My review was written in May 1989 after a Cannes Film Festival Market screening.
"The Kill-Off is a rigorous, well-acted adaptation of a hardboiled novel by Jim Thompson. Unrelentingly grim view of human nature plus a claustrophobic approach mark this for specialized audiences only.
Loretta Gross give a strong performance (notable for excellent diction and projection) as Luane DeVore, an acid-tongued gossip-monger hated by almost everyone in her little community. She feigns a bedridden, feeble condition so that her husband (Steve Monroe), 20 years her junior, will take care of her hand and foot.
Things come to a head when folks decide to get rid of her, including Monroe, a slow-witted fellow whose new girlfriend (Cathy Haase) plots against his wife. Gross' death is followed by some bitter confrontations and a nihilistic finish.
Ensemble acting brings out the bitterness and hopelessness of a ragtag group of trapped characters. It's not a pretty picture, but helmer Maggie Greenwald keeps tight control of mood and tone.
Film's defects stem primarily from a low-budget: more exteriors and action footage would give it the feel of a feature film rather than a stage piece, and Declan Quinn's underlit interiors overstay their welcome. Model-turned-actress Jorjan Fox give a tentative performance as a young junkie that's not up to the level of her co-stars.
Tech credits are very modest. Evan Lurie's unusual score combines such instruments as saxophone and bandoneon (South American version of an accordion), but becomes repetitious and grating.
"The Kill-Off is a rigorous, well-acted adaptation of a hardboiled novel by Jim Thompson. Unrelentingly grim view of human nature plus a claustrophobic approach mark this for specialized audiences only.
Loretta Gross give a strong performance (notable for excellent diction and projection) as Luane DeVore, an acid-tongued gossip-monger hated by almost everyone in her little community. She feigns a bedridden, feeble condition so that her husband (Steve Monroe), 20 years her junior, will take care of her hand and foot.
Things come to a head when folks decide to get rid of her, including Monroe, a slow-witted fellow whose new girlfriend (Cathy Haase) plots against his wife. Gross' death is followed by some bitter confrontations and a nihilistic finish.
Ensemble acting brings out the bitterness and hopelessness of a ragtag group of trapped characters. It's not a pretty picture, but helmer Maggie Greenwald keeps tight control of mood and tone.
Film's defects stem primarily from a low-budget: more exteriors and action footage would give it the feel of a feature film rather than a stage piece, and Declan Quinn's underlit interiors overstay their welcome. Model-turned-actress Jorjan Fox give a tentative performance as a young junkie that's not up to the level of her co-stars.
Tech credits are very modest. Evan Lurie's unusual score combines such instruments as saxophone and bandoneon (South American version of an accordion), but becomes repetitious and grating.