«The Kill Room» - Movie Review by Kinoafisha

In the criminal world, everything goes as usual, and criminal magnates carry out their dirty dealings. The brutal killer Reggie suffocates enemies of the criminal business in plastic bags. His eccentric bosses point out those who need to be taken care of. And one of them, an African-American named Gordon with a thick gray beard, comes up with the perfect money laundering scheme. It involves Reggie himself and a struggling gallery owner who indulges in banned stimulants and hasn't been able to sell a single painting for a long time.

Gordon's plan is as follows: the hired killer does his job and paints artworks, while the clients pay for his services with checks for large sums of money, which are issued by the art dealer, who naturally takes a percentage from the deals. For the artist-debutante nicknamed "The Bagman," the money is substantial, but on the other hand, prices for art objects are often astronomical. So, from a financial point of view, everything is transparent. And Patrice, the gallery owner, doesn't know what her newfound partners in crime are involved in, but she doesn't mind straightening out her own affairs. Everything goes well until the killer suddenly becomes an avant-garde sensation in the art world, attracting the attention of prominent collectors and the famous critic, The Kimono.

"The Kill Room," a criminal tragicomedy by Nicole Peon, who directed "Thanksgiving Day," has already garnered significant attention during its production. The reason behind this is that the stars of "Pulp Fiction," Uma Thurman and Samuel L. Jackson, have once again acted together, 19 years after Quentin Tarantino's "Kill Bill" duology, where Thurman took the lead role and Jackson had a cameo. Additionally, Maya Hawke, a successful actress and daughter of Uma and Ethan Hawke (they are now called "non-babies"), finally appears in a film alongside her mother. Her character, Grace, is a neurotic artist whose works are exhibited at Patrice's gallery but unfortunately fail to sell. The filmmakers "bet" on a star-studded cast, and they didn't go wrong.

Between Thurman and L. Jackson in the film, there are special warm relations that do not detract from the impressions of their portrayal of unfamiliar people from different worlds. The screen time they spend together, exchanging jokes and clever plans, seems incredibly touching, reminiscent of their previous collaborations. And of course, Nicole Paon achieves this association by once again inviting both of them into the criminal world. When Uma's character inhales the powder, one involuntarily recalls the iconic scene from "Pulp Fiction". The hitman played by Joe Manganiello, who wants to break free from his killer past, is a nod to Jules Samuel, who has already portrayed many killers and finally rose to the role of boss. Even with his comical, seemingly fake, beard, and cooking whites in his bakery.

This is the masterpiece that will go for a high price to the most dangerous criminals on the "Red File" list—politicians, arms dealers, businessmen that not even the gangsters can kill, although they really want to. "The Kill Room" slaps the face of modern society and shows how in our world even criminal schemes become art objects and murder turns into art. This criminal comedy reveals the inner workings of galleries, focusing on its darkest side, with the help of vibrant characters. In addition to Patrice, the dependent and cynical art dealer, there are other gallery owners who boast about their criminal clients or jealously demean their colleagues. Collectors gather works of art based solely on famous names. And in general, they are usually involved in some illegal business. And the artists get angry and throw tantrums if their paintings are sold.

Of course, "The Kill Room" is not the film that revolutionizes world cinema, like "Pulp Fiction" did in its time. But this performance captivates, evoking a range of emotions—from nostalgia and joy to fear and desperation. And it seems that this is enough for the audience to overlook the minor flaws in the plot.