GOOD KILL is one of those films that owes everything to its headlining actor. Written and directed by Andrew Niccol, the film is highly character-driven and heavy on the solemn, brooding emotional atmosphere. A well-written film, GOOD KILL wears its heart on its sleeve and makes no qualms about its political tendencies, but primarily is carried by its star’s performance.
Ethan Hawke plays Major Thomas Egan, a man resigned to spending the rest of his career in a metal box piloting unmanned drones via remote control joysticks. Egan has a wife and child, but has become distant and isolated within himself as he begins to question the ethics of his military and the morality of his actions under orders.
Niccol directs the film with enough prowess to maintain the viewer’s attention, but the down-trodden mood of the film occasionally takes its tole, leaving the audience wanting a touch of comic relief or adrenaline-refueling action from time to time, a desire never fulfilled. Recall viewing LEAVING LAS VEGAS, but tone it way down and transplant our central character from Sin City to the southwest desert and that’s where the film resides emotionally.
GOOD KILL addresses some very real, very important contemporary issues, even if they do already feel somewhat played out and old news, but the upside and unique twist is that the film focuses on how one man copes and assimilates all this heaviness internally and externally. We see how it affects his career, his family, and even his health. Egan suppresses his feelings, hif anger and remorse, leaving his wife neglected and in the dark as to what he finally does. Once he does finally let her in just a little as to what he does, its proves to be too little too late.
In keeping with a broader genre and thematic trend, Egan has also slipped into alcoholism. While dramatically appropriate and entirely believable, this aspect of Egan’s character generally plays out as cliche and stereotypical. Rather than adding to Egan’s character-development and story progression, the alcohol mainly just serves as visual texture and dramatic noise.
What conveys the emotional impact and harsh reality most clearly is Hawke’s performance. From his subdued vocal projection, his ability to pause and be silent more than is comfortable, his body language and especially his facial emotions and slight little gestures that say so much, this is where the strength of the film emerges. This means its also a film you need to watch attentively, really giving your full attention and mindfulness to Major Egan’s experience.
Supporting Hawke are Zoe Kravitz as Airman Vera Suarez and Bruce Greenwood as Lt. Colonel Jack Johns, his co-pilot and commanding officer, respectfully. Suarez spots the laser while Egan pilots the drone and ultimately pulls the trigger of the missile that will takes lives, all under the often reluctant command of Johns. The three central characters share a common philosophy and concern, but have taken very different paths in how they deal with these complex dilemmas.
Bruce Greenwood is perfectly cast as Egan’s commanding officer, serving as a sort of casual father-figure under the guidelines of the U.S. military. Johns understands Egan’s struggle, even empathizes, but also manages to keep his reactions and emotions in check, at least for a while. Kravitz, on the other hand, plays her part with reasonable confidence but ultimately I fear serves as marginally more than eye candy against a typically more male-driven culture. With that said, January Jones serves up a far more dramatically appropriate feminine role in Egan’s little slice of Hell as their relationship slows fizzles out and then ends with a bang, as does Egan’s career once all things have gone too far.
GOOD KILL, referring ironically to the military jargon used to confirm a successful missile strike, often feel artificial while the characters are at work in the glorified metal trailers from which they pilot the drones, but during these times in the over-sized sardine cans, we see tensions rising within Egan’s psyche and how its ripping him apart from the inside out when he leaves the box and spirals dangerously near oblivion in the real world. Fortunately, GOOD KILL does not end on an entirely negative note and we can feel even just a tad hopeful, courtesy of an optimistic open ending.
Overall Rating: 3 out of 5 stars
