Parceiros do Crime

This film is a dark and profound meditation on the violent life and seemingly subsequent redemption of it's main character,E Stoltz, it is however often asked why the film titled 'Killing Zoe', J Delhi's role.

Pay close attention to the fact that her character, in the films bloody climax, has her hand slashed by a crazed French bank robber. He is then smoked by at least a dozen tactical response police officers.

At the end of the film Julie Delphi is in a car with stoltz, who mistakenly thinks Delphi has been hit or injured, she replies that the blood is not hers, and ofers to show 'Z' the sights of Paris.

Earlier in the film the leader of the French gang relates to Z the fact that he has contracted HIV (or in his words Aids) therefore there is a better than average chance that Delphi contracted the virus from him during the aforementioned bloody climax.... Hence the title Killing Zoe!

'Killing Zoe' is a movie that has grown on me over the years. When I first watched it I didn't think all that much of it, but each time I've seen it since I've liked it a little more, and I'm at the point now where I like it a lot. I don't think it's a GREAT movie, but it's a very good one, and extremely underrated. Roger Avary's connection with Quentin Tarantino has turned out to be more of a hindrance than a help to him. 'Killing Zoe' was frequently dismissed as just another Tarantino clone, which to me is unfair, because a) Avery actually wrote some of 'Reservoir Dogs', 'Pulp Fiction' and 'True Romance' (usually uncredited), and b) though the subject matter of 'Killing Zoe' is similar to say 'Reservoir Dogs', the approach is very different. And let's face it the heist-gone-wrong flick has a long history (the influence of 1950s crime classics 'Rififi', 'Bob Le Flambeur' and/or 'The Killing' on all subsequent variations of it cannot be underestimated), and Tarantino was building on an already established tradition. As well as that the hostage aspect of 'Killing Zoe' brings to mind 'Dog Day Afternoon' more than anything by QT. Anyway, I think this is an interesting movie. The violence is pretty blatant, but apart from that it is a subtle, character driven movie. Eric Stoltz ('Pulp Fiction') and Julie Delpy ('Before Sunrise') are both very good, especially in their first scene together, but the real stand out performance is by Jean-Hughes Anglade ('Betty Blue') who is outstanding. Anglade really makes the movie for me. 'Killing Zoe's reputation seems to be growing as the years go by, and now that the mid-90s Tarantino hype has died down it's about time it was judged on its own merits.

Much hated by Tarantino-lovin' geeks who often haven't even bothered to see it, KILLING ZOE is a nasty and hilarious gem, lacking much of Quentin's trademark video clerk snottines n' know-it-all nerdy attitude. Combining elements of old French noir flicks with a true nihilistic slant, Avary's flick is a true avant-pop classic.

Zed (Eric Stoltz) has only just arrived in the beautiful Paris and already he is up to no good. Having just slept with a call girl (Julie Delpy), he spends a night on the town with his dangerous friends. They all decide to rob a bank the following day. There is only one problem: Zed's call-girl, Zoe, just happens to work at the bank which is to be robbed! I believe this film comes from the same guy who wrote "Pulp Fiction", and the similarities are evident. Although the first half is a strange romance-turned-heist, the film gets increasingly violent as it carries on. This is very much the same style as "Pulp Fiction". (Both also feature Eric Stoltz.) Julie Delpy is interesting here. Although she is more or less reduced to a secondary character, it is interesting how she was something of the "it girl" as far as French women in American movies were concerned. She was not the first or the last, but it seems that at any given time there is always one French actress who is the standard for appearing in American films.

Compared to the endless tiresome shoot-em-ups like the Schwarzeneggar--Stallone--Seagal type flicks, this movie shows style, class, and sensuality. A tense, edge-of-your-seat movie where for a change you DON'T know how it's going to end. The only flaw in the film is that it has a very low-budget quality with no real scenes outside in France, except at the very beginning at the airport. Everything else looks done in some studio with a few scenic shots tossed in, like a tv show that can't really go abroad and look authentic. But this movie is well worth renting--and beats 90% of the manufactured, formula plastic films next to it on the video shelf. An 8.5 out of 10.