Shot in a mere six days in London, director/cinematographer James Smith’s Casting Kill is a classy and lightly satirical look at the underside of the film business. Though the budget was likely quite small, the filmmakers and their cast deploy some Hitchcockian flair in a beautifully shot piece that makes some movie magic with a coterie of fine performances and playful dialog.
After an effectively moody title sequence, we soon meet Arthur Capstone (Rob Laird), a big-shot Hollywood casting director. He’s in London to audition actors for a new movie, but that’s not all that’s on his agenda. See, Capstone is also a thief and a murderer. He presents himself as erudite and worldly, but he’s putting on as much of a performance as the hopeful actors that darken his doorstep.
Talented Domenic (Jack Forsyth-Noble) and driven Ruby (Rachel Chima) will do anything to make it to the big time. Their determination leads to some startling discoveries about Capstone’s true nature. Are they in over their heads or will they expose Capstone’s numerous lies and crimes?
First things first. Casting Kill is an impeccably shot film. Though most of the story unfolds in and around Capstone’s apartment, Smith’s lensing imbues the experience with a grander sense of scale. I constantly found myself admiring how the lighting effortlessly gifted the film a classy vibe that’s not always present in micro-budgeted pictures. I wouldn’t describe it as slick, though, just graceful and thoughtfully composed.
Shaun Finnegan’s elegant orchestral score assists with the scope and mood, as well. It’s outstanding work that recalls Herrmann and Donaggio while still maintaining its own identity. It’s a lush suite that beautifully compliments the visuals but doesn’t forget to bring the tension when appropriate.
I quite enjoyed the performances, too. Laird is delicious as a smug bastard. He has the flashiest role and it would’ve been easy to go over the top but he knew exactly when to be ostentatious and when to quietly seethe. Forsyth-Noble is excellent in a much more subdued way. He’s a perfect foil to Laird. The pair’s initial scene together is clever and fun and probably my favorite sequence in the film. Ian Renshaw also shines in a small role as Xander, Capstone’s soft-spoken but menacing criminal acquaintance.
Executive producer Caroline Spence’s script for Casting Kill is at its best when doling out character moments. Our leads are well-drawn and distinctive and she still leaves room for small quirky roles to flit in and out for flavor. I particularly liked the handyman that confounds Capstone on multiple occasions. Themes come across loud and clear, although they’re not in your face. Me Too, Harvey Weinstein, and Hollywood’s general gatekeeping all seem to be percolating in the story’s subtext. At 80 minutes, she keeps the structure fairly tight and purposeful. There are maybe some convenient plot points, but the satire is able to glaze over the few minor implausible moments. All in all, it’s assured work.
James Smith’s Casting Kill is a chic and topical thriller with some fun performances and a fantastic score. Despite being shot in only six days, it’s thoughtfully composed and displays a polish that defies its probable tiny budget. Casting Kill is currently making the rounds at festivals, but I expect it will be available on streaming services and digital platforms soon. Recommended for fans of Frenzy, American Psycho, and The Neon Demon.
Michael Cavender