Master explorer Dirk Pitt goes on the adventure of a lifetime of seeking out a lost Civil War battleship known as the "Ship of Death" in the deserts of West Africa while helping a WHO doctor being hounded by a ruthless dictator.
Finding himself in considerable debt, Chris a Texan drug dealer, decides the only solution is to murder his mother to collect the insurance money. Getting together with his father, the ex-husband of Chris' mother, they decide to hire Joe Cooper a contract killer, who also happens to be a police detective. The plan is that the money will go to Chris' sister Dottie. However due to the size of the contract fee, Chris agrees that Joe can take Dottie as a retainer until the insurance comes through. Written by
Gina Gershon had been originally offered the role of Sharla almost 20 years previously when the script was for a play, but she turned it down because she could not imagine performing the infamous chicken-leg scene "eight times a week" on stage. See more »
When Joe opens the trunk of the car Adelle's eyes are open, but when he moves her body to the driver's seat the eyes are closed. See more »
You ever hear of Joe Cooper? He's a cop. A detective, actually. He's got a little business on the side.
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The unrated DVD retains the MPAA's NC-17 graphic at the end, although the rating was surrendered. See more »
Sometimes a performance in itself can boost a movies value and vault it into something spectacular, McConaughey provides the turbo to this otherwise solid but not groundbreaking vehicle of karmic retribution as Killer Joe. The movie itself has been said to be akin to Friedkin aping a Cohen crime caper and that description works. We have a crime masterminded by selfish, unintelligent and or quirky characters, we have the mid-west as our backdrop, and we have the metaphysical shadow of karma hovering over their every move throughout the film. Call it Cohen Brothers on whiskey. The characters themselves are all very stereotyped but I think Friedkin left that transparent enough. In other words, the stereotype was part of the wardrobe itself. The reason being is this is not about these characters in particular...this is about choices and consequences and Killer Joe is simply a vehicle of karmic arithmetic. All that aside, on any day, or in any movie, McConaughey's performance as Killer Joe is mesmerizing. He is the serpent...cold and dangerous but charming and in control, constantly. He weaves his restrained psychotic energy through the movie as if he was born to play this role. For as silly as this movie can be, this is a brutally adult movie. It is graphic and there is a barrel of bush in it. There is also an almost misogynistic undertone that I don't wish to defend one way or the other, but I will say that for the scenes to not play out as they did would be an injustice to the character that McConaughey plays. The cast all around is very solid. Thomas Haden Church is pretty terrific, Gershon is on point and I've never been happier to see her answer a door. Juno Temple is a lolita-ish young vixen who seems to be almost in a different plane of existence throughout the movie. This is a movie that will stick with you after it's over, the mark of a truly good movie. There's mechanics below the surface that have to be thought about and you have to discipline yourself for the eventual knee jerking that is bound to happen. Adults only. Would go well sandwiched between Blood Simple and No Country for Old Men.
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