Morte a Sangue Frio

I saw this on a premium channel and thought my wife and in-laws might actually enjoy it. But even though it's become a family joke, i liked it. The one charac- ter that has a development "arc" is played by the talented Sam Rockwell. No one seems to know how to cast this actor, so we may never see him in a major role in a movie with an actual budget, but he and the others (i particularly liked Ted Danson's contribution; funny stuff) do a great job with a low-key directing style by first time feature director Saul Rubinek. Think Brian DePalma in reverse. If you're here, you know what the movie's about, so i'll just say that, though not a Hall of Fame candidate, this is an enjoyable dark comedy with some excellent visual touches in transitions from scene to scene.

Don't look for a deep meaning for life in this film. Look for a very entertaining two hours of superb characters, situations, and some of the most crafty filming techniques I've seen in years. The transitions from one scene to the next were very clever. This one was worth rewinding and watching the characters more closely to fully appreciate them and many of the scene transitions. This is a quality film. The story is not overly complex but keeps you guessing as to what will be next.

Tired of the Hollywood formula movies? Tired of shallow characters? Rent this one, you will not be disappointed.

This was so far out in left field that the turf touched the sky; so flaky that Post cereals could produce enough Wheaties to feed the Arizona Diamondbacks indefinitely. The film was ultra violent and bizarre with oddly interesting dialogue and an even stranger storyline. I loved the way the camera would slink from the old into the new scene without any definable break in the order of events. It took me a few minutes to realize I was not into a standard movie and a while longer to understand I was being entertained by a very offbeat experience. J&T was black comedy at it's most midnight shade: funny, spooky, creepy, but above all a real gas. 4 stars.

Tom (Mantega) and Jerry (Chaykin) are experienced hit men waiting in a bar for a phone call to do their next job who currently is tied up before them. We then jump back 10 years to find a much younger Jerry and Tom, and we trace their development throughout the years.

And that's the plot. There isn't a huge amount of plot here but plenty of story if you appreciate the difference. The story follows Jerry from a car salesman who gets accidentally involved in his first hit, through the years as he develops more and more of a taste for the killing, while Tom is heading the other way as the more mature hit man who is losing his taste for the whole thing. However the thin plot is greatly enriched by making the characters the story.

Of the two leads Jerry is the most interesting to watch as he changes the most notably over the film, but Mantegna's Tom is as good as a more stable foil for Jerry. The strength is in the wealth of wonderful characters that surround them. The various victims all have their amusing quirks and are well played by good actors (William H Macy, Ted Danson, Peter Riegert), while other supporting roles such as Vic and Billy (Durning and Chaykin) are great.

The whole story is bristling with comedy and style. The stories the characters tell and the things they say are brilliant, including flashback stories of Elvis, JFK and others are really funny, while other conversations (such as who play them in a movie - "Don Knotts!") are inspired in their hilarity but also their normality.

The director Saul Rubinek is very clever in his direction. We skip through time to other stories using editing that gently glides one scene into another - it's really effective and always clever. In fact he brings clever touches to all the film. Even the closing credit sequences have a wonderful old-fashioned feel to them as each character appears onscreen to wave to the audience - it's also a bit surreal given what we've just watched. I also admire the way that very little violence is show on screen - because that's not what this is about. The killing is often hinted at rather than shown and this allows us to focus on the stories and the comedy rather than the moral difficulty behind what you're seeing.

The film is funny throughout but it does have it's thoughtful moments and the conclusion is actually quite moving. The only faults with this is that the hit man genre is not exactly new ground and this type of story has been done before. Also some may find the lack of plot to be frustrating or boring and find themselves unable to enjoy the stories within.

Overall though, this is a light little gem that draws it's comedy from the stories and the characters within the film. This is filled with clever and funny touches from the opening bar scene right down to the old-fashioned credit scene and Danson's accreditation as "man who loved Vicki".

This is the movie that brings you into the world of the ordinary hit man, well not the machine gun tottling Mafioso gunmen we're so used to watching in the big gangster movies. But the ordinary hit man who does his job as a necessary means to a living. The job is fine but there's no pot of gold at the end of the rainbow. The art of doing well is to kill with nonchalance. It is a hazardous occupation -- you go on as long as you can but don't know if you'll be a target yourself one day. There are no fancy trenchcoats or big cigars. The hit men work as used car salesmen, wipe windows in the lot when free and pay for their own movie tickets. They supply their income by knocking off their assigned victims. A respectable year for Tom means usually getting about two to three contracts done. Need to dismember the body after a murder? They go for a cheap K-mart chainsaw instead of the more renowned Black and Decker brand, and get frustrated when they find that it doesn't work at first try. Young Jerry (Sam Rockwell) learns the ropes from Tom (Joe Mantegna) and witnesses his first murder in the front seat of a car. Jerry's induction is every bit as abhorrent as one would normally react to seeing a man killed. But he learns to like what he does and becomes as cold and merciless as his mentor is. In fact Jerry gets to be as ruthless as Tom, to the point that he even takes sadistic pleasure when whacking off his victims. Tom's professional detachment is his strength and hallmark. But this trait unfortunately is never learnt by his protégé and the latter's intractability proves to be his undoing. Apart from a very entertaining script, what makes the movie an excellent watch is the top-notch performances from the cast, especially Joe Mantegna, Sam Rockwell, Maury Chaykin and Charles Durning. And of course the wonderful cameos by William Macy and Ted Danson. The brutality of the killings is shocking but any darkness in the movie is balanced by the humorous edge throughout. This is about ordinary hit men getting their contracts done. There are no recriminations and regrets. The movie starts and ends on a sardonic note, the very tone that first-time director Saul Rubinek wanted to create. I'm sure if this was a bigger name director with a bigger budget JERRY AND TOM would have been a screamer at the box office. This was a movie I thoroughly enjoyed and it comes highly recommended. Ten out of 10 from me.