3 out of 5

Directed by: Ben Wheatley

I’d say BC’s take – and specifically one of his commentors – mostly echoes mine: I think I liked Kill List, but I don’t know.  What I can say, more definitively, is that the techniques that rubbed me the wrong way in Down Terrace worked much more in the film’s favor in Kill List; as suggestively intended by a reference on the wiki page, Wheatley took what he learned in round one and filtered it into a new template.  The result is equally as intentional – Down Terrace certainly felt like it proceeded as desired – but a better realized application.

This does give me hope for further viewings from the director, and also makes me question, had I viewed KL in isolation (like, at the time of release), if I would’ve been interested to continue.  With retrospect, Wheatley might prove to be one of those directors – like Miike – whose works work better when viewed as a whole, or as part of a sequence.  Audition was years of experience paid off, and so works as an intro; had I viewed something like Fudoh without any reference point, I doubt I would’ve appreciated it beyond its weirdness factor.

In Kill List, Jay (the wonderfully creepy teddy-bearish Neil Maskell) and wife Shel (MyAnna Buring) are getting into absurdly loud rows over money troubles.  Thankfully, buddy Gal (Michael Smiley) shows up and proclaims there’s work for the two.  That work turns out to be paid hits.  This particular contract is off from the get-go, a blood-pact used to seal the deal only one of few odd details.  Which begin to stack up, culminating in the film’s notably tense third act.

As with Terrace, the concept is simple.  Even taking the “twist” of that third act into account, it’s fairly straight-forward.  What Wheatley has done to stand out from the crowd is purposefully manipulate what’s presented so that it might affect us in a new way.  And it does.  The improvisational nature of the dialogue was such a turn-off in Terrace because it represented mumblecore: those scenes of discourse were our sole focus, the intention being a larger, darkly comedic one of straying from the cliches and conceits of crime film.  So you had no choice but to try and discern what was being said, which can be difficult for non-UK ears due to the thickly accented, conversational dialogue, but also because of Whetley’s sound mixing style (or however the scenes are mic-ed, maybe, I dunno), which allows for the words to settle into a register that’s almost drone-like.  In interviews, Wheatley has mentioned not being a fan of exposition, and so the design of this, I think, is clear – to give the viewer an understanding through tone and setting and not explicitly through what’s said (something George Miller is also a fan of) – but Kill List’s use of this is far superior, as there is actually a tone to provide us with, instead of Terrace’s avoidance of it.

That tone is an offbeat one; one of creeping dread, that sudden bursts of surprising violence serve to escalate, and keep us uncertain of what we’re going to see.  I was actually invested in watching Kill List because of this.  And upon a second viewing (or reading some interpretations of the film post-viewing), it becomes even more clear just how purposeful the film’s construction was, down to details like what’s being eaten for dinner.  Unlike a Shyamalan “clue” hunt, though, actually registering these things I don’t think changes how the film might work for you.

But: despite my continued faith in the director’s confidence of presentation, KL ultimately left me a bit cold.  I can’t say exactly why.  I think the obtuse construction is a plus, but I think there’s such power to the imagery (the look and feel) that it deserves tighter scripting to match.  I think there’s a balance between story and non-story that’s achievable for Wheatley, something that will bring his films even closer to feeling like a cohesive experience from start to finish, which doesn’t have to contradict with manipulating our emotions during that experience.

Which I guess comes back around to what humbled Down Terrace for me: the point seems besides the point.  With little else to focus on in the previous film, it makes that structure (to me) almost boringly unbearable.  Kill List has plenty of mood and dread to keep you watching, but by the conclusion, it still comes across more as an experiment in style than a full-on film.  However, the precision is appealing, and certainly enough to make me interested to keep going to see how Wheatley’s progressed from here.