A hitman, his boss, an art dealer and a money-laundering scheme that accidentally turns the assassin into an overnight avant-garde sensation, one that forces her to play the art world against the underworld.
Chuck says:
A parody of gangster films as well as the art world, Nicol Paone’s The Kill Room hits more of its targets than it misses. Though it flirts with going down a tangential road or two, the three principals keep it on track with their subtle humor and solid performances.
Reggie (Joe Maganiello) is a hitman who’s in need of a change. Tired of the homicidal grind he’s on, he jumps at the chance when his handler, Gordon (Samuel L. Jackson), offers him something new to do. Having entered into a money laundering scheme with struggling art gallery owner Patrice (Uma Thurman). The deal is that Reggie paints, Gordon delivers his work to Patrice along with a significant amount of cash. She in turn gives him a check for the same amount, putting it on the books as a sale.
In an effort to make it all look legit, Patrice displays Reggie’s work and before you know it, art critics are fawning over it and collectors are clamoring for his next piece. Problem is, Reggie’s handlers are that crazy about the potential for all of this being traced back to them. Even worse, the killer starts to believe the accolades coming his way and realizes he’d much rather work with oils and canvas than off anonymous targets.
Jonathan Jacobson’s taut, pointed script keeps things moving at a brisk pace as it lampoons the pretentiousness of the New York City art scene. Thurman is particularly good, going from desperate business owner to confident mover-and-shaker, heady over influencing the industry that once mocked her. Smart and fun, The Kill Room succeeds in creating a wicked portrait of an industry ripe for a hit.
