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Killing Them Softly (2012)

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Jackie Cogan is an enforcer hired to restore order after three dumb guys rob a Mob protected card game, causing the local criminal economy to collapse.

Director:

Andrew Dominik

Writers:

Andrew Dominik (screenplay), George V. Higgins (based on the novel "Cogan's Trade" by)
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Popularity
2,398 ( 489)
3 wins & 8 nominations. See more awards »

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Cast

Cast overview, first billed only:
Brad Pitt ... Jackie
Scoot McNairy ... Frankie
Ben Mendelsohn ... Russell
James Gandolfini ... Mickey
Richard Jenkins ... Driver
Vincent Curatola ... Johnny Amato
Ray Liotta ... Markie Trattman
Trevor Long ... Steve Caprio
Max Casella ... Barry Caprio
Sam Shepard ... Dillon
Slaine ... Kenny Gill
Linara Washington ... Hooker
Ross Brodar ... Poker Guy
Wade Allen ... Business Suit Agent
Christopher Berry ... Cab Driver Agent
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Storyline

Three amateurs stickup a Mob protected card game, causing the local criminal economy to collapse. Brad Pitt plays the hitman hired to track them down and restore order. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

In America you're on your own

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for violence, sexual references, pervasive language, and some drug use | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site

Country:

USA

Language:

English

Release Date:

30 November 2012 (USA) See more »

Also Known As:

Cogan's Trade See more »

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Box Office

Budget:

$15,000,000 (estimated)

Opening Weekend USA:

$6,812,900, 2 December 2012

Gross USA:

$15,026,056

Cumulative Worldwide Gross:

$37,930,465
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (rough cut)

Sound Mix:

Dolby Digital | Datasat

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Richard Jenkins's character is never seen standing. He is either sitting in his car or sitting on a bar stool. See more »

Goofs

When Markie is shot by Jackie at the stoplight, the view from inside Markie's car shows the vehicle in park. Yet, somehow, Markie's car rolls out into the intersection in park after he is killed. See more »

Quotes

[last lines]
Barack Obama (on TV): [on TV delivering his election victory speech] ... to reclaim the American dream and reaffirm that fundamental truth that out of many, we are one.
Driver: You hear that line? Line's for you.
Jackie Cogan: Don't make me laugh. We're one people. It's a myth created by Thomas Jefferson.
Driver: Oh, now you're gonna have a go at Jefferson, huh?
Jackie Cogan: My friend, Jefferson's an American saint because he wrote the words, "All men are created equal." Words he clearly didn't believe, since he allowed his own children to live in...
See more »

Connections

Featured in Projector: Killing Them Softly (2012) See more »

Soundtracks

Money (That's What I Want)
Written by Janie Bradford and Berry Gordy
Performed by Barrett Strong
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User Reviews

 
A forceful socio-political commentary
29 November 2012 | by freemantle_ukSee all my reviews

The idea of film being used as a medium for political themes and socio-economic commentary is nothing new, even recently with films such as Wall Street: Money Never Sleeps and Margin Call aiming to tackle the 2008 financial crisis. But few films have been as unsubtle as Killing Them Softly. Set to the backdrop of the 2008 election, the criminal underworld of an American city has been hit by its own financial crisis after a mob poker game is robbed by two criminals (Scoot McNairy and Ben Mendelsohn). With no trades or money being moved, a mob manager (Richard Jenkins) brings in a fixer, Jackie Cogan (Brad Pitt), to solve the situation. But none of his actions brings back confidence, whether right or wrong. Writer/director Andrew Dominik admirably uses a gangster story as a metaphor for the financial crisis, but the handling was atrocious. Dominik has no faith in his audience to draw these connections, and even worse, come away with its own conclusions; he opts to spoon-feed us the cliff notes as we watch. This is most evident with the constant use of speeches by George W. Bush and Barack Obama made at time, enforcing the parallels Dominik wanted to make. There are constant references to terminology used at the time, particularly the theme of bringing back confidence to the world, the theme that public perspective is more important than actual actions and we are reminded that the gangster world's situation is the same as the financial world's one. This forceful approach does not allow us to see a natural story. Killing Them Softly is a very dialogue-driven film that breaks the old cinematic maxim of "show, don't tell." We are told that the mob has turned corporate and that there is a crisis, but we do not get to see it. It would have been more interesting to see mob bosses arguing and coming up with theories and seeing that gangsters were unwilling to make any deals in the midst of the crisis. Killing Them Softly ends up rather dull as a result. There are some moments that show what Dominik is capable of: the robbery scene was filled with tension and things felt like they would actually kick off. Whenever violence was used in general, it was incredibly grim and brutal. There is a highly stylised moment when Cogan commits his first assassination, completely played out in slow motion — a brilliant little sequence. The film hits hardest in these scenes. The big saving grace of Killing Them Softly is the acting. There is a great cast with Pitt, Jenkins and James Gandolfini being the biggest draws. They were committed actors doing the best they could, elevating the dry material provided with excellent delivery and chemistry. Pitt and McNairy played the most likable (and I use that term loosely) characters, and were the most well-drawn and conflicted characters in the film. McNairy was the most human, reacting naturally to his situation, and Pitt is able to be cold-hearted and professional when he acts upon his deadly task. Killing Them Softly is a film that feels its political parallels are enough of a mask for it to be seen as an intelligential masterpiece, but it feels too demeaning to have everything spelled out like that, which was made worse given the story played second fiddle to these political parallels. There was potential for a great film if there was a good re-write, but it ends up being one of biggest disappointments of 2012.


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