“Killer Joe” is new comedy, crime and thriller 2012 movie. It is directed by William Friedkin and produced by Nicolas Chartier, Scott Einbinder. And is written by Tracy Letts.Watch online Killer Joe movie in Full HD/DVD/ipod/divX All Qualities are Here
Music is given by Tyler Bates. And is edting by Darrin Navarro.
Movie Review (Synopsis):
When 22 year-old drug dealer Chris (Hirsch) has his stash of drugs stolen from him by his mother, he has to come up with six-thousand dollars quick, or he’s dead. Desperate, he goes to the trailer-park to see his father, Ansel (Hayden Church), and he lays out the plan. Chris’s mother, who everyone hates, has a life insurance policy that would clear up his debt and make them all rich. The problem is that Chris’ mother is very much alive. Enter Detective “Killer” Joe Cooper, a hired hit man with the manners of a Southern gentleman, who will do the job – for an upfront fee, that Chris and Ansel can’t pay. Just as Joe is about to leave, he spots Dottie (Temple), Chris’ innocent younger sister. Joe makes Chris an offer, he’ll keep Dottie as sexual collateral until the money is collected and his fee can be paid.
Chris Smith (Emile Hirsch) is a young man who has not made a ton of great choices. He fights with his divorced parents, their new mates too and to top it off he owes money to a local drug dealer. Determined to get out from under, he decides he needs to cash in on his mother’s fifty thousand dollar life insurance policy…by having her killed. He seeks the help of local Dallas cop and hitman-for-hire Joe Cooper, who guarantees the job done. Only problem is Chris doesn’t have the money upfront to pay Joe, but the creepy cop comes up with a temporary solution – use Chris’s young and innocent sister Dottie as collateral.
There are some effective zany, crazy and downright eerie moments in “Killer Joe,” but unfortunately they’re few and far between. Working again from a play by writer Tracy Letts, Friedkin has the same problems with script that he did when the two previously collaborated on the arduous staging of “Bug,” namely that there are interesting bits that don’t equal a single cohesive movie that holds up. Meaning for every effectively creepy McConaughey moment (the seduction of Dottie is particularly disturbing!) there’s an equal inane one with the ever-dim character playing Thomas Haden Church. Plus I never endorse the use of vile and crude just to be shocking and Killer Joe proudly throws in such scenery just to get under the skin. (And remember folks – I’m a fan of the over-the-top Greenaway classic “The Cook,
The Thief, His Wife & Her Lover!”) Bottomless hairy female parts and oral fried chicken sodomy are just a few of the sad attention getting devices used by Letts to mask the fact that the script is lacking. All the actors try to punch up the sometimes stagnate material, but most appear to be struggling before our eyes. Hirsch and Church both phone in their forgettable roles, Gina Gershon is utterly wasted as a glorified Friedkin punching bag and even McConaughey’s eerie act gets tired fast. (And this is not his best work – for that try “Reign of Fire” folks!) In fact the only bright shining light in this dark mess is the lovely Juno Temple as the innocent Dottie. Fresh from her work as the cocky and confident gal of “Dirty Girl,” Temple sheds all to reveal a girl who is oblivious to the ills around her – it’s inspiring stuff.
In Tarantino’s hands this might have been enjoyable if horrid. With Friedkin it revels in evil and lacks any sprightliness that might have redeemed its twisted characters, all of whom are loathsome and stupid.
Friedkin’s new film: a gruesome, brutally violent and queasy trailer-park nightmare from deep in the heart of Texas. It’s adapted by Tracy Letts from his 1993 play (Friedkin also turned Letts’s play Bug into a film in 2006), and its theatrical origins do become obvious in the way certain characters are left disconcertingly off screen; the movie is concluded with a long, slow and single-location sequence, which makes it looks oddly like a filmed stage play. There is also a bit of what screenwriters call “sexposition”: that is, if you have a couple of sleazy male characters discussing something important to the plot, they might as well do it in a topless bar for the added frisson
McConaughey plays Detective Joe Cooper of the Dallas Police Department, an officer who cruises around in an unmarked car, wearing dark clothes, accessorised with aviator shades and the inevitable Stetson. Cooper is to make a remarkable intervention in the lives of a dysfunctional local family, whose appallingly inadequate paterfamilias is Ansel (Thomas Haden Church), a welder of low ambition and low IQ, acrimoniously divorced from his alcoholic wife, and now living with his dubiously loyal girlfriend Sharla (Gina Gershon), who has the unfortunate habit of answering the door naked from the waist down.
Sharla is the resentful stepmother to Ansel’s son Chris (Emile Hirsch), a failed drug dealer who now owes several thousand dollars to some scary characters. Chris’s sister Dottie, played by Juno Temple, still lives in the family nest, a delicate and unworldly person given to sleepwalking and sleep-talking, a condition that makes their family life anxious and surreal. Yet poor Dottie is treasured as a vulnerable soul.
Desperate for cash, Chris lets his dad in on a secret, murderous plan for easy money. Hirsch’s twisted, twitching, horribly needy face lights up with joy at the thought of it, and so to some degree does his dopey father’s, although Church is too intelligent a performer to play stupid with absolute conviction. They need someone who is good at murdering, and this is where Joe comes in: he augments his police pay with a sideline in contract killing and could be persuaded to take the job in return for a share of the promised payout. “Killer” Joe is unimpressed with the offer, but much taken with comely, scantily clad Dottie. Perhaps they can come to an arrangement.
Killer Joe sets the scene for a killer noir, with some killer lines and killer characters, but Friedkin’s energy and determination to wrest the story away from the stage and set it free in the cinema deserts him in the final act. It is up to McConaughey’s crooked cop to carry the picture: a sleek, loungingly casual loner whose hunger for violence, like his hunger for fried chicken, is finally and horribly gratified.
Like other distinctly English actors before her, Temple looks set to leave the UK to spend more time in the country she says she’s fallen in love with. She wants to buy a house in New Orleans, where Killer Joe was shot. Her American accent comes naturally now and she has trouble doing a proper English one. She says “freeway” and “cellphone”, and her intonation rises at the end of sentences. She’s only back in London to rehearse for another Hollywood movie, Maleficent, an expensive reworking of Sleeping Beauty led by Angelina Jolie (Temple is one of the fairies). After that, in yet another unlikely role, she’s playing Princess Margaret, which should knock some Britishness back into her.
On screen Temple is often uninhibited, uncalculating and scatter-brained; in real life, she’s pretty much the same. She turns up to meet me unaccompanied, her hair messily scrunched up like she hadn’t really thought to brush it before going out. She can barely remember what film she’s here to talk about. Oh yes, Killer Joe. It was about 10 films ago for her, so perhaps that’s understandable. A noir thriller that’s been hard boiled then southern fried, to the point it’s difficult to identify what it is, Killer Joe is certainly not to everyone’s taste. The increasingly perverse plot revolves around Joe, a smooth, black-stetsoned Texan lawman/hitman (Matthew McConaughey, something of a revelation) who is enlisted by a trailer-trash punk (Emile Hirsch) to bump off his momma. Joe initially turns down the job, until Hirsch offers up his little sister (Temple) as sexual collateral. A queasy romance follows, treading a line between grim exploitation and surreal fairytale, one that reaches its climax with one of the strangest, least comfortable sex scenes in recent memory.
Love it or hate it, there’s no denying that Killer Joe is never boring or dull. Unpredictable throughout, it’s a challenging work that probably won’t be to mainstream tastes. As a filmmaker, William Friedkin’s career never really ascended to the heights that many expected after the stunning one-two punch of The French Connection and The Exorcist – still his calling cards – but he’s always had the ability to shock and unsettle audiences. Joe, if nothing else, proves that he hasn’t lost his touch.
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Characters are playing roles as :
Matthew McConaughey is playing as Killer Joe Cooper
Emile Hirsch is playing as Chris Smith
Juno Temple is playing as Dottie Smith
Thomas Haden Church is playing as Ansel Smith
Gina Gershon is playing as Sharla Smith
Scott A. Martin is playing as Pizza Manager (as Scott Martin)
Gralen Bryant Banks is playing as Pizza Patron
Carol Sutton is playing as Saleslady
Danny Epper is playing as G-Man
Jeff Galpin is playing as Biker Thug
Marc Macaulay is playing as Digger Soames
Gregory C. Bachaud is playing as Filpatrick
Charley Vance is playing as Preacher
Julia Adams is playing as Adele
Blain Sanchez is playing as Prisoner