Killerman Movie Ending Explained (In Detail)

Spoilers Alert:

Liam Hemsworth is desperately trying to make the action thriller KILLERMAN (2019) to carry on his shoulders. But he can’t get past the tired script or the unsightly aesthetics, which make the project look not like a movie, but like a found video tape long before the found footage days. We reveal more about this in our review.

What secret lies behind Moe’s past?

The plot summary

Moe Diamond (Liam Hemsworth) works as a money launderer for drug boss Perico (Zlatko Buric). He, along with Perico’s nephew Skunk (Emory Cohen), trades dollars for gold bars and gold bars for diamonds. When a deal is postponed at short notice following a warning from an FBI mole, Moe and Skunk plan a bold coup on their own account – with the godfather’s money! But during the spectacular chase, a disastrous crash occurs. Moe is able to free himself from the wreckage with difficulty, but he has lost his memory. Even his pregnant girlfriend Lola (Diane Guerrero) seems like a stranger. Moe and Skunk not only have the corrupt FBI agent Bill O’Donnell (John Cenatiempo) breathing down their necks, but the mafiosi Perico is also extremely angry about his nephew’s solo approach. Soon events take over and Moe sees red. A campaign of revenge of an extremely sophisticated kind begins.

Killerman Movie Meaning & ending

Hollywood has made every effort to hype Liam Hemsworth as the new big superstar. A big role in a popular teen franchise (“The Hunger Games”) , later the big leap into adult cinema with appearances in “The Expendables 2” and “Independence Day: Return.” But in contrast to his brother Chris, Liam has less so far caused a stir through acting than through her (admittedly scandal-free) marriage to singer and Disney star Miley Cyrus. Nevertheless, the young Hemsworth offspring stays on the ball and in “Killerman” is now trying his hand at being separated from a large ensemble and instead in a literally dirty one-man show in the underworld of New York City. Apart from the fact that Hemsworth doesn’t really deliver the great character actor number here, he works well as a man without memory driven by insecurity and anger and looking for his past – after all, this role doesn’t demand more of him than with a clueless expression on his face and turns back into anger, running through the streets and threatening shady guys. Malik Bader’s (“Street Thief”) directing and screenplay work will nevertheless quickly be forgotten; if only because she looks ugly.

Moe Diamond (Liam Hemsworth) tries to find out where he comes from in New York’s underworld.

“Killerman” opens by showing us the (anti)hero Moe Diamond at work. This not only gives the audience the opportunity to take a close look at how money laundering works, but also to get a feel for how hackneyed and natural this form of making money has become for Moe. Moe Diamond is a tough, hardened guy, and it’s no surprise that he’s planning to pull off an even bigger coup on his own. But while you can get a good idea, especially in the early stages, of how responsibilities are distributed in this shady New York milieu and who has the say over whom, the characters of Moe and his accomplice Skunk remain underexposed. For a story in which we later go on a search for the main character’s past alongside him, this is all quite sobering, because why should you root for anyone when you know so little about Moe? that you’re not really interested in the further progression of the plot anyway? Malik Bader, who for the first time in his filmmaking career is equally responsible for the screenplay and direction, instead tries to do the thriller basics, stumbles from dive bar to dive bar, conjures up shady fellows out of a hat, stages (at least quite bloody) shootouts and chases and builds one at the same time Twist, which you can guess from a long way off if you’ve seen any thriller before.

The remaining characters are only marginalized by Hemsworth because they have much less to do than Moe Diamond. Emory Cohen (“The Gambler”) , as Moe’s accomplice Skunk, is content with the status of sidekick, while Moe’s girlfriend Lola (Diane Guerrero, “Orange is the New Black” ) only appears briefly to show that Moe actually exists has a girlfriend. The crime bosses and crooks shown here all correspond to the common clichés that one imagines when one imagines the model villains in American thrillers. It’s not really exciting, let alone innovative. What makes Malik Bader stand out from the genre monotony is the violence. Rated 18+, the shootouts and man-on-man fights in “Killerman” really hurt, although due to the imprecise camera work by Ken Seng (“Deadpool”) you see far less than you would like could. This is supposed to reflect something like immediacy – here you are up close and personal when two men beat the shit out of each other. But ultimately everything here is just as meaningful (or weak) as with a “Jason Bourne” .

Which brings us to the biggest flaw in “Killerman,” which makes the film even unenjoyable at times. The found footage subgenre in particular has made the visual trend towards imperfection socially acceptable in the horror and thriller sector. Since “Blair Witch Project”, but at the latest the “Paranormal Activity” films and their numerous copycats, glossy images on the screen are no longer necessary to stir up goosebumps; on the contrary. The shaky handheld camera images are often particularly suitable for establishing close proximity to the actors in the film. This is exactly how Malik Bader must have imagined it when he commissioned Ken Seng to dress his “Killerman” in the most shabby images possible – except that here it looks as if we were being shown a poorly filmed copy (the one in these The film images embedded in the report should be meaningful enough). This actually gives a really good insight into how dirty and absurd things can sometimes be in the New York underworld. However, the look does not contribute anything positive to the viewing experience. And so “Killerman” is not only boring, expressionless and empty of content, but also pretty ugly.

Conclusion: Without any sense of aesthetics, director Malik Bader merely regurgitates genre clichés in his thriller “Killerman”. In the end, this is probably only for hardcore Liam Hemsworth fans, because he can be seen in almost every scene here.

“Killerman” can be seen in USA cinemas from August 8th.

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