Suicide Kings Reviews
It's surprisingly good. Starts off maybe a bit silly and random, but gets better and better as it goes on. The twists at the end are completely unpredictable, but there are so many twists it does become a little bit ridiculous. However, very surprising.
Great cast, of stars and stars-to-be: Christopher Walken, Dennis Leary, Jay Mohr, Sean Patrick Flannery. Christopher Walken brings his usual brooding intensity, Dennis Leary the humour and wisecracks (apparently many of his lines were ad libbed) and Jay Mohr the insanity. Also includes Johnny Galecki, long before he was famous for Big Bang Theory.
I enjoyed the cast in this film, especially Jay Mohr and Patrick Flannery, but the plot is a little jumbled, and the flashbacks that take place throughout the film are pretty silly.
The movie centers around a group of rich college grads who kidnap a mob boss in order to get one of the guys sisters back.
It doesn't make a lot of sense so you automatically know something else is going on, and it's an inside job.
While the sounds nice the execution is muddled a little bit. The film needed more Walken and less silliness.
Whenever he is featured like I said at the beginning the film is definitely at its best.
The potential of this film was there but the execution...possibly the film itself not knowing what direction it wanted to go in, is its downfall.
"Tarantinoesque (adj) - referring to or reminiscent of the work of the
American film-maker and actor Quentin Tarantino (born 1963), known for
the violence and wit of his films." --Collins English Dictionary
Tarantino never set foot in a film school. He might not even have taken
TV Media in high school. But... he started writing, directing and
acting--and he still changed the genre. With "Reservoir Dogs," he was
established. With "Pulp Fiction," he was God.
Hollywood is like high school. When one does something that really gets
popular, it sparks... the trend. And all the others follow suit--
following the leader like cult lemmings. And in film, influence can be
essential. Or just sad and embarrassing. Tarantino inspired many--a lot
of particular imitators. Some good. And... as for this one?
"SUICIDE KINGS" dares to spin a yarn of a quartet of wealthy privileged
youngsters who dream up... and then try the most desperate and daring
of schemes--they abduct an ex-Wiseguy.
The reformed mobster is on his way home one night after an invigorating
evening out. There's an ambush, he's attacked. He comes to... only to
find himself bound-and-gagged in a chair somewhere. What the hell's
A hostage film. A mob-crime flick. And also eventually... kind of
mystery "whodunnit?" thriller, the plot twists and turns--especially in
the last quarter of the picture.
Just a bunch of boys having fun. Bein' boys--not unlike "Reservoir
Dogs", "Pulp Fiction" and "Django Unchained."
"The Godfather in question" finds in a cabin somewhere surrounded by
rich collegiate in nice suits who seem to fancy themselves their own
independent Mafioso. He sees red--on someone's shirt, as it's covered
in the Goodfella's blood. The whole plan goes as wrong as we'd expect
and the spoiler Richie's panic--and then these dumb rich silver spoons
all turn on each other.
There's a bit where they cut off the mobster's finger (remember the
cop's ear in "Reservoir Dogs"?) The mob is infamous for this. There's a
moment where two henchman talks about his shoes--White Nikes, Bruno
Mackie's and Stingray Boots, (the discussion of Big Macs and McDonald's
in Holland vs. America), these kidnappers are all in fine suits
(Tarantino's henchman always were too).
The standard big-heist/kidnapping/robbery/caper genre picture has been
a staple of cinema since before movies could speak. And in the '30's,
the genre reached its zenith.
"SUICIDE KINGS" boasts one of those casts that we'd expect from the
latest Tarantino picture. Christopher Walken, Laura Harris, Jeremy
Sisto, Brad Garrett, Jay Mohr, Johnny Galecki, Sean Patrick Flanery,
Henry Thomas, Laura San Giacomo and Dennis Leary.
OK, not quite the highest-of-profile names for the most part. But
still, everyone does a worthwhile job. Only Walken, Leary and Galecki
only really stand-out.
Christopher Walken confirms the belief that any scene he's in--just
flat-out works. Even when the screenplay gives him the most ludicrous
insights: "But I come from out there, and everybody out there knows,
everybody lies: cops lie, newspapers lie, parent's lying'. The one
thing you can count on - word on the street... yeah, that's solid."
Uh-huh. That's why so many schoolyard and water-cooler rumors are
considered holy fact.
Denis Leary has the most fun in his role doing what I suppose can best
be described as "the quintessential Denis Leary role." He's "Denis
Leary in the mob." Ranting about his wife and his expensive footwear.
Doing a good deed and then bring down his usual Biblical wrath.
Galecki is kind of fun as the rich worrywart nebbish whose family owns
the place and seems a lot more concerned with mud being tracked on the
floor, what happening to his father's favorite chair than the fact that
a mobster is bound and he know everyone's name
All the other actors--they get a passing grade, but they don't quite
And at times, "SUICIDE KINGS" is like that--hit-and-miss.
The whole abduction is so badly planned out--the movie itself even
takes notice of this. Throughout the movie, Walken's character repeated
says to his captors: "You guys didn't think this through too good, did
you?" Anyone with a handful of working brain cells will be thinking the
same thing. I kind of wanted to ask the filmmakers this. The amount of
obvious mistakes these guys make. Oh, they're clearly not
These guys kidnap a man with mob connections. They let him know who
they are. They introduce themselves to him at the beginning. Really get
to know each other. Of course they have to get to know each other, take
their walls down and open up... it's integrate to films like these for
male bonding--or rather, character development.
You'd think they would have blindfolded him, or be masked themselves.
They drop their names. Surely they don't honestly believe they're going
to get away with this. And then, is there really a possibility that...
how Walken attempts to get out of this... or they do. Even in a god-
dammed movie, it all feels unbelievably ....
The movie's screenwriters Josh McKinney, Gina Goldman and Wayne Allen
Rice take Don Stanford's original short story "The Hostage" from and
heavily "Quentin Tarantino-ize it." Some thought they paid homage real
proper. Some thought all this seems like something at best he might
have in the bottom of his drawer--and forgot about forever.
The scribes here don't seem to have quite that golden ear. Though
It's not quite tin....
Director Peter O' Fallon has real flair and style. He certainly films
this thing with a lot of energy to spare. The kind we've seen best
in... well, you know where.
Heist/kidnapping movies that deal with "inside jobs" just gotta have
that moment where the ship's going down in flame and the rats all turn
on each other.
There's even the plot development where they all turn on each other,
trying to find out who the traitor is, the mole feeding the cops the
info is--remember the last act of "Reservoir Dogs"? Where all of the
criminals go nuts, pull out their guns and...
"SUICIDE KINGS" is nice, fun and disposable. The most memorable thing
about it is Walken taped down in a chair. And that's only of the best
ways to get Waken.The filmmakers know that.
In the end, most of it is forgettable. Kind of fun (especially the
comic stuff), but no, really nothing especially special. No must-see
classic. Well, what do you expect from a designer impostor Tarantino?
I agree--a little too much (and I mean from beginning to end) is
recycled from Tarantino. Except I don't think Q.T. himself ever
And Tarantino himself admits to being a big-time movie imitator--one of
the very best there ever was. But when he plagiarizes, he knows damn
well how to make it feel fresh. He steals from the best of the old
school. But he has that golden ear, that Beethoven savant.
" SUICIDE KINGS" is still worth a look for a slow night. Better than a
lot of the merde being crapped out of Hollywood's big uncreative anus.
"Suicide Kings" doesn't beat the house and take the pot, but like
poker, it's not a bad way to spend a slow night with your friends.
Oh come on, people. It's obvious why they're trying to make designer-
impostor Quentin Tarantino. Hollywood is like high school. Show them
something most'll get into and watch the trend spark. Before you know
Audiences are just like that--more of the same until they get really
sick of it. Couldn't the real criminals here--the culpable
screenwriters Josh McKinney, Gina Goldman and Wayne Allan Rice have
maybe given this just one more re-write? Or honestly, maybe a few.
Should've gotten an expert team of script doctors. Quentin got his
personal style by stealing from a lot of different sources. The mistake
here--they're just taking directly from Quentin.
But director O' Fallon gives a lot of wild-child style and so does
everyone else involved.
I have to say... it is fun. It is a lot a fun. But it is kind of
disposable. Better than the average throwaway movie you watch to fill
or kill the time on a slow Tuesday night for a buck from Redbox.
The picture does have a nice mood and atmosphere--Designer Imposter
Tarantino or not.
And in the end... Well... Yeah, it's true. This is all pretty
unbelievable. The ending however, is inevitable. And makes all the
sense in the world.
It's funny how this movie bombed when it first came out. Maybe cause
1997 was the year of "Titanic," "L.A. Confidential," "Good Will
Hunting" and "The Ice Storm." And a real Tarantino film--"Jackie
From "Reservoir Dogs" to "Pulp Fiction." Hey, if the writers and
director had waited a little later, they could have pilfered a little
from Quentin's "Jackie Brown" which came out later that year around
Christmas. It is a real Hell of a wild ride, Tarantino-esque or not.
Like Doug Liman's "Go."
See, for me--The Suicide Kings seems more like Jon Favreau's "Swingers"
than the Reservoir Dogs. Hey, maybe that was another source of
Walken sees how nervous they all are (who wouldn't be?) and attempts to
get them to turn on each other. Seeing as it's a typical hostage
situation with the victim being tied to a chair--he tries the usual of
divide-and-conquer. "There's an inside guy. A mole," he tells them.
"But who?" When they do finally start playing poker, Walken reads them
You might have to see it more than once to really get it all straight.
Take notes, if you have to. Not to give anything away at all, but just
to close it all on this one poetic line: "Sometimes the ends really do
justify the means. Or at least define the meaning of the words 'karma'
--Having Really Enjoyed It, Dane Youssef