Monday, September 16, 2019

Movie Review: Killer Joe (2011) ** and 1\2 out of ****

William Friedkin is a master filmmaker. His mastery of technique and impressionist storytelling is evident in such masterpieces as The Exorcist (1973), Sorcerer (1977), and the much maligned Cruising (1980). But, in the past thirty years or so, his choices have been underwhelming at best, and mind-boggling at worst. Killer Joe (2011), Friedkin's second collaboration with playwright Tracy Letts after the unforgettable Bug (2006), is a film that is hard to like, but easy to watch.

The story, about a redneck Texas family that decides to enlist the services of a killer for hire, the titular Killer Joe - a corrupt Dallas detective who moonlights as a paid assassin - and then suffering the consequences of their choice, is compelling at first, thanks to Friedkin's sure hand, and a bevy of arresting performances by all involved, especially Emile Hirsch, Gine Gershon, and Juno Temple as the brain-damaged teen who is slowly revealed to be more than meets the eye. But as the film progresses, and Killer Joe, played with charming menace by Matthew McConaughey, starts to take over the story, scenes grow more and more incoherent and overwrought, till we reach a climax so hysterical and heavy-handed, that one is relieved when the credits roll and Clarence Carter's Strokin' starts to play.

It is obvious that Friedkin and company are having a blast with the pitch-black comedy of it all. But Friedkin is obviously not interested in reining in the story's excesses in favor of clear storytellling and believable characters. On the contrary. He seems to relish the story's over-the-top violence and characterizations, piling layer upon of layer of vulgarity and ugliness, scene after repetitive scene.

In the end, the point of the story, if there's any, is lost under the noise, blood, and gags, wasting a fine cast with it.

But that is not to say Killer Joe is a bad film. No, sir. It is a well-made, memorable movie, even entertaining, in its own twisted way. But it is also crass, loud, and ultimately underwhelming. Watch it at your own peril.

© Ahmed Khalifa. 2019.

Saturday, September 7, 2019

Review: Carrion. By Gary Brandner ** and 1\2 out of ****

Gary Brandner, the author of The Howling, one of the most entertaining horror novels to come out of the 1970's, is one of those authors that has an accessible, highly readable style that makes almost everything he writes fun to read.

Carrion is no exception. While it's not Bradner's best, this breezy read about a cheeky fortune teller who accidentally discovers that he has the ability to raise the dead, is sure to give you a few nights' entertainment. The main characters are likable, the prose unfussy, and the ending suitably tongue-in-cheek. Recommended.

© Ahmed Khalifa. 2019.

Review: The Shadow: Bells of Doom. By Walter B. Gibson ** out of ****

Serviceable The Shadow mystery, with intriguing Gothic overtones. But the convoluted plot and lack of a villain worthy of The Shadow's abilities, make it a forgettable entry.

© Ahmed Khalifa. 2019.

Friday, September 6, 2019

Review: The Shadow: Lingo. By Walter B. Gibson *** out ****

Layered, dazzlingly complex The Shadow mystery, which features some of Walter B. Gibson's best writing, and a plot so clever, it's almost a magic act. Typically, The Shadow stories fall into one of three categories: stories about small town crime syndicates, stories about a devious, almost omnipotent villain, and stories about organized crime. Lingo is arguably Gibson's ultimate tale about organized crime, with a large cast of characters, plenty of twists, and an ending that is sure to impress both die-hard fans and newcomers alike. Highly recommended.

© Ahmed Khalifa. 2019.