A former drug lord returns from prison determined to wipe out all his competition and distribute the profits of his operations to New York's poor and lower classes in this stylish and ultra violent modern twist on Robin Hood.
New York City, the 1930s. A powerful crime family is caught in a lethal crossfire between union organizers and brutal corporate bosses. Against this turbulent backdrop, the family's three ... See full summary »
Ex-mob boss Christopher Walken is kidnapped by a group of four kids in a haphazard attempt at paying the ransom for another, separate kidnapping. Complexities arise as the group cannot seem to do anything right. Written by
Wells Oliver <email@example.com>
With the exception of the "Mickey Mantle" speech, Denis Leary improvised all of his dialogue. See more »
SPOILER, near the end of the film, after Jeckyl and Heckel are shot and killed, there is a close shot of Heckel, and although he is supposed to be dead, it is noticeable that he is breathing. See more »
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.
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