THE KILLING FLOOR
US, 2007, 94 minutes, Colour.
Marc Blucas, Shiri Appleby, Reiko Aylesworth, John Bedford Lloyd.
Directed by Gideon Raff.
The Killing Floor is a murder mystery, a stalking film, a film with a twist – but for aficionados the villain may be very obvious.
The film is about a literary agent, an arrogant man, demanding on his secretary who moves into an expensive penthouse. He has neglected to read his secretary’s manuscript – and, as the end reveals, he should have because she details the whole plot she has to destroy him, employing some out-of-work actors who take the part of police inspectors and heirs to the apartment. Which means that the film is rather farfetched. However, there is certain dynamism as the literary agent collapses emotionally and in fear, confronts the mystery, and is dismayed, finally, to read the manuscript and find out how he has been tortured and tricked.
1. A satisfying thriller, murder mystery, stalking film?
2. The affluent New York settings, the offices for the literary agent, his expensive penthouse, the streets, the neighbourhoods of New York City? The apartment itself? The musical score and atmosphere?
3. The title, the reference to the penthouse, to the murder set-up and the false photos?
4. David Lamont, his skills, business sense, arrogance? At meetings, with the board? His treatment of Rebecca and her adulation? Offhand, grim? His meeting Audrey, the come-on, the relationship? Audiences suspicious of her? His chasing the man while jogging – and the encounter with Audrey? His work, the visit of Thurber, the visit of Soll, the mystery about the apartment, his details research, the stories of crimes? Receiving the photos of the bloodstained floor? His growing paranoia, panic? Communication with Soll? The phone call, following Thurber? The murder of Thurber and the accusations, the knife? Soll and the confrontation? Their physical fights? Finding Audrey dead? Looking at the tape, seeing the reflection in the window? Going to the apartment, finding the equipment, finding Rebecca? Relying on her for information? The sexual encounter with her, her declaration of love? His return, the meetings, the manuscript, reading the truth about Rebecca and her plan?
5. Rebecca, the mousey secretary, in love? Her manuscript? The advice to write a story about writing a story? Her spying, the elaborate set-up, employing the actors, the murders? The final revelation?
6. Soll, as a policeman, credible? Confrontations with David, the fights, his death? Thurber as an actor?
7. The background of the social life, wealth, affluence, writers? Horror stories? Apartments and socials?
8. The credibility of the story, farfetched, psychologically accurate or not? The destruction of David Lamont?
