A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns.
A case of mistaken identity lands Slevin into the middle of a war being plotted by two of the city's most rival crime bosses: The Rabbi and The Boss. Slevin is under constant surveillance by relentless Detective Brikowski as well as the infamous assassin Goodkat and finds himself having to hatch his own ingenious plot to get them before they get him.
The first feature film to use Kodak's 500T 5230 film stock. See more »
In the bar scene with Jackie and Mickey, the drinks on the table seem to be constantly changing. The levels in the glasses change, the number of glasses on the table change and the arrangement of the glasses change. See more »
Now, aside from The Squirrel, we got the kids. Two kids. One of them's the motor-mouth; drove to Florida with Kenny, Kenny Gill. Our Kenny, the guy he knows works for Dillon. Starts bragging about how he's a big-time operator that just knocked over this guy's game for 100K.
I don't know what it is with these guys; they can't keep their mouths shut about nothin'. And Kenny - Kenny's just as dumb. The way I found out was, this guy's investing his money in a couple ounces of...
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Softly is NOT how the killings are done. Before Brad Pitt starts pumping lead we see Ray Liotta subjected to one of the most brutal beatings I have seen on screen; you hear his teeth and ribs crack. The killings are equally visceral; this is not a film for the faint-hearted.
Brad sheds his Adonis persona for the grunge look he wore in FIGHT CLUB, although the character he's playing is a darker version of Tom Cruise's in COLLATERAL. Liotta reprises his role in GOODFELLAS. James Gandolfini builds on his Tony Soprano character to play another hit-man burnt out by too much booze and too many hookers. Richard Jenkins's creepy saturnine Mob Boss seems to extend his (dead!) undertaker from SIX FEET UNDER. There are lengthy talk scenes in cars and bars that bring PULP FICTION and GET SHORTY to mind. The background TV election campaigning by George Dubya and Barack Omaba is presumably meant to emphasise that this is a Serious Movie we're watching, but it's as unsubtle as the hurricane footage.
KILLING THEM SOFTLY shows its sources (or its "hommages") too blatantly. The whole thing is like a hyped-up Guy Ritchie or Quentin Tarantino: some good acting, stunning cinematography, a profanity-rich script, but overall a talky, pretentious and very, very violent movie - and quite tedious.
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