Go See Killing Them Softly

It's official: Gray picks all the movies.

Killing Them Softly was another aftercare flick, which we saw on the Sunday of the London Grue. After Grue-cakes, extra poi practice, and more leather fun. After hugs, and thank yous, and goodbyes. After the Grue was officially over, Gray, Hedwig, and I ventured back to Hedwig's place for quiet time.

As we all decompressed, Gray looked up what movie we would go see. Somehow he found Killing Them Softly.

The best way to describe the movie is by comparing it to another. Killing Them Softly is like an American version of Guy Ritchie's Lock, Stock, and Two Smoking Barrels, but so much darker.

The showing wasn't until late, around 9pm, so our trio first headed out to find dinner first. We walked to a restaurant near the theatre, only to find it was closed down. Internets fail. Instead we dined at a small Chinese restaurant a few blocks closer to the movie.

After dinner, we then searched for the theatre, hoping the internets did not fail us twice. We found Shortwave tucked inside of a block composed of multiple tall apartment complexes the surrounded a large bricked area. The offbeat establishment was a combination cocktail bar/theatre. I liked the modern style and atmosphere of the place.

The movie theatre itself was small, maybe seating fifty people. We picked seats in the middle and waited. Gray and I had a few chuckles while viewing the British commercials before the film began.

And then it started.

Going in, I didn't know what to expect. I had heard the description I gave above (minus the darker tilt). I also knew the film starred Brad Pitt, Ray Liotta, and James Gandolfini. Those three names were enough to get me in my seat, but the film far surpassed any of my meager expectations.

The basic premise is this: A small group of people conspire to rob an illegal cards game frequented by mobsters. Brad Pitt is called in to figure out who the thieves are and kill them. Ray Liotta plays the person who ran the game. James Gandolfini is another hitman.

So many aspects of this movie impressed me.

First, there is an interweaving of CNN/radio/news clips that not only sets the time of the movie but also stands as a great juxtaposition to the actions of the characters. Many poignant notes hit as I heard a radio clip being played right before someone was to get shaken down, or right before we met characters, or at the very end of the movie.

Fuck, the end of the movie. I will not tell you who says what, because this is a movie I do not want to spoil. It was just so good. But I can give you the quote.

A certain person is giving a speech that is broadcast live and being shown on a television in a bar. One of the characters cynically quips, "Watch, he's about to say some shit about how America is a community." There is a pause. Something to that effect is said. The character then replies, in just a cynical a fashion, "America isn't a community; it's a business. Now pay me." The threatening undertone in his voice, the anger, frustration, and willingness to get what he wants right now sold this movie for me.

Second, the cinematography in this flick is gorgeous. Absolutely gorgeous. One scene in particular which I loved features a drive by shooting. The actions in the sequence are slowed down and set to music (oh my god, the music*).

As bullets fly, everything is just so beautiful. The bullets crashing through the glass or puncturing the doors of the vehicle. The holes appearing in the victim. His brains bursting from the back of his head. And then the victim's car drifting forward and being crashed into by traffic. The cinematographer made this brutal graphic death scene look like a dance, a slow waltz with lovely partners gliding across the floor.

Third, the acting. Each of the men cited in the description of this movie play their parts so well. It is my sincere hope that at least one, if not all three, are honored from their work.

One of my favorite moments was the introduction of Brad Pitt. He pulls up, parks his car, and gets out. The camera starts low and then slowly pans up. The boots. The pressed pants. The leather jacket. The hair. This man, though he had a brutal job, was impeccable.

And, throughout the movie, he was always honest, even when he lied. Brad Pitt's character was by far my favorite. The movie is so named because of a line he says early in the action. He talks about the difficulty of killing a man. No one is the same when you are about to kill them. They beg. They cry. They yell for their mother. They wet themselves. He advises against any of the normal ways, of beating someone up, of teaching them a lesson first. He says you should kill them quickly, softly, one last gift before their death.

This movie is my gift to you, my fair readers. Excellent acting. Excellent writing, with crisp dialogue and a story I loved. Cinematography that made me want to weep. And a soundtrack I will be buying.

Go see Killing Them Softly.

*Footnote: The music was so good, Gray was actually occasionally pissed when they changed scenes because he wanted the music to finish. I'd say that's an excellent recommendation for the soundtrack as well.

Movie Moment

It was kind of like in romantic comedies...

You hear the voice from around the corner, this new person in conversation with someone you already know. They talk for a bit, and you learn the texture and tone of their voice without yet seeing their face.

His was a nice voice, deep and rich with an English accent in which I could understand every word. I wanted to kiss his voice.

And then he came around the corner and entered the room...

I met Gryphon Friday afternoon.

Gray and I had spent the better part of the day wondering around London in a light rain that continually fell into the evening.

The morning began with confusion. I thought I was meeting Gray at one place; he hadn't informed me that in fact he'd crashed somewhere else.

So instead of rustling him up, crawling into a spot with my netbook, or resting my head by his knee, I found myself in a small coffee shop, sipping hot cocoa and trying to not be annoyed. The pleasant owners and a good book helped quite a bit.

When we did meet up, we found shelter in a small shopping complex. He sipped coffee and orange juice. I slowly ate a muffin.

We spoke about writing, his hopes and expectations during his Euro-Grue trip, and generally caught up on each other's lives.

Later we ventured back to my coffee shop, The Electric Elephant, which I highly recommend. (As one might expect, it is quite near the Elephant & Castle station for any Londoners interested in visiting.)

Afterwards Gray and I landed at Hedwig's place where plans for the Grue were cemented.

I helped Hedwig make lunch (a hearty soup perfect for the dreary day). Gray did some work. We all waited for the volunteer to arrive; we all waited for Gryphon.

He eventually knocked on the door as if on cue, right when Gray asked how much longer til the volunteer would show. As Hedwig and Gryphon chatted, I remembered smiling to myself at the thought of how movie like that particular moment was, both the arrival and the chatting.

When Gryphon rounded the bend and entered the room, I was pleasantly pleased that this time the voice matched the features. Gryphon had a tall broad frame, a handsome face, wore glasses, and smiled and joked freely. I knew I would like him from the start.

He warmly introduced himself to Gray and I.

As we all began to muss out how errands would be run, there was one unavoidable fact we could not ignore. Gryphon was highly valuable to our efforts because he had a car. However, he was also in the process of moving. Only three people (including the driver) could fit in his vehicle.

With Gray's quick assessment, it was decided I would remain at Hedwig's apartment while everyone else ran the errands.

I stayed on my spot on the small couch, read a bit (finished Story Of O actually), wrote a bit (the blog about finishing said story), and relaxed.

So much for that movie-fairy-tale thing....