Summer, season of sun, beaches, Olympic Games, legislative elections and gros fours au box-office. And Deadpool & Wolverine ($1.2 billion in worldwide revenue) allowed Marvel to return to success, the releases of Borderlands ($31 million) and The Crow (21 million) allowed Lionsgate accountants to have a good cry. An investment from Kleenex shared with Roadside Attractions pour Boy Kills World whose American career has above all Kills Boy with 2.6 million.
But because there is always a chance that the film was misunderstood, because it had managed to pique our curiosity with its offbeat style and its promise of big potatoes – if you have read our review of Kill you know we like that, and because Bill Skarsgård’s abs were one of the only things we saved from The Crowwe jumped at the chance of its release on Prime Video in France to form our own opinion on Boy Kills World.
Within a dystopian societythe Van Der Koy family rules with an iron fist, annually eliminating its opponents during a show called ” The Carnage “After extreme training with a Shaman, Boy, a deaf-mute young man who survived the murder of his mother and sister years earlier by the matriarch, decides it is time to exact his revenge.
Jawbreaker
If there is one word that perfectly defines Boy Kills Worldthis is it. The footage is a real pain in the neck in every sense of the word. First of all, because if the ” World ” of the title is a bit exaggerated as it does not reach the level of killing of other flagships of the genre, The film is nonetheless brutal. when Boy Bill lets violence speak. The filmmaker surrounded himself with David Szatarski, second unit director and fight choreographer who has already worked on the diptych Kingsman or Black Widowto deliver tough clashes to us.
Whether it’s Mohr or the screenwriters Tyler Burton Smith and Arend Remmers, all of these people come from the music video and video game world – Smith having notably worked on Sleeping Dogs – and it cannot be said that these influences are not felt on screen. The entire artistic direction was thought of as a video game with its corridor levels and its final bosses. From June 27’s (Jessica Rothe) message helmet to a finishing move that is reminiscent of a contextual action during a cutscene, without forgetting the hero’s imagination which is inspired by an arcade terminal, Boys Kills World is as much a declaration of love to video game art as Edgar Wright’s Scott Pilgrim could be.
A letter of intent that allows each sequence to be renewed, whether in terms of sets or objects used to slaughter extras. Weapons factory, kitchen (better use of a cheese grater), TV set… Stages that the main protagonist must go through in order to accomplish his mission. A stylistic effect that will go as far as providing him with an inventory in human form during a short sequence.
From then on, we easily understand that the Boy’s handicaps are not so much a plot goal as to allow us to slip into the skin of this player character. with a very cool voice! ». The often abrupt cutting of transitions being only a pseudo-vision of a loading time. Besides, the action does its job, the digital blood flows freely with some very gory scenes to its credit. A uninhibited violenceassumed in the middle of a scenario that eats at all the troughs, of The Raid has Hunger Games.
A playful flood of hemoglobin that often gets tangled up in its own idea. Because if it has the merit of existing, it is nonetheless crudely accomplished and often without any particular talent. Never as crazy as it could be, the film is often too stupid to think about one’s own balance, as if a group of friends had wanted to please themselves by thinking sequence by sequence without a vision of the whole.
An interesting concept can quickly become boring because it is used excessively. The concrete example is the voice-over of the Boy, embodied by H. Jon Benjamin, whose appearance highlights a breath of fresh air before being begged to be quiet a few minutes later, in the midst of her incessant chatter.
Boy Kills notre patience
The film is a pile of pieces that rarely fit together; disjointed in its rhythm, forcing its humor more present than it seems, changing style between two action sceneswith a view to avoiding repetition, but not frustration, Boy Kills World blows hot and cold for two hours. Second degree for thirty minutes, before becoming incredibly serious, then buffoonish again… He has a way of blowing up our expectations and making us want to have another go as much as we want the ordeal to end.
A hysteria that is not collective even in its casting, where the actor involved rubs shoulders with the one who has come openly to collect his check. Each one seems to play in a film diametrically opposed to that of his comrade. We have the feeling that Boy Kills World was born from a desire to realize a desire, a madness without limits, even if it means frankly insulting his own scenario by not bothering to give any interest or a real explanation to the majority of the elements put in place like the Boy’s handicap, which is as useless as possible.
The emotion is manufactured, the twists and turns are predictable and all the actors have nothing to play. And the most incredible thing is that everyone seems to be aware of it. Boy Kills World is the fruit of a night of too much alcohol and drugs with a hint of burnout. Not everything is clearly good to take, but between two or three shots of 90 proof spirits, we find some delirium that makes us smile.
Source: www.journaldugeek.com
