When cast in the right role, which is rarely, Matthew McConaughey can be an electrifying onscreen presence. His breakthrough bit in 1993’s Dazed and Confused is one of those times; Killer Joe is another. He stars as the titular Texas full-time cop and freelance hit man in The Exorcist director William Friedkin’s second unconventional collaboration with screenwriter Tracy Letts (Bug), both adapted from Letts’ own stage plays.

Joe Cooper’s latest assignment comes from a low-life piece of trailer trash named Chris Smith (Speed Racer‘s Emile Hirsch), who hires Joe to kill his mother so he can pay off his debts with the “huge” $50,000 life insurance payout. The problem is Joe requires his $25K fee in advance, which Chris obviously doesn’t have. However, Joe is willing to waive his “no exceptions” rule in exchange for a retainer: specifically, Chris’ little sister, Dottie (Juno Temple, The Dark Knight Rises), a virgin who thinks killing their mom is “a good idea.”

Things don’t go as planned. Hell, things don’t go in any direction viewers would anticipate, giving the hick flick a coat of disturbia as thick as the Texas heat. Unease and discomfort saturate this twisted tale, and McConaughey is the unlikely vessel for its evil, as “menacing” is not one of the adjectives I’d readily affix to his name.

Likely to offend more people than it will seduce, Killer Joe at least makes its sick, inbred nature clear from scene one, as it hits you right in the face, somewhat literally, with the pubic thatch of Showgirls vet Gina Gershon. That’s kids’ stuff compared to the elongated final scene, in which McConaughey makes novel use of a food item that may have you swear off KFC for life. (Not for nothing is the redneck thriller rated NC-17.) Those still around will be thrown a polarizing, over-the-top ending that’ll have you hooting or cursing. I did the former. —Rod Lott

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Long derided for ripping off Alfred Hitchcock, Brian De Palma instead entered the new millennium with an erotic thriller that looks like he’s ripping off Brian De Palma ripping off Alfred Hitchcock. I generally love the guy, but Femme Fatale is one of his worst pervo-mysterioso efforts (but not at bad as the utterly flaccid The Black Dahlia).

Rebecca Romjin (then using her brief “-Stamos” tag) stars as a double-crossing diamond thief who escapes her Parisian partners by assuming the identity of a dead woman. As that ruse starts to unravel, she attempts to use disgraced paparazzi photographer Nicolas Bardo (Antonio Banderas, Desperado) to protect herself and make off with millions of dollars.

The plot is overly complex for a script so simple-minded, and seems to exist only for the clever, it-all-comes-together ending, rendered in De Palma’s usual slow-motion style. It’s a set piece that, like Fatale‘s opening bathroom seduction at the Cannes Film Festival, is the kind of thing that De Palma does so damned well. It’s everything in between that he does not so well, and as writer and director, he has no one to blame but himself.

Romjin actually acquits herself quite admirably and manages to bare her breasts. She gets a lot more dialogue than she did as blue-skinned seductress Mystique in the X-Men franchise; unfortunately, a lot of that dialogue is along the lines of “You don’t have to lick my ass — just fuck me!” —Rod Lott

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Dressing down a pesky journalist in the first scene of 10 to Midnight, Charles Bronson’s Lt. Leo Kessler proclaims, “I’m a mean, selfish son of a bitch. And I know you want a story, but I want a killer, and what I want comes first!” I felt like cheering right then and there, and the title hadn’t yet appeared onscreen. The serial-killer police thriller comes from Bronson’s underrated ’80s run with Cannon Films and his fourth of nine collaborations with Conquest of the Planet of the Apes director J. Lee Thompson.

In this film’s case, the murderer is Warren (Gene Davis, The Hitcher), a young, creepy guy in a Members Only jacket who fixes typewriters for the office secretarial pool. He fancies himself quite the martial artist and ladies’ man. He’s definitely not the latter, because he gets rejected all the time, but gets his revenge by stabbing his busty jilters to death.

Examining the corpse of Warren’s latest victim, Kessler theorizes, “Well, if anybody does something like this, his knife has gotta be his penis.” Indeed, Warren’s M.O. is stripping nude before each and every kill, holding a sharp blade at genital height, all rapey-like. As Kessler inches closer to nabbing the scumball, said scumball targets the copper’s daughter (Lisa Eilbacher, Beverly Hills Cop), a student nurse — convenient for a cinematic massacre’s sake.

What makes 10 to Midnight great is not just Bronson being Bronson, but that his Kessler is deeply flawed. He’s not a supercop, but an imperfect man more interested in doing what’s right vs. what’s legal, which irks his idealistic, by-the-book partner Andrew Stevens (The Seduction). It’s also as if a slasher movie focused not on the Final Girl, but the investigating police detective, and Davis is absolutely hateful in his robotic-perv role.

Look for short bits by Kelly Preston in her movie debut and an artificial vagina. —Rod Lott

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The UK thriller Eden Lake enjoys the fortune of having cast two leads just prior to their big breakouts: Kelly Reilly (Mrs. Watson of Guy Ritchie’s Sherlock Holmes franchise) and Michael Fassbender (Inglourious Basterds). She’s Jenny, a preschool teacher with a radiant smile and bad hairdo; he’s Steve, her slick boyfriend taking her away for a romantic weekend of camping, during which he intends to pop The Question.

He takes her to the picturesque Eden Lake, a beautiful beach surrounded by miles of forest, soon to be leveled to make way for executive homes. While sunning in their swimwear, they encounter the worst kind of hoodlums: asshole teenagers. There’s six of them, animal abusers all. Their bad behavior escalates from purposely playing their music too loud and leaving dog droppings behind to puncturing Steve’s back tire and later stealing his car.

And that’s just child’s play compared to the horrors these attention-starved demon kids have in store for the couple. Needless to say, Eden Lake plays like Deliverance with villains cast from juvie hall, and you wish that our heroes would Hulk out and kick in their teeth. When Steve and Jenny get separated, we wonder what might save their hides: her child-psych training or his knocking the teens senseless with his python-esque penis?

Neither. Jenny’s forced into Wrathful Ginger mode, rendering her as much as an animal as her predators, and you’ll be glued to her every step, whether she’s walking or running. She and Fassbender and excellent actors, so the film is not some garden-variety genre trash, even if its setup sounds so familiar. Writer/director James Watkins (The Woman in Black) wasn’t about to let it be average, as the work is not only taut, but plays for keeps. Even a viewer as jaded as I had to wince a couple of times. That’s high praise. —Rod Lott

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Road to Perdition novelist Max Allan Collins’ signature hit-man character of Quarry blasts his way onto the big screen in The Last Lullaby. But debuting director Jeffrey Goodman’s little film isn’t quite the pulpy bag of sex and violence from the books and short stories. Abound in atmosphere, this Lullaby is a low-key, low-budget crime thriller that plays for mood, not mayhem. In doing so, the whole thing sneaks up on you, subverting your expectations, digging under your skin and having genuine staying power.

Tom Sizemore (Heat) plays Quarry — here named Price — a former freelance assassin who lives a lonely, empty life. One night, he happens upon a young woman (Sprague Grayden, Paranormal Activity 2) being held hostage inside a shack of a house in the country. One “holy shit!” moment later, Price saves her. She wrongly assumes he’s been sent by her big-shot father (Bill Smitrovich, Eagle Eye), who is so grateful for his daughter’s return that the jogging-suited papa offers Price a job — the temporary kind.

Price is not interested; he’s recently retired from the killing game. But $1 million is tough to turn down. His target: Sarah (Sasha Alexander, TV’s NCIS), a nonthreatening librarian. Why would someone so mild-mannered have a price on her pretty little head? Price is intrigued enough not to off her right away, just to find out.

The movie’s biggest detriment going in turns out to be one of its greatest assets: Sizemore. Given his tabloid antics of recent years that have made him known more for his public life than his performances, no one ever says, “I can’t wait to see Tom Sizemore’s next!” Through his own fault, it’s easy to forget how good of an actor he can be, yet within just the first few minutes, all the media-circus baggage that surrounds him just melts away. Alexander nearly matches him, and their last scene together — the film’s final shot, incidentally — gave me chills. Goodman does a great job with limited funds, managing suspense while also purposely maintaining a walking pace — a nice antidote to the usual, pedal-to-the-metal approach of the thriller genre. —Rod Lott

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