Kill List

Lodging itself eventually in the creepy-people-doing-creepy-things tradition of religious/occult horror films like The Wicker Man and Rosemary's Baby, director Ben Wheatley's hit-man horror flick Kill List comes on, initially, like a bad-boy bit of British Social realism.

It's rough around the edges, shaggy and idiosyncratically edited, with dialogue so unpolished and authentic-seeming that it's occasionally hard to decipher. It's filled with a handful of legitimately great performances by actors allowed to work improvisationally, seemingly, lending the first half of the film an incredibly charming unpredictability, a low-key volatility that had me bouncing back and forth between moments of disturbing darkness and happy familial pleasantries. Then it gets really crazy.

Jay and Gal are ex-army, estranged friends and partners in crime. Eight months after a disastrous (and mysterious) gig in Kiev, Jay's home life is disintegrating, and after a raucous dinner party with his ex-partner and his creepy new girlfriend he agrees to get back in the saddle and take a job. They're given a list - three targets - and soon they're settling back into a charmingly macabre groove, carousing "salesmen" on the road from town to town and target to target. But after an inadvertent discovery during a routine bit of hit-man work derails their plans, the pair realize they may be part of something much bigger - and much darker - than a back-room murder-for-hire.

Kill List a stunning piece of very smart genre filmmaking. Wheatley not-so-gently inserts chunks of spooky, disturbing horror into what's already a charmingly dark kitchen sink drama. It's this transition - that either a social realist framework can be twisted into a framework supporting high horror or that a horror film can work filled with improvisational dialogue and broody bits of working-class British anxiety - that makes the film such an immense, jarring pleasure.

Will it work for horror fans used to slick, post-'80s supernatural spookery? Will Ken Loach fans do with a little blood and forest horror? Who knows. For fans of both, it's a stunning - literally - hybrid, something completely unexpected, a real discovery. Kill List is a brilliant idea, brilliantly well executed.

I happen to enjoy movies that don't give you everything through every shot and make sure that every viewer sees all the cues. Kill List is one of those movies. I also happen to enjoy movies that make me feel uncomfortable and invaded. Kill List is also one of those movies.

You can read the other reviews and such to get the plot line and all of that. This is not a movie where you get all the details of what the hell is going on. It's very intimate, close shots, overlapping audio, use of sound to create a very uncomfortable atmosphere. The movie is about human psychology and plays on psychology to get you to feel a certain way. There are no jumps and scare tactics. But this film is brutal and unforgiving.

I loved it.

An odd, and oddly effective, mix of hit-man thriller and cult horror, KILL LIST is one of the most talked-about British horrors films in recent years. Imagine my surprise, then, to see it premiering on television a scant year after release, and of course I jumped at the chance to catch up with what is by all accounts a controversial little movie.

For the most part, KILL LIST works. It unsettles and creeps you out courtesy of lots of foreboding, ominous sequences (accompanied by music which is a little too overdone at times) punctuated by moments of stark and shocking violence. Writer/director Ben Wheatley does good to build the sense of mystery, keeping his character backgrounds shady and throwing in random clues that make little sense at the time but help build towards the feeling of something big as the climax approaches. It's also one of the nastiest mainstream films I've seen in a while, with one scene involving a hammer taking screen violence to a whole new level.

Sad, then, that the ending of this film is such a disappointment, an ambiguous tie-up that seems shoehorned in purely to provide a few more exploitative shocks instead of making any kind of sense whatsoever. The mystery is left just that, a mystery, and at times I was infuriated at the lack of resolution. The film also veers away from the modern day realism it has built beforehand to hark back to the Hammer Horror days of yesteryear. Not that I have a problem with Hammer films – I love them, but in their own time and quaint-ish setting. The all-too-familiar horror tropes of the climax just feel overdone, coincidentally almost exactly the same problem I had with another recent watch, THE LAST EXORCISM.

The cast acquit themselves well with the script, for the most part, and there's a level of kitchen sink-style authenticity to much of the dialogue; also some natural, unforced humour which offsets all the nastiness. Neil Maskell is very good when his lead character is asked to do the more disturbing things, although I never quite bought him as the family man he's shown to be at the outset. Michael Smiley is equally as good as Maskell's buddy and colleague, and the film's central pairing works very well indeed. Original British horror cinema, with life and style all of its own (not merely following Hollywood trends), has stalled somewhat in the last decade, but with the likes of KILL LIST we could be in for something of a renaissance

I am so surprised that there is so many reviews for this film, and a lot of them in the positive, which make me wonder are we all talking about the same film. How on earth anyone in there right mind would call this a masterpiece, a classic, a terrifying experience, when truthfully it is a load of C***P.

There is no story, there is no plot, there is no nothing, a couple of very inept "hit men", and i mean inept, i would not employ them to sweep the roads, let alone pay them thousands of pounds to do some "wet work".

Totally boring for the fist 45 Mins, totally incoherent for the last 45 Mins, and don't even get me started about the ending.

If i were reading the reviews and had not seen this film, i may be tempted to give it a try, all i can advise you is, FORGET IT.

Now here's a film you need to view several times, but even then once you're through, you'll find the bell hasn't chimed, that the penny won't drop, there are parts you can't cop, you can look down the list, but answers you won't find. That all said, it's a pleasure enjoying the torment, a dislikeable man who with guns likes to outlet, a torturous soul, kind of scores an own goal, as his past catches up, and to hell he is sent.

Comprising fine performances for a low budget flick, you'll wonder what on earth you've missed when you get to the end and try to reform what you've witnessed into a whole - which you probably won't, as the numbers are irregular and don't add up.