The Killer’s Game, directed by J. J. Perry (Day Shift) and written by James Coyne and Simon Kinberg, follows the story of Joe Flood, an elite assassin played by Dave Bautista. When Joe receives a terminal diagnosis, his life is turned upside down. Faced with the prospect of his own mortality, he decides to take control in an unusual way: by putting a price on his own head. However, he discovers that the roles of the diagnosis have been switched, and Joe now has to deal with several other assassins who are not only after his head but also his ex-girlfriend Maize, played by Sofia Boutella.
One of the most striking aspects of The Killer’s Game, and not in a good way, is the use of fake blood, something we might even notice in promotional material for the film. In several scenes, the blood, which should add realism and impact, looks more like reddish jelly, with such an artificial texture that it distracts the viewer from what is happening on screen. The contrast between the expectation of visceral action and the reality of unconvincing visual effects is quite striking. In a sequence where blood should be a crucial element to intensify the tension and brutality of the scene, it ends up looking like an element of low-budget set design, undermining the impact of scenes that are already not good.
The Killer’s Game is sunk by terrible editing that severely compromises the experience of the movie. If the movie were a book, the shoddy editing would be like a manuscript with torn pages and blurred text, a flaw that not only interrupts the narrative but also leaves the viewer disoriented and frustrated. Right from the start, it’s clear that the editing is an absolute disaster. The transitions between scenes are abrupt and uncoordinated, giving the impression that the film was hastily put together by someone who didn’t have the patience or skill to create a cohesive narrative. In several parts, the scenes seem randomly cut, as if the editor had thrown pieces of film into a mixer and pressed “play” without worrying about continuity or fluidity. It’s hard to believe that the director himself had the courage to see the final product, given the level of sloppiness visible in the editing. It seems that the final version was released without proper revision and polishing, as if the film had been sent straight to the final cut without a critical eye.
In addition, the soundtrack is well integrated into the rhythm of the movie, something that contrasts markedly with the chaotic editing. The music is used strategically, helping to maintain rhythm and coherence where the editing fails to do so. This is especially visible in the action scenes, where the music not only reinforces the intensity but also helps to compensate for the lack of fluidity in the editing.
The Killer’s Game tries to be like Bullet Train in placing various characters/assassins with different styles and personalities in the hope of creating a rich and dynamic plot. However, the attempt to emulate the success of Bullet Train turns out to be an endeavor that falls apart spectacularly. If Bullet Train is a well-rehearsed orchestra of eccentric characters and fighting styles, The Killer’s Game is more like an out-of-tune band that can’t play in harmony. The film features a series of quirky assassins, including a dancer with combat skills choreographed to music played in his ear called El Botas, played by Marko Zaror. Joe’s fight scene against El Botas turns out to be the only truly memorable combat and action scene in the film, as the rest of the action scenes are simple and just splash blood on the screen for some reason.
One of the other characters/assassins in The Killer’s Game turns out to be a pair of brothers, portrayed as half-crazed killers, who try to inject a dose of humor into the film. The scenes with the pair of brothers end up being more confusing than funny, with a dynamic that seems more forced than amusing. The attempt to create characters with extravagant personalities results in a series of moments that are more irritating than endearing, contributing to a general feeling of disorganization.
Terry Crews is also in the movie, as Lovedahl is one of the few aspects that have the potential to shine. His imposing presence and physical strength should add a layer of menace to the movie, but even his robust performance can’t save the narrative from flawed execution. Instead of being a solid pillar in the plot, Lovedahl becomes a piece that stands out in an inharmonious way in a poorly assembled puzzle.
Dave Bautista and Sofia Boutella are another extremely positive point in the movie. Bautista manages to convey some funny scenes and also manages to pull off several action scenes very well, along with Boutella who ends up being a great love match for Joe as the plot progresses.
The Killer’s Game fits perfectly into the mold of the generic action movies that flood the Netflix catalog every month. With a failed attempt to create something memorable and distinctive, the movie becomes just another addition to the long list of productions that try to capture the magic of an action blockbuster without hitting the mark. It’s an example of how, even with an interesting idea and a talented cast, execution can turn promising potential into yet another throwaway entertainment product.
The Killer’s Game releases in theaters on September 13.
