Uma Thurman and Samuel L. Jackson are actors who used to garner great excitement for the projects they starred in. Lately, that excitement isn’t quite there as the duo, outside of recognizable IP films, haven’t picked the best projects for their particular talents. The Kill Room offers a glimmer of hope as Thurman and Jackson share the screen in an understated but funny dark satire about the world of hitmen and art.
Nicol Paone’s dark comedy thriller follows Joe Manganiello’s Reggie, a hitman who, alongside his handler, Gordon (Jackson), turns to the art world to help launder their bloody money. Enter Patrice (Thurman), an Adderall-addicted art gallery owner hit by hard times. The trio comes together for a plan that involves Reggie creating works of art that are “bought” by clients seeking his hitman skills. The scheme works too well, with Reggie’s art becoming a success and him earning the moniker The Bagman, which is both on the nose and apt. The hoity-toity art-loving community eats up his grotesque art, proving that these faux intellectuals have little to no sense, or that a genuine artist is lurking underneath Reggie’s hulking figure.
The satirical nature of the film speaks to the rather ludicrous nature of the art world. Paone’s comedy is not paving a new path, as we’ve had a number of projects take a jab at the art world, like the start-studded Velvet Buzzsaw. After a slow and awkward start, The Kill Room builds on its premise in a very promising way, as the movie does have a creative plot and a charismatic cast to carry it. The comedy is a bit too broad, but the commitment from the cast helps land the punchlines. Thurman and Jackson are given the space to chew up the scenery while Manganiello plays it cool. The clever humor and the cast’s commitment make up for the clumsy pacing and somewhat stagnant execution.
The film has what it needs to be incredibly engaging and even an instant classic, but its visual component leaves a lot to be desired; The Kill Room can’t quite overcome the VOD quality of filmmaking. At every turn, Paone plays it safe, and Jonathan Jacobson’s script doesn’t quite inspire a more ambitious approach. That being said, there is entertainment to be had as the very premise of a hitman becoming an art sensation is funny enough to carry us to the amusing end.
If there was one thing to really gripe at, it is the one-dimensionality of the characters. On paper, we understand that some of the characters are serious threats to society, and Patrice is merely someone in over her head who is entertaining this danger to level up her career. However, there is no real heft behind these characters; they are just a collection of ideas that never become fully realized people. There is a hollowness to them that drags the movie down a bit. If we were to really acknowledge how dangerous Reggie is, then the joke of him being an art sensation would hit harder. Paone manages to build momentum in the comedy but fails to impress upon us the seriousness of the violence and danger, which, juxtaposed with the premise, makes the movie infinitely more funny. Jacobson’s script, as imagined by Paone’s direction, suggests the idea was enough on its own when, in actuality, there needed to be much more time dedicated to developing it.
The Kill Room is a fun time, especially if you don’t expect too much from it. Despite the lack of kinetic energy and well-developed characters, the movie offers a rather humorous take on the art world and its criminal underbelly with characters that are enjoyable to watch. Thurman, Jackson, and Manganiello run away with the movie and prove that each has so much to give in their respective careers, and hopefully, they can attract projects worthy of their gifts.
The Kill Room is now playing in theaters and available on digital. The film is 98 minutes long and rated R for pervasive language, violence, and drug use.
