Filipe Furtado’s review published on Letterboxd:
Beyond its obvious positions as a "self-portrait of artist as a pimp" what always strike a chord for me the most is the editing. Cassavetes is one of the greatest list obvious editing minds in film, The Killing of a Chinese Bookie is even more impressive because it moves with fatalistic certainty, we know of Cosmo's trap as much as one would about Edward G. Robinson in a Lang movie, yet Cassavetes keeps finds ways to surprise us until hitting that destination. The movie is three long traps, Cosmo falling in bed with the mob, the title hit and how he deals with fallback which often is conduct with precise but lively manner. That makes The Killing of a Chinese Bookie the best of Cassavetes ocasional stabs of imposing his vision into something that ressembles a genre movie. That is also possible because The Killing of Chinese Bookie is a movie about all the labor that goes into art spliting in two, there's Cosmo at the club working the scene while also taking all the pleasure he can at watching Mr. Sophistication going in his latest ersion of "I Can't Give You Anything but Love, Baby" and there's the genre movie around with Cosmo enteglement with the mob anmd all that entails, what's so impressive about it is how Cassavetes view them as impossible to keep apart.