Entertainment violence is now stone-dead as a topic of debate. Violence is as natural a part of the entertainment industry as humor and romance. And sure, fights can be fun, like the toned-down fights in the Bourne movies, or lavish and over-the-top like Tarantino’s. Add the realistic and cheesy violence. Not entertainment, but probably so important.
”Boy kills world” probably wants to relate to Marvel’s villain-hero universe as well as to the world of computer games: with rounds, levels and final bosses. For example, the inner voice of Bill Skarsgård’s deaf and mute character is a rumbling, deep “trailer voice”. “I loved video games, so I gave myself this super cool voice.”
It’s clearly meant to do ultra-violence with a humorous twinkle in its eye, with villains so evil it becomes parodic. In theory it’s fun, in practice unfortunately so ridiculous that it becomes impossible to get involved.
Bill Skarsgård does the super deffed “Boy” who for several years has been drilled in the jungle by the master Shaman. He uses rigorous training, drugs and torture to shape the orphaned boy into a killing machine that will put an end to the crazy dictator family Van Der Koy. Chief Hilda Van Der Koy has not only murdered Boy’s family, every year she lines up twelve citizens in the tradition of the “Gallring” and arquebuses them.
Boy is very muscular and good at fighting, and sure the violence is well choreographed, but it doesn’t go far. The repressive fascist state is carelessly sketchy. The mad Van Der Koys are entertaining with their bizarre palace intrigues, but that they would succeed in ruling a society only by force, some show but no bread, seems highly unlikely.
There is plenty about great ideas, quirky quirks and funny actors. But all genius is either drowned in blood or drowned out by an eternal yawn.
When Boy lands on his neck, gets his leg cut open from the ball of his foot up to his thigh, and stands up a moment later, I yawn in disgust. Ultra violence needs care if it is to be able to say anything at all.
