About the film (courtesy of Roadside Attractions):
Bill Skarsgård stars as “Boy” who vows revenge after his family is murdered by Hilda Van Der Koy (Janssen), the deranged matriarch of a corrupt post-apocalyptic dynasty that left the boy orphaned, deaf and voiceless. Driven by his inner voice, one which he co-opted from his favorite childhood video game, Boy trains with a mysterious shaman (Ruhian) to become an instrument of death and is set loose on the eve of the annual culling of dissidents. Bedlam ensues as Boy commits bloody martial arts mayhem, inciting a wrath of carnage and blood-letting. As he tries to get his bearings in this delirious realm, Boy soon falls in with a desperate resistance group, all the while bickering with the apparent ghost of his rebellious little sister.
Boy Kills World isn’t just a movie; it’s a full-bodied sensory experience. From the opening moments, the film grabs you by the throat, thrusting you into the mind of the titular Boy (Bill Skarsgård), a deaf-mute assassin on a relentless quest for vengeance. Think The Hunger Games meets Kill Bill meets Everything Everywhere All at Once. That’s what this madness is like, well if you sprinkle it with LSD and cocaine.
Director Moritz Mohr crafts a world that is equal parts stylized nightmare and grim, post-apocalyptic reality. Every frame is a hyper-colored feast for the eyes. The jarring transitions, unconventional cinematography, and video game-inspired imagery make this film as visually distinct as it is relentlessly brutal. And the inner monologue voice, thanks to the forever brilliant and entertaining H. Jon Benjamin, is the absolute icing on the cake. It’s no coincidence that both television shows Archer and Bob’s Burgers have been around for 14 seasons each with Benjamin’s vocal chords bearing the majority of the weight.
Skarsgård gives a career-defining performance. Though devoid of spoken dialogue, he communicates Boy’s feral intensity and the remnants of his lost innocence through raw physicality. His eyes blaze with equal parts fury and vulnerability, making Boy a curiously sympathetic figure despite his relentless violence.
The world Mohr creates is inhabited by outlandish and grotesque characters. Famke Janssen shines as the Van Der Koy matriarch, radiating a chilling malice beneath her elegant facade. Yayan Ruhian is equally mesmerizing as the enigmatic shaman who mentors Boy, each gesture laced with mysticism and menace. Other actors that assist in making this whole madness pop are Michelle Dockery, Brett Gelman, Jessica Rothe, Andrew Koji, Isaiah Mustafa and Sharlto Copley. It takes a village to convincingly build this type of insanity.
The action sequences are where Boy Kills World takes things to the next level. They’re a dizzying combination of kinetic energy, brutal choreography, and surreal flourishes. Every punch, kick, and gunshot feels like a visceral shock, leaving you breathless and exhilarated. You might be very well exhausted after fully consuming this 115 minute rip-roaring attraction.
However, the film’s extreme violence and stylistic excess may be divisive for some viewers. The story also sometimes falters under the weight of its audacious visuals. The dialogue can become overly philosophical, and some plot threads feel underdeveloped. For these reasons, Boy Kills World will not resonate in a positive way for everyone.
What sets Boy Kills World apart from other action-driven narratives is its exploration of trauma and imagination. Boy isn’t merely a killing machine; his fractured internal world becomes the film’s most compelling battlefield. Dreams and reality blur, forcing the viewer to question whether what they’re seeing is real or a figment of Boy’s fractured mind.
Boy Kills World is a bold declaration from a filmmaker with a singular vision. It’s visually arresting, emotionally resonant, and relentlessly entertaining. While it won’t be for everyone, those who are open to the film’s unrestrained, surreal experience will be rewarded with a cinematic assault on the senses.
Boy Kills World opens exclusively in theaters starting Friday, April 26. Are you ready? I don’t know if you are!
