Touches You

Excellent, Without a doubt!!

An Exercise In Nonsense

The movie really just wants to entertain people.

Frankly, I do not understand how come this movie has 6.1 rating among the viewers - this is what misled me as I opted to watch it. To me, the story is rather flat, most of the time the next event is pretty much predictable... Or, in some moments, it does not have a decent reasoning.The plot, in general, is pointless - it basically has no moral behind: you see some corruption, some sexual and psychological perversion and, as the result, crimes committed by police official. The end of the movie missed the intrigue and is just boring.The pace of the story-telling seems rather lazy and while at the beginning you still find it distinctive, but you believe (or hope) that it will get better and more interesting and there's going to be more of intensity as the story progresses. However, that does not happen.All in all, I feel pity for spending those couple of hours in vain.

I was enjoying this, how much better it was than a previous attempt to film this book (which I recalled as one of my fave suspense novels). Then I found myself in the middle of a scene of such gorific brutality I was left wondering who, what could have made the tale - or the audience - deserve such a thing.I wondered so much I actually re-read the 244-page book.Ah, what a difference 20-plus years can make. Then I read it straight through, unable to put it down. This time it took over a month."Killer" tells the story of a man who murders to settle an old family score. On the one hand. On the other, he also obviously gets quite a kick out of it. Then he goes on a killing spree trying to cover up the first murders. He kills everyone he loves the most, and tosses a few he hates into the mix as well. Much to the disadvantage of everyone in town, he's the trusted deputy sheriff.I was struck by how little Casey Affleck seemed to inhabit the role of Deputy Lou Ford, but checking the original source, there isn't much there to begin with. Reasons why he kills seem limited to the fact that he's a character in a seedy story with a title to live up to and copies to sell. Reason often falls by the wayside - like the murder victims - as author Jim Thompson keeps his vision of small-town life limited to only the ugliest, darkest elements. In this kind of potboiler vision of life, the writer has to keep the pot stirring to distract you from wondering about things like 'how?' and 'why?', such wonderings having a tendency to make things fall apart.Thompson could clearly put together an intricately-woven crime story, and populate a fictional small town with believable types that instantly resonate. His nihilistic vision seems refreshing at first - hypocrisies are exploded; everything we usually try to push to the back of our minds is front and center. But I get bored with it all pretty quick, and feel kind of cheated; like I'd bought a prism to explore the color spectrum of light, but got stuck with a defective one that only shows the color black.The filmmakers use their considerable skills to put us right in the middle of the scene where Affleck beats Jessica Alba (Joyce Lakeland) to death. I wish such talent and thought could have been applied towards a deeper exploration of the main character driving all this. Vacant as he is, we're on a ride with a driver who's asleep at the wheel.

Killer Inside Me tells the story of Jake, a disturbed psychopath which suddenly starts to be a psychopath. The characters actions and their development are really obscure in this film, and so is the story. This is the kind of film that chooses to left too much to the viewer mind instead of explain, and this in fact prejudices the film. I also noted that a few things are clearly missing in the film but are fully explained in the book, as for example, a key element about the Lou's past, however i can see why this detail isn't explored deeply in the film. The missing content is way too disturbing, and probably was scrapped to avoid an inevitable NC-17 rating(my opinion).However, judging by the massive failure of the film in the box- office, with a mediocre 3 million dollars grossed(compared to the 13 millions spent in the production) , a more complete and possibly NC-17 film would turn this film in a actually good one. A missed opportunity, perhaps. The cinematography of this film is stylized, it don't follows the norm of use 'natural lightning' to make a film whose set in the 'old times'. It's an interesting choice, but natural light is more charming than the stylized one in this film. Although neither really reflects the dark atmosphere of this film.So yeah. It is watchable, unless if you don't have stomach to handle the really disturbing violence . 5.4/105.4/10

Basing itself on introspective detail as an alternative to normal narrative development, The Killer Inside Me surprises through the honesty awarded to the main character, Lou. He analyzes, meditates, shares thoughts, and divulges bits of his motivation in a rather serene voice that could foreshadow his soon to be discovered nature.Casey Affleck manages to deliver a performance as admirable as in Gone Baby Gone, in his role as officer of the law, who suffers unnecessary convolution in solving conflicts, namely he uses the death of women as a centerpiece in his imaginary scenarios, to escape relatively uncomfortable situations. The protagonist's psychology is revealed piecemeal, but besides expressing a psycho-deterministic imagination, this gradual revelation does little else to explain to satisfaction such a structure that would make the script divulge more of itself through explanation.The director, Michael Winterbottom, detaches the camera from his characters, and sometimes the same characters seem equally detached from the story, which develops itself like an exploitation movie, a certain trend nowadays, which can be found in the recapturing of some elements in the movies of Tarantino or Robert Rodriguez.Lou himself through what he adds to his narration seems to be immeasurably far from the plot, being like a sort of removed judge of events, his voice appearing as nothing more than a completion of his ego. Affleck satisfies his role with a complicit diligence, which might have been potent enough to promote him as a contender for an Academy Award nomination, had it not been for the elements of disgusting violence that made even Jessica Alba walk out of the theater at Cannes, during the screening of this movie, and also the very stereotypical subject that tries to squeeze through into an evolution of movie-making.Joyce Lakeland (Alba) and Amy (Kate Hudson) are the two women that revolve dramatically around the life of Lou. Alba gives life to the prostitute Joyce with a sexual force that hardly can be found explicitly in her filmography, and which her principles refuse beforehand. Perhaps her excessive typecasting to fit the script (as in the case of her role in Machete) helps bring to surface a powerful dynamic trait of an otherwise bi-dimensional character. Amy is the good girl in town, which otherwise spends her entire efforts in convincing Lou to marry her. Hudson does not require much screen time for her part, in her case, the character being much more restricted from that of Alba's. In both cases, these women represent the kind of love that is possible to Lou, that Lou manages to feel; in both cases, the denouement of these characters is the only form of love that Lou can ever have in a meaningful sense.The other characters exist only to trigger stereotypes for the advancement of the plot and the development and polishing of the protagonist, whose transformation does not necessarily require them, but whose gradual realizations are mirrored, eventually, in them. The ending is perhaps the weakest part of the movie, trying to pay homage to genre movies of the 1980s, but with little relevance and logical progression, which would seem even more insubstantial to a more avid moviegoer.The setting, a small Texas town, is typical for the genre, but the introduction of the protagonist-narrator is that which establishes the rules the movie incidentally happens to inhabit. The cinematography highlights extensively the economic isolation of the region, the pale shots evidencing more the thoughts of the characters to seek out a better world elsewhere - not necessarily in a spiritual manner, but, considering the progress of the story, one necessarily material.