Killing Them Softly (2012)

Dominik makes the film's themes of American greed and exceptionalism startlingly explicit, with a standout robbery sequence, but it settles into a portentous conversation piece that makes too much of a show of its own significance.

The film is a compelling black comedy about unhappy assassins in hard times, serving as a comment on economic bloodletting. It praises Brad Pitt's terrifically acted performance as the relaxed, talkative hitman Cogan in this cynical take on 2008 America.

The critic describes a grippingly toxic and cynical lowlife crime drama with a fine low-key performance from Brad Pitt and a musical ear for sharp dialogue, while highlighting its boot to American capitalism.

The critic praises the film's smart, entertaining take on the source novel with strong performances and gallows humour, while noting it lays on the state-of-the-nation metaphors a bit thick.

Dominik's bleakly electrifying hit-man thriller is elegantly brutal and tough, with a thick layer of irony and a focus on male terror and the state of the nation. It parcels out Pitt's role with strict economy while delivering an oppressive, bruising take on the source novel.

The film is wicked fun with satisfying performances and visceral violence, but its political ambitions connecting the criminal and financial economies do not fully cohere.

Everyone is out to kill everyone else in this cynical gangster film that implies the US is reckless, violent and naughty like its characters. It highlights Pitt's qualms as a hitman and the film's message that the country is a business first, updated to the 2008 election era with sharp turns from the source novel.

The critic calls the film a deliciously stylish hard-boiled crime drama that is bleakly funny and nihilistic, praising its visual flair, smart dialogue and Brad Pitt's commanding presence while noting its reflection of tough times in America.

The critic finds the film's dialogue-driven crime narrative and strong performances, particularly Brad Pitt's, effective, but faults the overemphatic political messaging and stylistic flourishes for keeping it from true greatness.

The critic highlights the film's faithful adaptation of Higgins's novel and its unglamorous crime milieu, praising conversations and performances. He notes it honors the source's voice but operates in a world of small-time crooks without masterminds.

The critic calls it a good, efficient crime thriller lifted by excellent performances, particularly Brad Pitt's, but let down by clunky social commentary and an ordinary script that lacks sharpness.

The critic calls out the film's heavy-handed parallels between crime and economic decay but praises Pitt's smooth performance and the brutal yet beautiful violence enhanced by music and cinematography. She notes the strong supporting cast in a gritty noir.

Everything springing from the source novel is very fine—grimly amusing then shockingly brutal—but the director veers off course with deep thoughts on the American character that feel like a head-slapper.

The critic praises strong performances from Ben Mendelsohn and James Gandolfini, the film's look and the killings, but complains about excessive talk, heavy-handed social commentary and it becoming steadily less enjoyable.

The critic notes the film's talky, heavy-handed commentary on post-financial crisis America and its failure to innovate on the gangster genre, but highlights strong turns from Brad Pitt and James Gandolfini along with gripping set pieces.

The film reiterates shopworn ideas about crime and capitalism for a post-Occupy world in a hamfisted way, resulting in a facile genre picture too concerned with looking cool and empty posturing.

The critic finds the film a dismal, dreary series of cruel murders in a joyless cityscape with little humor or suspense. He praises the cast's screen presence but notes the story lacks the romance and tension of better noir films.

A juicy, bloody, grimy and profane crime drama that amply satisfies as a deep-dish genre piece but insistently wants to be something more, with strong performances and craft undercut by showy directorial flourishes and overt messaging.

The critic calls the film a brilliant, uncompromising anti-thriller that seethes with anger at the state of the nation and economy, praising its seamless integration of political themes, ambitious storytelling and powerful performances.

The critic praises the film's enthralling dialogue-driven scenes, strong ensemble acting from Pitt, Gandolfini and others, and its timely economic themes, calling it a must-see for fans of the crime-gangster genre.

A stunningly well-made and ambitious crime film that overplays its political hand slightly but remains one of the best of the year thanks to strong direction and performances.

A dark, devilishly funny guilty-pleasure crime story elevated by mood, humor and strong performances, though the blunt economic moralizing occasionally diverts from the fun.

An exhilarating neo-noir with wit, fire, strong performances and gallows humour that examines machismo and economic decline, despite some overt satire and incongruous set-pieces.

The film delivers sharp, memorable dialogue and stylish violence set against the 2008 election backdrop, reuniting director Andrew Dominik with star Brad Pitt for a bleak crime story. However, its political and economic themes come across as heavy-handed.

The critic finds the heavy-handed political and economic messaging patronizing and distracting from the narrative, though acknowledging strong performances and brutal violence, ultimately deeming the film too cold and muddled to fully connect with.

The review finds sharp performances, especially James Gandolfini's, and a few strong scenes undermined by the film's relentless hammering of 2008 economic-crisis subtext. It faults the wobbly plotting and overdone political commentary that Dominik fails to integrate effectively.