‘The Kill Room’ Movie Review

“The Kill Room”: A Twisted Tale of Art, Crime, and Redemption

“The Kill Room” begins with the imposing Reggie, portrayed by Joe Manganiello, strolling down the street while engrossed in a true crime podcast. His journey takes him to a local convenience store, where he voices his dissatisfaction with a poorly brewed cup of coffee. However, the confrontation quickly escalates as the confrontational store owner brushes him off, prompting Reggie to physically subdue him. As the owner gasps for breath on the ground, the skid marks left by Reggie’s heels seem to blend seamlessly into a nearby painting, mirroring their bold and aggressive strokes.

Although this opening sequence may come across as somewhat awkward, it paves the way for a narrative that initially appears convoluted. Nevertheless, as “The Kill Room” progresses, sophomore director Nicol Paone’s vision unfolds, delivering a comically exaggerated commentary on the art world through the lens of a crime thriller. The film gradually finds its footing and improves from this initial, somewhat jarring introduction.

The plot gains momentum when Gordon (played by Samuel L. Jackson), a Black Jewish deli and bakery owner with ties to the mob, approaches Patrice (portrayed by Uma Thurman) with an enticing proposition. He suggests that his imposing hitman, Reggie, channel his talents into creating paintings with the sole purpose of inflating their value for money laundering. Patrice’s sole responsibility is to exhibit the artwork in her gallery and ensure that it remains unsold. In exchange, she stands to receive a substantial share of the proceeds. The offer proves irresistible for financially struggling Patrice, whose gallery and client base teeter on the brink of collapse.

However, things take an unexpected turn when Patrice’s intern unwittingly shares photographs of the art, causing the paintings to spark a sensation within the art world. Suddenly, everyone clamors to purchase pieces by the artist Patrice has dubbed “The Bagman.”

In its trenchant critique of the art industry, “The Kill Room” surpasses the incisiveness of “Velvet Buzzsaw.” Within the film’s narrative, we come to understand the challenges facing Patrice’s struggling gallery, stemming from her steadfast commitment to quality and ethical values over mere profit. Patrice firmly rejects the notion of buying favorable reviews, relying on paid marketing strategies, or tolerating the chauvinistic behavior of male artists. She imparts to her intern the significance of controlling the narrative when substantial sales are made, emphasizing her dedication to integrity.

Conversely, in contrasting scenes, we witness rival art dealers boasting about their transactions with arms dealers, the offspring of African dictators, and Russian oligarchs. Their willingness not only to bend but to blatantly disregard the rules places Patrice at a distinct disadvantage, compelling her to reluctantly compromise her ethical principles as well.

Initially, the upright Patrice remains blissfully unaware of The Bagman’s actual profession. She speculates that he might be involved in drug dealing, a flaw she’s willing to overlook if it means salvaging her struggling business. However, she doesn’t suspect anything as sinister as his role as a contract killer. While the film occasionally offers glimpses of Reggie’s deadly handiwork, the fragmented manner in which these violent scenes are depicted often feels overly stylized. This stylistic approach aligns the film’s tone with the cross-cut editing techniques employed by Gillian L. Hutshing to immerse viewers in the art world. The film’s intent is clear: it aims to draw parallels between the brutality inherent in these two vastly different worlds. However, this juxtaposition tends to blunt the impact of the underworld aspect of the narrative. If the violence were given more prominence, it could add a visceral dimension to the film’s comedy, complementing its broader comedic elements and strengthening its critique of the art world.

Nonetheless, the film’s principal cast delivers performances that are both solid and delightful. In particular, Uma Thurman, though initially shaky—her first scene, in which she’s depicted sniffing Adderall, is somewhat overacted—quickly settles into her role with effortless grace. During her on-screen partnership with Samuel L. Jackson (a reunion of sorts since they didn’t share a scene in “Pulp Fiction”), these seasoned actors elevate their craft by venturing beyond their typical repertoire, stepping out of their well-known star personas. In this film, despite the inherent absurdity of their characters, they depict endearing yet flawed individuals within an elevated cinematic universe, rather than resorting to caricatures wreaking havoc in a cartoonish world. If “The Kill Room” were to offer nothing more than the sheer joy of watching movie stars genuinely enjoying each other’s company, that alone would be worth the price of admission.

However, Nicol Paone’s film manages to provide a gratifying conclusion—a spectacle of bloodthirsty performance art that serves as a scathing indictment of rapacious art dealers and acerbic collectors driven by trends, rarity, auteurism, and capitalism. Although the “killer with a heart of gold” trope’s effectiveness fluctuates, largely thanks to Joe Manganiello’s unapologetic portrayal, the film’s substantial thematic depth makes “The Kill Room” a compelling and enjoyable debut work.

Currently screening in cinemas.

Film Credits

Cast
Uma Thurman as Patrice
Samuel L. Jackson as Gordon
Joe Manganiello as Reggie
Maya Hawke as Grace
Debi Mazar as The Kimono
Dree Hemingway as Anika
Larry Pine as Dr. Galvinson

Director
Nicol Paone

Writer
Jonathan Jacobson

Cinematographer
Bartosz Nalazek

Editor
Gillian L. Hutshing

Composer
Jason Soudah
Jessica Rose Weiss

Music
Jessica Rose Weiss

By: M Z Hossain, Editor Sky Buzz Feed