What an atrocity. I am not one to demand total verisimilitude from a movie, but the plot and screenplay of "Killing Zoe" are so artless that I found myself wincing through the entire (mercifully short) ninety minutes of the film.
Readers of these reviews will by now have figured out the plot: Zoe, a call girl who falls in love with American safecracker Zed, is also an employee at the bank that Zed will help rob in a high-stakes Bastille Day heist.
The film strains one's credibility from the get-go. Zed and Zoe's night of magic is highly prosaic, and Zoe's claims to have experienced the orgasm of a lifetime would seem to reflect the screenwriter's lingering teenage fantasies more than any actual on-screen chemistry. Zed's complete indifference when his friend Eric throws Zoe out of the hotel room hardly sets the stage for their later strong attachment.
In act two, Eric's band of bohemians--drug-addled losers leading a marginal life of petty crime--prepare for their big heist with a night on the town. Here Roger Avary's main goal seems to be to prove that he knows something about drugs. A secondary thread involves convincing us (by endless repetition) that Eric is really, REALLY glad to see his old friend Zed again. Really glad. Eric's devil-may-care, over-the-top flamboyance and affection for Zed isn't even remotely believable--check out, for example, his phony bemusement at discovering a dead cat in his apartment building. Development of the characters who will accompany us through the rest of the film is an afterthought.
The heist is a disaster--understandable, since the plan is laughable and the criminals are complete amateurs. This is where Avary continues to pay tribute to his idol Quentin Tarantino by showing that he can be more violent than violent. In reality, though, he's just more boring than boring. To build up the excitement, there is an extra security guard hidden inside the main safe. This was boring in video games, and it's boring now.
Zoe is taken hostage during the heist but despite our expectation that she'll play a pivotal role, she just sits pretty. Or more precisely, Avary fails to do anything with her. In literally the last five minutes she springs to life, breaks the hostage situation and saves the grateful, but still dazed Zed from suffering any consequences of his crime. Why she doesn't mind his involvement in the crime--or why she gives a damn about him at all--is impossible to tell. After all, she's had no chance to see that he's any more decent than the rest of the gang.
Throughout, the dialogue is stilted and phony. Much of it is in French. As a native speaker, I can certify that it doesn't ring even remotely true. Eric's sugary-sweet discourse, rapidly alternating with tough-guy boasting, is meant to be at turns charming and scary, but is instead just grating. Meanwhile his scaredy-cat accomplices are more Scooby-Doo than Thomas Crown. When Eric is gunned down in a ludicrous example of excessive force, we can all breathe a sigh of relief: like the bank hostages, we will soon be freed from this miserable ordeal.
Readers of these reviews will by now have figured out the plot: Zoe, a call girl who falls in love with American safecracker Zed, is also an employee at the bank that Zed will help rob in a high-stakes Bastille Day heist.
The film strains one's credibility from the get-go. Zed and Zoe's night of magic is highly prosaic, and Zoe's claims to have experienced the orgasm of a lifetime would seem to reflect the screenwriter's lingering teenage fantasies more than any actual on-screen chemistry. Zed's complete indifference when his friend Eric throws Zoe out of the hotel room hardly sets the stage for their later strong attachment.
In act two, Eric's band of bohemians--drug-addled losers leading a marginal life of petty crime--prepare for their big heist with a night on the town. Here Roger Avary's main goal seems to be to prove that he knows something about drugs. A secondary thread involves convincing us (by endless repetition) that Eric is really, REALLY glad to see his old friend Zed again. Really glad. Eric's devil-may-care, over-the-top flamboyance and affection for Zed isn't even remotely believable--check out, for example, his phony bemusement at discovering a dead cat in his apartment building. Development of the characters who will accompany us through the rest of the film is an afterthought.
The heist is a disaster--understandable, since the plan is laughable and the criminals are complete amateurs. This is where Avary continues to pay tribute to his idol Quentin Tarantino by showing that he can be more violent than violent. In reality, though, he's just more boring than boring. To build up the excitement, there is an extra security guard hidden inside the main safe. This was boring in video games, and it's boring now.
Zoe is taken hostage during the heist but despite our expectation that she'll play a pivotal role, she just sits pretty. Or more precisely, Avary fails to do anything with her. In literally the last five minutes she springs to life, breaks the hostage situation and saves the grateful, but still dazed Zed from suffering any consequences of his crime. Why she doesn't mind his involvement in the crime--or why she gives a damn about him at all--is impossible to tell. After all, she's had no chance to see that he's any more decent than the rest of the gang.
Throughout, the dialogue is stilted and phony. Much of it is in French. As a native speaker, I can certify that it doesn't ring even remotely true. Eric's sugary-sweet discourse, rapidly alternating with tough-guy boasting, is meant to be at turns charming and scary, but is instead just grating. Meanwhile his scaredy-cat accomplices are more Scooby-Doo than Thomas Crown. When Eric is gunned down in a ludicrous example of excessive force, we can all breathe a sigh of relief: like the bank hostages, we will soon be freed from this miserable ordeal.