# Suicide Kings (1997)

### reviewed by
James Berardinelli

    SUICIDE KINGS

    A Film Review by James Berardinelli

    RATING: *** OUT OF ****

    United States, 1997
    U.S. Release Date: 4/17/98 (limited)
    Running Length: 1:47
    MPAA Classification: R (Extreme and frequent profanity, brief nudity,
    drug use, violence)
    Theatrical Aspect Ratio: 1.85:1

Cast: Christopher Walken, Denis Leary, Jay Mohr, Henry Thomas, Sean Patrick Flanery, Jeremy Sisto, Johnny Galecki, Laura Harris, Nina Siemaszko, Laura San Giacomo Director: Peter O'Fallon Producers: Wayne Rice, Morrie Eisenman Screenplay: Josh McKinney, Gina Goldman, Wayne Rice based on the short story "The Hostage" by Don Stanford Cinematography: Christopher Baffa Music: Graeme Revell U.S. Distributor: Live Entertainment

Ever since PULP FICTION blazed its way into the spotlight in 1994, countless films have attempted to re-capture the heady mix of violence, snappy dialogue, and dark comedy that Quentin Tarantino tapped into. Thus far, it has proven to be a difficult brew to distill, as countless lackluster attempts have proven. SUICIDE KINGS, from first-time feature director Peter O'Fallon, is one of the few motion pictures to come close. And, while the narrative is a little too erratic to ascend to the PULP FICTION level, the tone and style are on target. For those who aren't offended by extreme profanity and violence, SUICIDE KINGS offers a kinetic and surprisingly funny two hours.

Once upon a time, in another life, Charlie Bennett (played by the always-delightful Christopher Walken) went by the name of Carlo Bartolucci. Under that identity, as the head of the New York City Mafia, he was one of the most feared men in America. But times change, and Charlie has gone legit. Now, he's just an average, tax-paying businessman. His wits have grown dull and he lets down his guard too easily -- as he discovers when he makes the mistake of trusting a group of apparently-harmless, rich, college-age kids that he meets at his regular restaurant. They are Brett (Jay Mohr), Avery (Henry Thomas), Max (Sean Patrick Flanery), and T.K. (Jeremy Sisto) -- and their goal is to kidnap Charlie and hold him hostage. But, although the former organized crime kingpin nearly foils the attempt, he is eventually subdued and drugged. When he awakens, he finds himself tied to a chair inside a New Jersey mansion, and notices that his captors have cut off one of his fingers.

Charlie is quickly informed why he has been snatched. Apparently, Avery's sister, Lisa (Laura Harris), is the victim of an unrelated kidnapping, and the men holding her are demanding a $2 million ransom. Avery and his friends have decided that Charlie is an important enough underworld figure that he can use his old connections to free Lisa. And, not willing to leave anything to chance, they decide that force is the most viable form of persuasion. However, while Charlie may be out of practice, he's no dummy, and, as the tension mounts, he plays his captors off against each other, widening fissures in their relationships. Meanwhile, his faithful henchman, Lono Vecchio (Denis Leary), is closing in on the place where his boss is being held.

If you can get past some of the film's basic setup implausibilities, SUICIDE KINGS is a lot of fun. It's more of a dark comedy than anything else, and several scenes are borderline-hilarious. The film is somewhat less successful in its attempt to develop a mystery (which of Charlie's captors, if any, is in on Lisa's kidnapping?) -- there are a few unnecessary red herrings and at least one plot twist too many. Nevertheless, this is just one facet of a clever and involving storyline, and the real meat of the movie is the verbal chess match between Charlie and the others, who treat him with mixture of fear and awe. The dialogue is well-written and director O'Fallon brings an element of tension to the quirky atmosphere. With all of the guns, knives, needles, and frayed nerves, it's difficult to guess what's going to happen next.

I also enjoyed the subplot featuring Denis Leary, who plays the most Tarantino-esque character in the film, a hitman who wears $1500 shoes and offers a homeless person $500 to better himself. His interaction with his sidekick is reminiscent of the Travolta/Jackson exchanges in PULP FICTION, only here the subject matter is shoes, not burgers. There's also an odd-but-effective scene in which Vecchio chastens a man with a penchant for beating up women.

Given his track record, it should come as no surprise that Walken steals the movie. While the role of Charlie isn't new territory for the veteran actor, there are a few twists, since he's essentially the "good guy" here (at least in as much as an ex-mobster can be a "good guy"). In one of his most impressive outings in recent years, Walken never goes over the top -- for him, this is a subdued portrayal, but it's fully of dry, self-deprecating wit and subtle menace. Charlie is constantly joking with his captors, but none of them forgets how truly dangerous he is, and what the consequences could be if he gets free. The other bravura performance belongs to Denis Leary, who was born to play a part like this with this sort of clipped, rapid-fire dialogue. It suits him perfectly, and, while Vecchio is far from a well-developed character, he's always a pleasure to watch.

The actors playing the young captors are less charismatic, and their characters are not as interesting. The best of the bunch is Jay Mohr (the rival agent in JERRY MAGUIRE), who radiates hubris and contempt. Sean Patrick Flanery (POWDER) gives a pleasantly relaxed and unforced turn as the most laid-back of the group. I was not, however, all that impressed with either Henry Thomas (E.T.'s friend, who grew up to be in LEGENDS OF THE FALL) or Jeremy Sisto (CLUELESS). Both are lackluster, although, in Thomas' case, he's playing an introvert. Comic relief is effectively provided by Johnny Galecki as Ira, the unwitting fifth kidnapper, who becomes involved because his friends are using his parents' house. ("Who tracked mud across the floor??")

SUICIDE KINGS is a promising beginning to director Peter O'Fallon's big-screen career. It isn't a perfect motion picture, but there's enough here to earn an enthusiastic recommendation for those who enjoy this genre. While the approach isn't new, the style is invigorating and the storyline boasts at least a few original ideas. The result is a deliciously demented comedy/thriller that will leave Tarantino fans applauding.

    Copyright 1998 James Berardinelli

    - James Berardinelli
    e-mail: berardin@mail.cybernex.net

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