This is the second movie I've seen pairing writer Brittany Wiscombe with director John Lyde. If their more recent collaboration, 'Scarlett,' felt like the action-thriller equivalent of a Lifetime film, then 'The killing pact' was a more full realization of their association. This IS a Lifetime movie, and from the directness of the writing and the fast pace of the plot, there's no illusions otherwise.
The movie wastes no time in introducing its characters or kickstarting the plot. Yet I'm surprised. Not because there are any unexpected twists to the narrative, or especially artful consideration of shots. But because, however minimal, there is a bit of subtlety in its construction that exceeds the average Lifetime production.
There's a gathering atmosphere as the film progresses - a measure of suspense, despite the predictable plot, and rising desperation. That may not be much, but it's more than many pictures can claim. For as plain as shots are generally orientated, Lyde does capture a few that are striking with the lighting that's been arranged. There's even some slight depth to 'The killing pact' that was certainly unanticipated: It explores - however briefly and ham-handedly - the difficulty of actually committing a fatal act of violence, however well deserved it is, and the effect that the mere attempt can have on the average person.
Moreover, star Emily Rose turns in an admirable performance as protagonist Hayley. Put-upon by her manipulative louse of an ex-husband, Hayley is beset with mounting confusion and alarm, and Rose believably sells it. I wouldn't mind seeing her in other films.
Above all - I admit bias; I watched this because of Melanie Stone's involvement, and I'd call myself a fan. But I think Stone's performance as "Melanie" - yes, a character sharing a name with their actor - is the chief highlight of 'The killing pact.' It's genuinely fun watching Stone inhabit a role that is immediately fantastical, but also dark and driven, and increasingly disordered in mentality. There is a steely forcefulness to Stone's portrayal that's honestly riveting, and I think her delivery pristine.
The premise is intriguing, if familiar in a way that doesn't quite come to call, and worth a closer look on its own. But I really think Stone's performance is the main reason to watch 'The killing pact.' That holds true even as the climax becomes abruptly and unconvincingly haphazard compared to the greater deftness that characterizes the rest of the movie. If the cast manages to put in some fine performances earlier despite the directness of Wiscombe and Lyde's vision, the writing at the peak of the story forces them into more caricatured, stereotypical depictions. Still, over the top as it is, the climax isn't boorish, but funny, and is still engaging.
Don't get me wrong - no one is going to mistake 'The killing pact' for a masterpiece of cinema. While there are aspects of the production that are very noteworthy, the overall bluntness of the narrative and its execution on film paints the feature into a very particular corner of our culture. Lifetime original movies have a particular reputation, and this doesn't dispel that notion.
Yet "B" movies aren't the same thing as "bad movies," and dramas or thrillers that are similarly plainspoken deserve the same consideration. Despite low expectations, 'The killing pact' manages to be a step above its contemporaries with some qualities unusual to the style. Ease off your presuppositions, and just enjoy the show.
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