It’s hard to say whether Killshot falls apart because of the filmmakers or because of the source material. Killshot changes its mind about what to deliver every three minutes. The script can’t decide on a main character–is it Mickey Rourke’s hit man or is it Diane Lane’s woman in distress or is it Thomas Jane’s estranged husband to the woman in distress.
Rourke’s great, playing a half Native American hit man. It’s implied there’s something more to the character than that description. But there isn’t.
Thomas Jane’s similarly great in a simple role. Killshot‘s filmmakers seem to intend for their scenes to be weighty; they aren’t. It’s not trite, but it is rote.
Diane Lane isn’t bad. She’s competent enough.
Gordon-Levitt, technically, delivers a good performance. But his character’s poorly written. He and Rourke’s relationship is inexplicable. Whenever the film tries to rationalize it, Killshot becomes silly. Maybe some of the worst scenes were cut (apparently, they cut out an entire character–Killshot runs ninety-five minutes).
Rosario Dawson plays Gordon-Levitt’s Elvis-obssessed girlfriend and she’s lousy. Hal Holbook and Tom McCamus show up for a scene each. They’re both good.
Lois Smith has a couple scenes in one of those small, useless Lois Smith roles.
Killshot looks like a Canadian production, providing Madden with a wonderful opportunity to comment on Hollywood North productions. He doesn’t.
Killshot isn’t entirely without qualities–Rourke and Jane. It’s at its best when it’s using either of them as the protagonist.
Directed by John Madden; screenplay by Hossein Amini, based on the novel by Elmore Leonard; director of photography, Caleb Deschanel; edited by Mick Audsley and Lisa Gunning; music by Klaus Badelt; production designer, Andrew Jackness; produced by Lawrence Bender and Richard N. Gladstein; released by the Weinstein Company.
Starring Diane Lane (Carmen Colson), Mickey Rourke (Armand ‘The Blackbird’ Degas), Thomas Jane (Wayne Colson), Joseph Gordon-Levitt (Richie Nix), Rosario Dawson (Donna), Aldred Montoya (Lionel), Lois Smith (Lenore), Hal Holbrook (Papa) and Tom McCamus (Paul Scallen).
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