Suicide Kings

It's hard to name a genre for Suicide Kings, so I put it in my beloved category of "twisted thriller". I compare it with movies like Reservoir Dogs, The Usual Suspects, U-Turn, Kalifornia, Wild Things, True Romance and A Simple Plan. Like all of the above, SK was violent, bloody and full of surprising twists. To add to its shadowy charm, it had a psychotic sense of humor. But the most amazing thing about this movie is Christopher Walken's subtly venomous performance, which complements the sharp, individualized performances of the younger cast members. Walken plays Charlie Barrett, a man who is unwittingly "recruited" to help five college-aged rich kids rescue one of their sisters, who has been kidnapped for a $2 million ransom. The five kids: nervous Avery (Henry Thomas), the one whose sis Elise (Laura Harris) is endangered; handsome Max (Sean Patrick Flanery), who is Elise's sweetheart; Brett (Jay Mohr), the one with a hell of an anger problem; aspiring doctor TK (Jeremy Sisto); and ultra-neurotic Ira (Johnny Galecki) whose house becomes a hideout for the kids after they kidnap Barrett. Brett concocts the plan. Max drugs him, TK severs one of his digits, and Charlie is duct-taped to a fancy office chair, hooked up to an IV which is pumping more drugs into him. Meantime, Avery broods nervously over his missing sis and Ira squeals endlessly about the blood TK is getting all over the nice varnished floor. While the boys bicker at each other about how to continue their insanely flawed caper, Barrett regards this group of inexperienced whipper-snappers with a myriad mix of sympathy, amusement and anger. But anger from a man like Charlie Barrett is not to be taken lightly, it is to be feared. Charlie is a man who with one spoken word, could have these five kids murdered and their bodies hidden where no one will ever find them. You know that from the minute you meet him, but the scariest thing about Charlie is his quiet mannerism. This serpent is indeed subtil. He does not shout, he gently whispers hints of warning to the kids that they've made a bad mistake messing with him. He taps into these kids early on, uncovering their dirty little family secrets and their own individual not-so-secret addictions, to drink, to drugs, to gambling. And he uses devices, honed from years of experience in a world these kids know nothing about, to his advantage. He may be physically incapacitated, he may be outnumbered, but he knows the kids are still no match for him. There's no arrogance in this knowledge, and it is truly creepy. It's a battle of wits that kept me on the edge of my seat, gave me the most delicious shivers of perverse anticipation, and it was honestly very hard to know which side to route for. I really love this movie. See it if you haven't. : )~

Yes, that is a BOLD statement. However, it's true. This is the classic mind warp! Chris delivers the goods in this film about some guys who think they can out think a mob boss. However, nobody can outsmart Chris Walken! He uses so much reverse phychology in this movie. He even outwits his arch enemy/impersonater!! I am speaking of the comic Jay Mohr! He and Jay have great banter together. Jay plays a rotton jerk. I would love to see Suicide Kings part 2. However, that would be hard because one of the main characters can't be in part 2. Rent the DVD. The alternate ending is brutal! I rate this one a huge thumb up!

I was surprised with Suicide Kings. In the same spirit as Something Wild and The Usual Suspects, this movie is not about the end, but getting you there. The film is well told, keeping you on the edge wanting to know "who's on the inside". Unlike some movies where the wrap up at the end seems too improbable, this one works and works well.

I was unsure of what the movie would be like and so my expectations were low. At the end I had done an 180 degree turn. I was impressed. I look forward to watching this again and picking up on all the clues as to who was doing what and seeing the small details from the start.

The premise of Suicide Kings - four young and privileged men kidnap a retired mob boss played by Christopher Walken - is appealing. So much so that it makes me wish it made for a better film.

Suicide Kings tries to be a psychological thriller focusing on mental cat-and-mouse games between the mobsters and his kidnappers, and the actors are good enough to pull it off - in fact, they're good enough to make you think that there's any psychological depth to the film, when really there's none. Walken and the talented young cast - Denis Leary, Jay Mohr, Sean Patrick Flanery (The Boondock Saints), Jeremy Sisto (Law & Order), Johnny Galecki (The Big Bang Theory) and Henry Thomas (E.T's Elliot all grown up) - all deliver their lines with so much passion and conviction that you almost don't notice how messy and shallow the script really is.

This fine group of actors - and Walken's wildly charismatic performance most of all, from an actor so powerful he can dominate the film while being tied to a chair for all but a few minutes of it - is more than enough to make the film entertaining, even very enjoyable. The weak script, which deteriorates into cheap twists and conspiracies towards the end - makes it entirely forgettable. A quick comparison to Danny Boyle's Shallow Grave is a testament to how much more comfortable the British are with theatrical minimalism. With a great director and a great script, Suicide Kings could have been something wonderful. As it is, it's good enough for one pleasurable watch, but leaves no mark and no impression.

When the sister of one young man is kidnapped while she is out on a date with another young man, the group of friends kidnap an ex-mobster to make use of his contacts and his money to help get her back in one piece. However the longer they keep Bartolucci the closer his right hand man Veccio gets to finding them and the more the friends realise that the kidnapping plot may be more complex than first thought.

Attracted to this film by the presence of Walken playing the role he does best – some sort of mobster – I wasn't really sure what to expect. The overly stylised opening credits and the initially confusing mix of flashbacks within flashbacks to set the story were quite distracting however soon settled down into a more straightforward plot. This plot holds the interest due to the confined situation in which most of the action occurs and is quite involving. The first few twists are well handled but it starts to put the film into a spin from which it doesn't recover, as more twists mount up and become increasingly alienating and contrived. At the end I didn't feel any involvement or surprise by the twists whereas I had sat up and paid attention to the first few.

The film is quite comic at places and this makes it feel like a more enjoyable piece than it would have if it had just been played straight. However this comic touch doesn't take away from the fact that the film is really a thriller of sorts. The cast is roundly good, without anyone of the main group really stealing the show. Walken does his role in his sleep but is still effective – his transformation as he gains confidence during the film is well put across. The young group of actors playing the friends are all pretty good although the `where have I seen him before factor' was a little distracting (6 Feet Under, Roseanne etc). However it is the (wisely expanded) character played by Leary that really is the one that I kept looking forward to seeing. His character almost feels like he is in a movie of his own which is a distraction, but means his scenes are all very enjoyable. His dialogue is knowingly cool and his character is comically overblown to good effect. The film truly benefits from having him in the role.

Overall this film wants to be cooler and better than it really is, the end result of which is a spiral of twists which become increasingly uncontrolled and uninvolving. It is enjoyable enough to watch and the use of one main set helps to add to the tension of the story, however once the twists come they don't stop which sadly leads to them becoming increasingly less effective. Worth a watch but subject to the law of diminishing returns in terms of plotting.