Kill List | Telescope Film
Kill List

Kill List

Critic Rating

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Nearly a year after a botched job, a hitman takes a new assignment with the promise of a big payoff for three killings. What starts off as an easy task soon unravels, sending the killer into the heart of darkness.

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What are critics saying?

100

Boxoffice Magazine

Kill List is a major breakthrough for writer/director Ben Wheatley, whose assured and painstaking handling of this difficult material makes for an unforgettable viewing experience.

100

Boxoffice Magazine by Todd Gilchrist

Kill List is a major breakthrough for writer/director Ben Wheatley, whose assured and painstaking handling of this difficult material makes for an unforgettable viewing experience.

88

Miami Herald by René Rodríguez

One of the scariest films I've seen in ages, although I cannot in all honesty explain exactly what the movie is about.

80

Village Voice

Brutal and bloody and utterly unnerving, thanks in no small measure to Jim Williams's brilliant score, which is filled with strings so taut, they sound like screams you might hear in the distance and decide (quite sensibly) to ignore.

80

Variety

Displaying both a nasty edge and a playful sense of humor -- but thankfully, never at the same time -- Brit import Kill List is several cuts above its fellow midbudget horror brethren.

80

The Hollywood Reporter

Director-screenwriter Ben Wheatley brings a fresh mystery and bite to the hitman genre, although a deeply weird twist and buckets of gore may throw more than a few audience members.

80

Time Out by Joshua Rothkopf

There's still tremendous vitality here, and Wheatley's avoidance of yet another Guy Ritchie gabfest is a pleasure in itself.

80

New York Magazine (Vulture) by David Edelstein

The final twist is both baffling and repulsive, but as an evocation of the triumph of evil, it's peerless.

80

Salon by Andrew O'Hehir

There's no disputing the ingenuity and even the brilliance of this mind-bending mashup, which begins as a gritty recession-era marriage drama - the opening scene features a couple arguing about whether they have the money to get the Jacuzzi fixed - and then descends into ominous violence and finally total insanity.

80

Los Angeles Times by Betsy Sharkey

This is a far more brutal film than Wheatley's first, 2009's "Down Terrace." Though it had crime at its center as well, it was balanced by a dry irony and far less blood. There is no offset in Kill List, with one scene so relentless in its gore that it makes the notorious elevator scene in "Drive" pale in comparison.

80

Village Voice by Chuck Wilson

Brutal and bloody and utterly unnerving, thanks in no small measure to Jim Williams's brilliant score, which is filled with strings so taut, they sound like screams you might hear in the distance and decide (quite sensibly) to ignore.

80

Variety by Andrew Barker

Displaying both a nasty edge and a playful sense of humor -- but thankfully, never at the same time -- Brit import Kill List is several cuts above its fellow midbudget horror brethren.

80

The Hollywood Reporter by John DeFore

Director-screenwriter Ben Wheatley brings a fresh mystery and bite to the hitman genre, although a deeply weird twist and buckets of gore may throw more than a few audience members.

75

The A.V. Club

While the sum of Kill List comes across as less than its parts, it offers some strikingly nightmarish imagery and a feel that's reminiscent of an earlier, grittier era, yet at times sharply contemporary.

75

The A.V. Club by Alison Willmore

While the sum of Kill List comes across as less than its parts, it offers some strikingly nightmarish imagery and a feel that's reminiscent of an earlier, grittier era, yet at times sharply contemporary.

55

Movieline by Stephanie Zacharek

Wheatley drops enough unnerving bread crumbs in the first two-thirds to leave you wondering where the hell he's headed, and even the big finale should be satisfying enough: It just belongs to a different movie, and it's unsettling in a way that doesn't feel earned.

38

Slant Magazine

It's a road movie of sorts, like the Steve Coogan/Bob Brydon comedy The Trip, only with fewer expert impressions and more inept executions, but lovely scenery just the same.

20

New York Daily News by Joe Neumaier

It would be easy to say that the final minutes of this mixed-up thriller make everything before it meaningless, but that would indicate the odd conclusion has meaning, too.