Based on the evidence that one scene in “The Kill” climaxes with the improbable sight of a bee scooting across the camera lens, I’m willing to bet director Gary Graver is not a fan of second takes.
There is further representation to support this theory: actors crack up in the middle of scenes, dialogue is repeatedly flubbed (even in the narration!) and there is an overall sense that most of the film’s participants are merely marking time between real gigs.
“The Kill” is one of the strangest movies I’ve ever been tasked to describe. It’s kind of a crime thriller and kind of a sexploitation movie, but there is a jokey vibe to even its most vital sequences so I’m not entirely sure what the hell to make of it.
The story is not as consequential as the movie would lead you to believe. Basically, it’s about a trio of vile, suit-wearing heroin smugglers who rape a young woman named Antoinette, who then involves a private investigator by offering herself up as payment even though she has just been gangbanged by said thugs ten minutes prior.
From there, the audience is treated to a barrage of similar leaps in logic, so long as whatever is happening ends with Antoinette or one of the other three women in the film dropping trou and throwing themselves at whichever dude happens to be in the same scene.
The movie is bad but, given the arbitrary bits of unpredictable randomness — the dialogue is often good for a WTF giggle, and the hunchback janitor was an offbeat touch — it’s certainly never boring.
Swedish exploitation maven Uschi Digard also makes a breast-centric cameo. The whole scene feels tacked-on but, given the circumstances, it’s important to find respite whenever you can.
Rated: Not rated, but contains violence, nudity and bad language
Director: Gary Graver
Starring: Antoinette Maynard, Walt Phillips
★ (out of ★★★★)
Categories: Superfly Seventies