominik admirably uses a gangster story as a metaphor for the financial crisis, but the handling was atrocious. Dominik has no faith in his audience to draw these connections, and even worse, come away with its own conclusions; he opts to spoon-feed us the cliff notes as we watch. This is most evident with the constant use of speeches by George W. Bush and Barack Obama made at time, enforcing the parallels Dominik wanted to make. There are constant references to terminology used at the time, particularly the theme of bringing back confidence to the world, the theme that public perspective is more important than actual actions and we are reminded that the gangster world's situation is the same as the financial world's one. This forceful approach does not allow us to see a natural story. Killing Them Softly is a very dialogue-driven film that breaks the old cinematic maxim of "show, don't tell." We are told that the mob has turned corporate and that there is a crisis, but we do not get to see it. It would have been more interesting to see mob bosses arguing and coming up with theories and seeing that gangsters were unwilling to make any deals in the midst of the crisis. Killing Them Softly ends up rather dull as a result. There are some moments that show what Dominik is capable of: the robbery scene was filled with tension and things felt like they would actually kick off. Whenever violence was used in general, it was incredibly grim and brutal. There is a highly stylised moment when Cogan commits his first assassination, completely played out in slow motion — a brilliant little sequence. The film hits hardest in these scenes. The big saving grace of Killing Them Softly is the acting. There is a great cast with Pitt, Jenkins and James Gandolfini being the biggest draws. They were committed actors doing the best they could, elevating the dry material provided with excellent delivery and chemistry. Pitt and McNairy played the most likable (and I use that term loosely) characters, and were the most well-drawn and conflicted characters in the film. McNairy was the most human, reacting naturally to his situation, and Pitt is able to be cold-hearted and professional when he acts upon his deadly task. Killing Them Softly is a film that feels its political parallels are enough of a mask for it to be seen as an intelligential masterpiece, but it feels too demeaning to have everything spelled out like that, which was made worse given the story played second fiddle to these political parallels. There was potential for a great film if there was a good re-write, but it ends up being one of biggest disappointments of 2012.

There is more wordplay than gun-play here and it is a Neo-Noir, hard-boiled, unfettered attempt at gritty realism. Some of the extended dialog scenes are pretty good but not quite excellent. There is some rambling and pointless exchanges with little pay-off.

But there are some serious, reality sound bites that give us the same thing. There is that continuous backdrop of Political rambling rhetoric that mirrors the Character's innate ability to speak much and say little.

This is an against the grain try at alternative, smart Cinema with just enough stylized graphic violence to make it obvious that this has Artistic commentary and not Documentary style Cinema Verite on its mind. Overall it is a well done and interesting kind of side-step from the usual whiz-bang editing and shaky Camera stuff that has become so common.

This is slow, bordering at times on tedious, but never a bore. It is well crafted but does not quite reach that level of great Prose transferred to great Film. But it is a good try at a very difficult, rarely achieved process that creates the best of this kind of thing.

Yet another great film being given a bad name by "reviewers trying to do us a favour" (really??? like you're a shepherd and we're all sheep here???). If you're going to read a review, here's one that speaks in all fairness and without trying to glorify it.

'Killing Them Softly' is a contemporary multi-narrative crime drama that oversees what crime has become to the mafia since we've seen what years of recession have done to America, post 9/11. It's a film you have to settle into and to watch and listen carefully, yet it provides us with storytelling style very similar to the likes of Quentin Tarantino and classic Danny Boyle.

It also makes good use of some classic conventions and you may notice a little bit of Mean Streets, Lock Stock & Two Smoking Barrels, Chopper, Pulp Fiction, Trainspotting etc.

When ex-convict Frankie and his Australian heroin-addict friend Russell are employed to hold up a mafia poker game in their rundown dead end town, they get away with it, though causing the local economy to collapse and putting mob boss Markie Trattman (Ray Liotta) in the frame.

The dons send mob enforcer Jackie (Brad Pitt) over to deal with it and to set an example, he methodically sets about cleaning up in due fashion.

That is the plot, pure and simple, but aside from that, 'Killing Them Softly' is more a film about the bleak, harsh reality of crime in the modern day American towns that the government has all but abandoned and it is therefore about the sheer dead-end desperation of a certain breed of people.

Unemployment, recession, drug addiction, violence, desperation, failing health, wilful self-destruction and the disgusting manner in which people regard each other with - it all adds up to one great stark reality. The only way that the government has succeeded in destroying organised crime is by destroying its own country's economy. Desperate people will do anything to survive knowing that, if they give up, they are as good as dead. And that sets the tone for this movie from beginning to end.

Not surprisingly in hindsight, this film has no real lead characters, but universally supporting characters that serve the story until its bitter ending where we are treated to a summary in words between two characters. This helps to give a sense that nobody is of any real importance to each other, which is true to the nature of most of its characters.

If you like your crime movies real, you'll love this. I'm so surprised at how seamless it is, and also how easy it is to watch despite how well acted and intense it becomes. Dark, gritty, grimy, filthy, absurd, depressing and yet bold with a few good laughs!

Watching Killing Them Softly put me in mind of the great crime caper film of the Seventies, Charley Varrick. That's the one where Walter Matthau and some accomplices pull off a bank heist in a small out of the way bank in an obscure New Mexico town. Only the bank is a place where syndicate money is held and laundered. Joe Don Baker is the hit-man sent after them and he loves his work. Fortunately at least for Walter Matthau he's smart enough to outwit Baker. Killing Them Softly has no Matthau among the targets as the tale is told from hit-man's point of view.

The hit-man or at least one of them is Brad Pitt and he gets no pleasure in his work, it's a business like any other. He wants to be well compensated for his services. In fact he wants to Kill Them Softly which to him means taking them out with a rifle with scope because he doesn't want to hear their pleadings. Or by surprise in one case where everyone knows its coming, but the victim.

Two real criminal losers Ben Mendelsohn and Scoot McNairy are hired by Vincent Curatola to rob an illegal gambling establishment run by Ray Liotta. With Liotta you can see a bit of his Henry Hill from Goodfellas, with Hill running just this kind of place as he headed into middle age in the mob.

The reason for this target is that several years earlier Liotta ripped his own card game off, but eventually was forgiven when the gambling started booming again. Curatola is sure the mob will look right at Liotta again. Not that they don't look at Liotta again, but they're smarter than that. They always are.

Once the caper goes down in comes Pitt, but also with a few competitors, James Gandolfini being one. That's where Pitt starts negotiating his deal.

Brad Pitt gives a good performance here, but for me the real stars are McNairy and Mendelsohn. You will rarely losers with a capital "L" portrayed on the screen as they are with these two. In a way they ought to be put out of their misery for their own good. Still you feel sorry for them somewhat.

Interesting mob movie with some deep black comic overtones.