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After being heckled and booed at Sundance this year due to its extreme content, The Killer Inside Me has arrived. The director of the gratuitous Nine Songs, Michael Winterbottom, is no stranger to controversy, so his violent adaptation of Jim Thompson’s cult novel of the same name, following a psychopathic sheriff’s (Casey Affleck) downward descent, should come as little surprise.
What should be pointed out at the beginning of this review is that with many critics focusing on its use of extreme gratuitous violence, it’s certainly not for those with weak stomachs. That said, since its release at Sundance earlier this year, the film garnered what is actually a somewhat undeserved reputation; there are only two scenes of horrific violence and these, although hard to watch, are over very quickly. Furthermore, in comparison to recent films like Irreversible or even the exaggerated gore of last year’s Antichrist, it is actually quite restrained. Additionally, the film’s violence did not seem unwarranted, as it establishes from the outset the protagonist’s warped mind, enabling us (though utterly repelled by him) to begin to appreciate his twisted psychology, and the horrifying nature of what he is doing.
None of this would mean anything if it was not for Casey Affleck who once again proves to be a much better actor then his brother, with a brilliant turn by as sheriff-turned-serial-killer Lou Ford. The portrayal clearly shows the character’s contempt for the world around him and gives a brilliant intensity and drive so that we never doubt the cold calculating mind that lurks behind his eyes. Other performances are also excellent; Jessica Alba proves that she is more than just the pretty face she normally plays, with an outstanding performance as Ford’s lover and first victim. Kate Hudson is similarly superb in what is the complete opposite of her normal territory.
However, despite all this the film never escapes its pulp origins and as such it never really gives a satisfactorily in-depth view of Ford’s insanity, concentrating only on the primary facts surrounding it, such as trauma. The film also fails to examine the character of Chester Conway (Ned Beatty), a man who, thanks to his vast wealth, effectively controls the town. Here, the film wanders off course, often mentioning his conflicts with the unions without going into much detail, which seems to detract from the main narrative of insanity.
Although the film’s flaws make it feel a little underwhelming, it is something that makes for very interesting and undeniably provocative viewing. Providing a unique insight into a psychotic mind is thanks to Casey Affleck always being fascinating and believable. But please bear in mind that due to its extreme violence, this is definitely a film not suitable to everyone’s tastes, and as such should be approached with caution.
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