Monica is a sick druggie who gets off on violent releases, and Chip has every right to be afraid – something Gubler conveys so, so easily. Haaga flips common gender norms by allowing McCord and Vand to play bad-girl leaders, as their male lackeys lurk in the background waiting for instructions. He obtains Monica’s address, only to fumble his introduction (no shock). Chip then finds himself being controlled for a second time (albeit in a different way), beaten and abused by a woman far stronger than himself (OK, maybe not so different). She steals Chip’s cash and splits – but Chip decides it’s time to man up. This is where 68 Kill shifts from a relationship break-in to criminal chase, as Chip runs away with the previously acquired $68K (after he clean-clocks Liza). Gubler’s arc flashes shades of independence, until he meets a gothic madwoman named Monica (Sheila Vand) who – once again – becomes his owner. Does she actually love Chip? Indeed – and then 68 Kill becomes about Chip letting go. McCord is the brawn, beauty and brains when compared to Chip, even if her intentions are wholly malevolent. We know how much trouble Chip is in from the start, but still enjoy his horrified face when Liza drops lines about “getting used to killing” – as in, she’s no newbie. Her sweet, Southern smolder hides a most unhinged persona, but McCord’s greatest talent is distracting from serial killer tendencies with good-girl charm. Easy, right? It is, until unexpected casualties and a kidnapping change Chip’s life forever.Ħ8 Kill is all about female control, starting with Liza’s leash around little “Chippy.” McCord is a master of sexual hypnosis, and a damn intimidating force. So, Liza hatches a robbery scheme worth $68,000 if executed correctly, that Chip reluctantly agrees to. Chip doesn’t mind because Liza swears it means nothing, but the duo grows tired of living in poverty. Everyone wants her, but Chip is the lucky guy she goes home with – when not sexing landlords in lieu of late rent. ![]() Matthew Gray Gubler stars as Chip, the love-struck boyfriend of white-trash vixen Liza (AnnaLynne McCord). Novelist Bryan Smith should be proud of this adaptation. It’s a raucous closing-time nightcap that runs on perfume and blood-soaked booty shorts, because what man wouldn’t kill for Ms. Femininity and masculinity clash in a bumbling Bonnie and Clyde reimagining, with a dash of Tarantino unpredictability. Wait, it gets better? You bet! This dark comedy marks Trent Haaga’s directorial follow-up to Chop (also co-wrote Cheap Thrills/ Deadgirl), and 68 Kill only furthers his catalog of gleeful nastiness. Oh, 68 Kill features a psychotic AnnaLynne McCord seducing and shit-kicking her way through country-fried thrills? Why yes, this is exactly my kind of midnight carnage.
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