terrible... so disappointed.

Don't listen to the Hype. It's awful

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

As a cynical take on British gangster movies, this film is highly successful.(***Slight Spoilers!***)Is it unrealistic? Absolutely. One striking thing about this film is that there are absolutely no bystanders to be seen anywhere. Every single person you see on screen, even in the metropolitan areas, is either a part of the action or a victim of the violence. This movie is entirely "extraless". Deserted subway stations, empty streets, and guestless hotel lobbies are the rule. Hotel guests don't complain about gunfire in the hotel, but they do complain about noisy plumbing when a couple cell phones are flushed down the toilet. And the idea of a hit-woman (who would want to be low-profile and unmemorable) who is strikingly beautiful, dressed like a "Matrix" reject, and who speaks absolutely no English even though she has to carry out a hit in England, does not require further comment.Does it have any significant backstory or character development? No...absolutely not. You take the characters as you get them. They are cartoons.Does it demonstrate any moral judgment? Don't worry...nothing challenging in this department either.So why is it worth seeing?Well, it is a fairly pure movie in that it has few pretensions other than to mock certain film conventions. There are some deft touches, including several at the end of the movie. The final shot, with the hit-woman "disappearing" over an extended period, is rather memorable, even if pure film-school.In summary, I have wasted time on supposedly better crime movies (like "The Road to Perdition")and actually enjoyed this film. If you have a chance to see this relatively short and unpretentious movie, I think that you should.

Anyone who thinks this movie sucks obviously doesn't get it's deeply cynical and highly entertaining take on the British Gangster film (not to mention american and other european) This is a satirical commentary on Greed, Guns and Sex. Full of ultra-violent gun play our heroin is neither sympathetic nor anti-heroic she merely is. An enigmatic dominant female who isn't going to allow bumbling roughs and sinister masterminds get the better of her. Like Leon (The Professional) she is motivated by payment the intrigues and politics between the waring factions are not her concern. However, she knows how to handle herself. Of course she needs to win out in the end over the dirty deeds of the hired thugs, the dirty cops and the twisted king-pin. In a film filled with nothing but bad-guys shouldn't the woman with the gun and the lack of concern be the winner? I came, I saw, I kicked it's ass then I got paid and went home.

It makes quite a welcomed change to see a 'gangster' film that isn't completely ridden with tacky cockney (or 'mockney') accents and the obligatory cliches that come with this.It seems that too many have commented on this film for being unrealistic to an extent. The fact that the killer is a hired assassin should allude to the fact that she should be totally unscrupulous in what she does and how she does it. Actress Kendra Torgan employs minimal acting which helps to create a nice air of enigma about herself, and man; she's as hard as nails! She makes a great femme fatale and she is the sort of person who knows just what to do and how to do it: no quibbles, no fuss. She is the true essence of what an assassin should be.The film works equally well as a black sort of comedy, yet in a rather harrowing sense. To joke about somedoby who has a bullet through their forehead is a classic example of this. The violence portrayed is rather intense and there is no particular lack of bloodshed. The inclusion of a classy score (containing, amongst others, 'Portishead') is also a nice touch. The story does work rather well...it's not one of the most ingenious ever but it is cleverly composed and does tend to make you pause and think what is going on - this, for me, is always a good thing. The 'masturbation' scene is a good example of this. It is, to quote my title, 'clever'. Just because the film isn't overly complex doesn't mean to say that it is weak in anyway whatsoever. To couple this, it is a stylishly directed piece containing some good, appropriate cinematography; it helps to coincide with the overall ambience of the film itself. It is decidedly slick and polished. To close, this is a decent British film. It is somewhat of a shame that it never really received the attention that it duly deserves. Perhaps there are still others who are yet to hear it. My advice: try it. For me it provided a great deal more entertainment and 'grit' than any Guy Ritchie film ever could. Hopefully with time, and slightly more attention, this may gain the title of being a 'cult' film.

Ever since films like Trainspotting and Pulp Fiction, novice filmmakers everywhere have made attempts at creating unnecessary conversational dialog that isn't paramount to the movement of the story. That is my biggest complaint about Killing Time. Characters who spend most of their (and mine) time chatting about a subject we couldn't care less about. Nalluri's direction of action sequences was slow and completely lacked suspense, ripped straight from Luc Besson. The only thing this film has going for it is its lead actress, Kendra Torgen. Extremely beautiful with her icy blue eyes that conveyed no mercy. Hopefully we'll see her again. But her talent is wasted. She's given nothing to do. No good assassin would use a victim as target practice, and let a bell-hop in when she knows he'll have to die if he sees what's going on. And why did she have one gun with a silencer and one without? Luckily, I rented this mess on $.99 cent Sunday at my video store. But still, I could've had a bag of Doritos instead.