Sample
Coverage: (Cont'd):
Thrill of the Kill /
Page 5
COMMENTS (Second Page)
The author adeptly changes
the point-of-view, creating suspense by delaying the disclosure
of the identity of "the watcher," and uses the
point-of-view device also as a "plotpoint initiator"
since, as an identity of the watcher is revealed, we narrow
our own sights in regards to possible suspects. All the
bases are covered in regards to screenplay craftsmanship:
scene causality, heightening of pace and tension, the paying
off of setups (which are cleverly disguised), well-placed
mental flashes (the author inserting some with such brevity
that a subliminal effect is produced), an adeptly-camouflaged
dream sequence (which plays double duty as a hidden harbinger
of what is to come), tight match-cuts and effective voice
and sound scene-bridges, off-camera sightings. Red herrings
abound, keeping us disoriented just enough to make it difficult
to pinpoint the killer. The author masterfully places the
protagonist in a situation where she doesn't know what direction
the next threat will come from, keeping her (and us) anxious.
The denouement unquestionably brings the tale to a definitive
conclusion, providing us an emotional emancipation (although
we recognize that justice in regards to the storyline was
not fully served, being that it is not shown why the protagonist
deserved such a horrifying experience). The general picturesque
milieu works well as a counterpoint to the wickedness which
is operating within it, including fall being an appropriate
season for the narrative. Some of the writing is not perfectly
clear (especially concerning location denotation), manifesting
in some awkwardness, which hampers the flow of the piece.
Characters are represented as realistic players, displaying
conflicting emotions and strong aspirations. The protagonist,
Kelly, is a resolute, contemporary female with a wide spectrum
of emotions, allowing us to relate to her in many ways,
a woman who courageously triumphs on her own (without the
assistance of any man). Graydon is a fascinating villain
whose charming yet understated and wry personality-facet
wins us over before we know it (to the point that we find
ourselves considering him a good match for Kelly!), and
the calculating, despicable predatory side of him makes
our blood run cold, prompting us to genuinely have mixed
feelings about this obviously perverted soul whose ingenuity
we can't help but admire while we abhor his depravity. Our
hearts go out to Hank, a love-struck mercurial Lenny (Of
Mice and Men) who embodies our protective feelings towards
Kelly and whose unchecked, adoring nature becomes his Achille's
heel. Senator Shoemaker is believable as a self-absorbed
politician who could cross the scruples line far enough
to effect a murder.
Dialogue is trenchant, often being employed to establish
pervasive intrigue, to exhibit nuance, character's motivations,
and is well-suited to each individual. The opening voiceover
sets the inauspicious tone straightaway (although its message
is cryptic to the point of untoward confusion).
Graydon, in his writer's persona, speaks as a cloaked Greek
chorus to us, indirectly telling us what he is planning
to do. The sinuous and frisky exchanges between Kelly and
her friend, Linda, are very "Sex in the City"-ish.
Kelly's brash words in the face of danger and authority
are estimable and endear us more to her, but her sporadic
crude ones turn us off just as quickly. Graydon's verbalizations
highlight his supposed unassuming, compassionate, and droll
disposition as much as they expose his deadly, degenerate,
authentic one.
"Thrill of the Kill" is aptly titled, drawing
us who are oblivious into the disturbed mind and world of
a cunning clinician of death, the grist for a thriller aficionado's
mill.
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