Review: ESSENTIAL KILLING - Solid & Thrilling Cross-Country Chase Thriller
rating: 4
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(Rob's Venice review re-posted as film is released in the U.K. this week) Three American contractors walk through the Afghanistan desert. They're healthy-looking, tanned and wearing sunglasses. They engage in light-hearted banter as they investigate a system of caves, backed up by helicopter support. It could be an episode of Generation Kill, or The Hurt Locker. The camera is objective, even detached. Then we cut to a disorientated, breathless, first-person view of a man running. He's running to avoid the soldiers we have seen. Soon, we are taken back to the soldiers: still laid back and cool. It is clear that, to them, this hunt is routine: a job. For the other guy it is survival, and killing is an essential part of life. Alerted to his presence by a sudden noise, the Americans pursue the man into a small cave cut into the desert rock. Hyper-ventilating and gripped with extreme fear, the man let's fire an RPG - instantly blowing the Americans (our would-be heroes) to pieces. Welcome to Essential Killing, a film by award winning Polish director Jerzy Skolimowski (The Shout, Four Nights With Anna), which played in competition today in Venice. As you've probably gathered, it is the story of a man on the run. The Fugitive for the post 9-11 generation, if you will. Vincent Gallo stars as Mohammed, the Afghan detained after that opening encounter, and taken to a Guantanamo-style prison camp. After facing torture and interrogation in the prison, Mohammed is transported to an unspecified part of Eastern Europe (filmed in snowy parts of Norway and Poland), where he is able to make a daring escape after his transport rolls off the icy road and down a hill. What follows is a cross-country chase, as Mohammed must evade capture at any cost. Essential Killing is about survival and if Mohammed must take a few lives on the way, then so be it. There is nothing noble or heroic about our protagonist, as he does some very disturbing things, though the film doesn't judge him either.