Lovesusti The Worst Film Ever

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

SanEat A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

Michael Daniels Why on earth anyone would rate this as a good movie I have no idea! It is totally a miss-mash of nonsense strung together by a poor script, over acting amateurs and lack of any kind of verisimilitude. French are great film makers, but when it comes to this genre it just doesn't work. Their language is just too flowery and sensitive to inspire any kind of terror or menace. Then it seems that the director of this farce had the brilliant idea of capitalising on this obvious fact by having all the bank robber parade around flicking their hair back and wearing ballerina masks! No doubt he was inspired to uses characters that resemble the cast of a Frankie Goes to Hollywood video. He must have also been inspired by the movie "Trainspotting", since this theme dominates the first half of the film after which the transformation occurs and they all turn into effeminate bank robbers lacking any real plan or direction. Their only motivation in this drivel seems to be to kill as many innocent people as possible. This has got to be one of the worst movies ever made!

SnoopyStyle Zed (Eric Stoltz) arrives in Paris, goes to a hotel room and has sex with call-girl Zoe (Julie Delpy). His lowlife friend Eric (Jean-Hugues Anglade) pulls Zoe out of the shower and throws her out of the room naked. Eric is the leader and Zed is the safecracker. Their group goes to rob a bank where Zoe happens to be a worker. Zed is shocked that people are getting killed right from the start and the job goes wrong.Coming out at around the same time, this was overshadowed by Pulp Fiction. It certainly isn't as well-written or well-constructed. Zed is a slacker-type and isn't a compelling lead character. His druggie self is low-energy and isn't that interesting. The first act with Julie Delpy is memorable but the middle is completely forgettable. The bank robbery regains some interest.

gavin6942 Zed (Eric Stoltz) has only just arrived in the beautiful Paris and already he is up to no good. Having just slept with a call girl (Julie Delpy), he spends a night on the town with his dangerous friends. They all decide to rob a bank the following day. There is only one problem: Zed's call-girl, Zoe, just happens to work at the bank which is to be robbed! I believe this film comes from the same guy who wrote "Pulp Fiction", and the similarities are evident. Although the first half is a strange romance-turned-heist, the film gets increasingly violent as it carries on. This is very much the same style as "Pulp Fiction". (Both also feature Eric Stoltz.) Julie Delpy is interesting here. Although she is more or less reduced to a secondary character, it is interesting how she was something of the "it girl" as far as French women in American movies were concerned. She was not the first or the last, but it seems that at any given time there is always one French actress who is the standard for appearing in American films.

ombret What an atrocity. I am not one to demand total verisimilitude from a movie, but the plot and screenplay of "Killing Zoe" are so artless that I found myself wincing through the entire (mercifully short) ninety minutes of the film.Readers of these reviews will by now have figured out the plot: Zoe, a call girl who falls in love with American safecracker Zed, is also an employee at the bank that Zed will help rob in a high-stakes Bastille Day heist.The film strains one's credibility from the get-go. Zed and Zoe's night of magic is highly prosaic, and Zoe's claims to have experienced the orgasm of a lifetime would seem to reflect the screenwriter's lingering teenage fantasies more than any actual on-screen chemistry. Zed's complete indifference when his friend Eric throws Zoe out of the hotel room hardly sets the stage for their later strong attachment.In act two, Eric's band of bohemians--drug-addled losers leading a marginal life of petty crime--prepare for their big heist with a night on the town. Here Roger Avary's main goal seems to be to prove that he knows something about drugs. A secondary thread involves convincing us (by endless repetition) that Eric is really, REALLY glad to see his old friend Zed again. Really glad. Eric's devil-may-care, over-the-top flamboyance and affection for Zed isn't even remotely believable--check out, for example, his phony bemusement at discovering a dead cat in his apartment building. Development of the characters who will accompany us through the rest of the film is an afterthought.The heist is a disaster--understandable, since the plan is laughable and the criminals are complete amateurs. This is where Avary continues to pay tribute to his idol Quentin Tarantino by showing that he can be more violent than violent. In reality, though, he's just more boring than boring. To build up the excitement, there is an extra security guard hidden inside the main safe. This was boring in video games, and it's boring now.Zoe is taken hostage during the heist but despite our expectation that she'll play a pivotal role, she just sits pretty. Or more precisely, Avary fails to do anything with her. In literally the last five minutes she springs to life, breaks the hostage situation and saves the grateful, but still dazed Zed from suffering any consequences of his crime. Why she doesn't mind his involvement in the crime--or why she gives a damn about him at all--is impossible to tell. After all, she's had no chance to see that he's any more decent than the rest of the gang.Throughout, the dialogue is stilted and phony. Much of it is in French. As a native speaker, I can certify that it doesn't ring even remotely true. Eric's sugary-sweet discourse, rapidly alternating with tough-guy boasting, is meant to be at turns charming and scary, but is instead just grating. Meanwhile his scaredy-cat accomplices are more Scooby-Doo than Thomas Crown. When Eric is gunned down in a ludicrous example of excessive force, we can all breathe a sigh of relief: like the bank hostages, we will soon be freed from this miserable ordeal.