The film revolves around Davey Gordon (Jamie Smith), a 29 year old welterweight New York boxer in the end of his career, and his relationship with a dancer and her violent employer.
Even though the plot isn't amazing the cinematography is. Kubrick is the master. This looks unreal on blu-ray. It's avalible on The Killing criterion blu-ray which is definitely worth picking up as you get both great films.
The only thing I liked about Killer's Kiss were the boxing scenes. Sure, a lot of the visuals were stylish and cool, but they couldn't help how much of a mess the rest of the movie was.
Things I didn't like:
• Ridiculously long and pointless voiceovers
• Too much exposition
• Trite and/or boring dialogue
• Horrible acting
• I can't even remember the story
Contender for least favorite Kubrick film.
Here's why a director should never be his own editor. They can't separate themselves from their material and nothing can go! Killer's Kiss' opening act, the 'climatic' rooftop chase, and a fight featuring a heavy axe, are all so long and drawn out that the 70 minute run time feels like an eternity. Can you imagine what a rooftop chase looks like if you show the entire thing? Pretty riveting...
Killer's Kiss is Noir-with-a-capital-N, full of typical noir elements like the harshest shadows you ever did see, half-closed blinds, and silhouettes, so many silhouettes! Kubrick is sort of painting-by-numbers here including a down-on-his-luck boxer that really isn't relevant to his role in the story and a classic dame that the…
Even this early in his career, Kubrick showed plenty of signs of what was to come. The plot and acting are pretty ordinary, but the cinematography is outstanding. Great lighting, perfect shot composition, and some unique and artistic visual tricks and touches that all work. The mirror scenes, for example, are so perfect, they nearly look CGI.
If it was 1955 and I had just watched this film for the first time, I would tell you to keep an eye on this young film-maker. He's going places.
Killer's Kiss is loopy in a way unique to young directors with very little experience, in this case Stanley Kubrick, loved into existence with elbow grease from fevered hallucinations. That sounds tawdry. It kind of is. Most of these pleas for recognition are, erupted id that sometimes manages to showcase the artist's promise and launch careers. This film succeeded as calling card although I think the general assumption is The Killing is the project that launched Kubrick's career. It's the one that caught Kirk Douglas' attention but I dunno, I think I kind of like this one better. It's crazier.
It's nowhere near as complicated or well put-together, a lean tale of a washed-up pug who falls in love with…
The story is pretty generic film noir fare, but Kubrick's deft touch as a director sets this movie apart from its contemporaries. The film clocks in at just over an hour, and Kubrick makes sure that every minute is overflowing with style.
The writing and performances are terrible throughout, but even here, Kubrick is one hell of a stylist, and the sheer force of the film's imagery makes KILLER'S KISS unforgettable even if it's largely uninvolving on a narrative level.
good, in parts
Succinct noir best known for being Stanley Kubrick's second full-length film. This one stretches a thin plot further than it probably should, but it's worth sticking with just to see the brilliant brawl that takes place in a room full of mannequins.
The dialog and voice-overs are a bit too clunky and overbaked, but the visual aesthetic is already fully formed. The fight scene is the best pre-Raging Bull boxing stuff that I've ever seen and the climactic mannequin factory sequence would be the highlight of many directors' filmographies. New York is the real star of this film and it makes one wish that Kubrick had made at least one more film in the city.
"Her soft mouth was the road to sin-smeared violence!"? What sins are we talking about? Eating ice-cream and committing justifiable homicide? The first half of this is almost perversely inert, leavened only by a few jarring film-school non-requiter close-ups. Things pick up then, and evidence of Kubrick's future genius pop up more and more. The alleyway murder, the very first Kubrick hallway shot, the extended, eerie, score-free fight in the mannequin factory. It has the title and the look of a noir, but the central couple is just too damn wholesome. The worst thing the dame can think to say to the bad guy is "you smell bad."
Awesome noir romance. Early work from Kubrick isn't lacking in his genius.
Killer's Kiss used to be the oldest Kubrick film anyone got to see (until the rerelease last year of Fear and Desire, a film Kubrick had tried to destroy) and so was seen as the starting point of one of our greatest filmmakers. Interestingly viewing it again with Fear and Desire as a new baseline shows how far Kubrick had progressed as a filmmaker in such a short time, and clarifies how his star was rising enough to bag a studio production after this with The Killing, but still this is a good distance from the masterpieces he later created.
He was quoted as saying that he 'didn't know what he wanted, but he knew what he didn't want', which…
I for one really hate using the term "minor Kubrick" unfortunately that's kind of what we have here with his film Killer's Kiss. However "Minor Kubrick" doesn't by any means mean "bad film." No, this film is actually quite good, some of it is even great. True, the story is simple and predictable, but I think the real reason this film is considered minor against the other brilliant films in Kubrick's filmography is the fact that directors and editors should never be the same person. This film clocks in at 67 minuets (not very long) but 67 minutes feels like a very long time when each scene drags out way longer than it should have. The strong suite of the film is of corse it's cinematography which is absolutely amazing. The boxing scene stands out as one of the best of it's kind in cinema; and the chase scene is simply brilliant.
A film from newcomer Stanley Cubrick. Can't say I see much future in movies for this guy.