‘They Turned Us Into Killers’ Review” Turns a Simple Premise Into an Overcomplicated Mess
Tyler Doupe'
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Writer/director Thomas Walton’s rape-revenge thriller They Turned Us Into Killers seems to be coming from the right place. I get the impression Walton is trying to tell a story of those affected by sexual assault reclaiming their sense of self and turning the tables on bad people. It’s a noble goal. With that said, the film doesn’t work on every level. In fact, it falls short in several different categories. Despite a talented cast, the acting is frequently challenging, the script is unpolished, and the narrative is needlessly complex. Sadly, the film’s flaws keep it from ever reaching the point of being immersive.
The setup sees Karma’s (Lauren Francesca) boyfriend B.J. (Bryce Draper) introducing her to hard drugs. Once Karma is rendered helpless, B.J. proceeds to sexually assault her. That traumatic ordeal sets Karma off on a collision course that ultimately finds her committing suicide. Following Karma’s death, her best friend, Star (Scout Taylor-Compton), sets out to avenge Karma and make those who hurt her pay for their crimes.
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Perhaps my biggest challenge with They Turned Us Into Killers is that some of the creative decisions are nothing short of perplexing. In one scene, Karma sits in her bedroom and scoops up a serving of drugs with a hunting knife as she rocks back and forth, looking mildly catatonic. The entire ordeal is melodramatic and unnatural. In another scene, Karma takes a bump of the white, powdery substance she and B.J. are so fond of, slams it against her nose, and doesn’t even appear to ingest anything. Most of the powder ends up on her face. It’s hard to get past that stuff. And there is a lot to get past. Every sequence where a character is under the influence of any illicit substance feels like it would fit into a PSA on drug abuse filmed by middle school students.
The bizarre creative choices continue throughout the picture. In another scene, Star has an intended victim tied up and is seemingly moments away from ending his life. However, the severity of the situation is never effectively established because the actor playing the victim is pleading with her with the level of enthusiasm one might muster to ask for a stick of gum. Sequences like that took me out of the moment time and again.
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The pleading sequence is immediately followed by Star singing a song that goes like this: “We’re the Millers. You turned us into killers.” That sequence feels like it belongs in a different film entirely. Unfortunately, that song recurs multiple times throughout the film. And it feels every bit as out of place each time it appears.
Also troublesome is the way the picture overcomplicates what should be a straightforward narrative. Star teams up with a man named Zion (Brian Anthony Wilson), who has similar ties to the family that hurt Karma. His involvement with the revenge spree makes the proceedings feel convoluted. The setup would have worked better if the narrative had focused solely on Star avenging the death of Karma. But it does not. In addition to Star teaming up with Zion, we also see the proceedings chronicled through the perspective of the police detectives trying to solve the case. Decisions like that broaden the scope too much. If the film was a whodunnit, I could see the justification for bringing in more characters. But this isn’t a whodunnit. We know who did it.
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Further frustrating is the way Zion recounts past events to his father to get the necessary plot details out there for the viewer. The entire scene reads as nothing more than an exposition dump. It doesn’t come across as natural or conversational at all. It’s as if we watched Zion take a ride share to the asylum where his father lives to recount his story for the sole benefit of the audience. Much of what he’s saying doesn’t need to be recounted because he and his father are both aware of much of what he’s saying.
Criticisms aside, I give writer/director Thomas Walton credit for taking a restrained approach to the depiction of sexual assault. He doesn’t fall into the trap of trying to convince the audience that intimate partner violence is traumatic by making us sit through a stomach-churning depiction. Instead, he wisely recognizes that one need not convince anyone that water is wet.
All in all, I get the impression that Walton’s heart was in the right place. And I think that’s commendable. But the execution leaves much to be desired. If you’re curious to check the film out, you can now find it on Blu-ray, DVD, and Digital.
Summary
In spite of a talented cast, this film just doesn’t connect.
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