The Killer Inside Me

Director: Michael Winterbottom
Cast: Casey Affleck, Jessica Alba, Elias Koteas, Kate Hudson and Simon Baker
Releasing in cinemas: 26 August 2010
Rated: MA15+

In Michael Winterbottom’s new film, we revisit No Country for Old Men territory, even if it lacks that magic touch and clever scripting of the Coen Brothers. That’s not to say The Killer Inside Me isn’t a gripping noir thriller with effective direction of suspense, providing another psycho on the loose in the Texan plains making Anton Chigurh (Javier Bardem from No Country) look positively like Father Xmas.

Set in a small Texas town in the 1950s, the nasty sociopath here is mildly spoken deputy sheriff Lou Ford (Casey Affleck). He’s asked by his boss, the alcoholic Sheriff Bob Maples (Tom Bower), to have words with local good-time girl Joyce (Jessica Alba) who lives a few miles out of town. The power behind the scenes is corrupt developer Chester Conway (Ned Beatty), who’s concerned his son Elmer (Jay R. Ferguson) has been playing up with the hooker.

Instead of a stern talking-to, our polite cop Lou starts a sadomasochistic affair with the sensual Joyce, despite being the lover of school teacher Amy (Kate Hudson). In an elongated scene of sadistic passion, Lou beats Joyce to death; setting in motion a thwarted investigation which will claim its own share of vicious murders.

Dark clouds gather leading to a convoluted resolution, adding into the mix a suspicious homeless guy (Brent Briscoe), a menacing labor official (Elias Koteas), and a determined criminal investigator, Hendricks (Simon Baker). The body count increases by the reel.

Directed by Michael Winterbottom of the romantic Genova and dramatic A Mighty Heart, the film is based on the 50's pulp fiction novel by Jim Thompson. Unfortunately, the film regurgitates the simplistic attitude of pulp fiction towards sociopaths and female sexual behaviour.

In the movie the women are most aroused by much bottom whacking. Hence we have Lou apologizing when he first hits Joyce across the face in a temper. Joyce seductively comes back with the line “Don’t say you’re sorry” and they get down to some rough sex. Lou’s attitude to women is marginally explained in flashback, weirdly suggesting his mother encouraged him to slap her backside too.

In a central stunning performance of violence with menace, Casey Affleck (The Assassination of Jesse James by the Coward Robert Ford) has carved his name deeply in the rock of sadistic Hollywood whack jobs. Affleck’s high-pitched mumbled Southern drawl has creepy menace, and his polite boyish ‘butter wouldn’t melt in his mouth’ appearance belies the evil within, reflected only in his eyes.

The lovely Jessica Alba (The Eye) has her features pounded to butcher’s meat in a sequence so vicious a few people gave it a miss. Aussie Simon Baker (The Mentalist - TV) manages a decent Southern accent as the brains of the investigation, while other players take their parts seriously in the spirit of Noir.

Always a competent director, Winterbottom takes no prisoners with the deviant sexual and violent aspects of the story. You’re hooked and compelled to follow the plot though its various dark phases - interesting how you can accept as ‘entertainment’ the screen’s most bloodthirsty acts.

Perhaps this is inherited from our ancestors (following the lead of ancient Rome and the cruel gladiator events) who attended public executions for the horrible thrill of the thing. Recently we witnessed The Stoning of Soraya M with its own shocking and bloody climax.

Excellent TV series like The Shield and Breaking Bad depend on frequent bashings, shootings, even torture to titillate their audience. This is totally different to the ‘comic strip’ violence of action movies such as The Expendables, so over-the-top as to verge on the ridiculous.

Realistically treated through acting and direction, The Killer Inside Me contains sadistic scenes which will distress some viewers. You may ponder its effect on unstable people. Yet there’s little doubt of the box office appeal of the genre, offering visceral thrills without pain.

Filmed with considerable impact, Winterbottom’s excursion to the dark side picks you up, unsettles you, and carries you along the way. There’s a touch of that other Michael - Haneke. The end title appears in script of the 50s, in keeping with the excellent representation of that period throughout the film. The Killer Inside Me is a confronting piece of Film Noir, but not for the feint hearted.

John Bale