Kill List less unfolds than sputters out confusingly like a dodgy pirate DVD, seemingly skipping sections of dialogue and narrative, with no explanation given as to what has occurred since the conclusion of the previous scene.
In fact the film hazily jilts along in this fashion for the greater part of the running time. No explanation is given, there are no monologues clearly outlining character motivation or discussion about what happened before or even what the plans are next.
It’s kinda like the machinations of a psychotic…
Kill List is deliberately confusing and vague, with moments of clarity between moments of confrontation and startling violence. In this way it mimics the lead character Jay, an intense coiled spring of a man whose vacant expression masks savage and menacing intent. Even when in repose Jay’s eyes give nothing away, however once he sets a course of action he is single-minded in his brutal and immediate actions.
Like the film Jay is a man of action, not talk.
The film opens at a formal dinner between two couples which ends in a heated argument. The next scene jumps ahead to the two males from the party chatting absent-mindedly about their day’s tasks. It turns out that they the two gents are hitmen in possession of the titular kill list, Jay and Sam.
Jay has a loving wife and son, though his wife Shel is obviously aware of his mood swings and even the nature of his occupation, this knowledge doesn’t cause her to tippy-toe around him. Shel and Jay converse like a normal couple, however thanks to Jay’s temper verbal prodding and careless comments have the potential to create instant domestic disputes.
The film haphazardly cuts back and forth between the momentary calm of Jay’s home life and ‘on the job’ scenes where he and Sam take to ticking off the targets with ruthless efficiency.
We are not told who has given them the list, nor how the listed targets came to be listed, but make no mistake Sam and especially Jay attack their tasks with fervour and great violence.
As the film progresses this seemingly simple task becomes increasingly complicated as Jay’s moments of clarity arrive further and further apart and his demeanour around his family grows ever more ominous.
Kill List is at times discombobulated and disorganised, which I think was the intent of the filmmaker, though the finale ends in a manner similar to other films released in the last couple of years the first hour sets this film apart. It is definitely not for the faint of heart, nor for lovers of a good story, but Neil Maskell makes Jay an imposing and polarising character, and for those seeking a film slightly out of the ordinary that provides a challenge you should look no further.
Final Rating – 7 / 10. Kill List is structured like the thought process of a madman, which is why for a while it was so terribly – and blackly – fascinating.
