peedur I was very impressed at the intelligence and subtlety of the direction and the protagonist's portrayal in this film. I very quickly felt queasy and uncomfortable in the right way with the story - one needs to recognize that this is a larger canvas, a deeper psychological layout and one needs to wait, step back to see the bigger picture. Very well put together indeed, and hinges well on the authenticity of the performances.Recently graduated from college, ordinary American male, Simon is in France for reasons which are unclear, after a serious breakup which is unresolved for him. He appears ambivalent about his expectations for the place but possesses yearning for connection. The film follows his initially aimless wandering through overcast Paris but over the course of the film his behavior evinces troubling questions, creating a picture of complex and disquieting psychology.I have to agree with the sentiments expressed by a few other IMDb reviewers - there is a problem which is troublesome for films of this nature. Who wants to spend so much "subtle" time with such an flavorless, watery and increasingly unpleasant person? It should be recognized that these qualities are exactly what the filmmakers are aiming at. Some personality types are parasites which require a host to feel content. However, that may be a flaw, in my opinion.A realistic portrayal of everyday psychopathy can be presented from a revelatory and entertaining viewpoint casting new light into a previously hidden part of life. When it's presented in the dour, and faintly bland & vague way it's done here, it just feels like you're watching yourself, friends, family or co-workers in a way that feels less like an 'escape to the movies' and more like work. Good films make that work invisible or enjoyable. This film has very few pleasures to deliver. That too, is the perhaps filmmaker's point.I may be over simplifying my point or not making a good one, but it certainly is a problem that many artistic statements have to contend with - don't make your audience regret the time they spend with your story. If your protagonist has a troubled mind, the audience has to occasionally relate to him/her. Make that experience MORE engaging than one's own life, not less. Again, that may have been the filmmaker's point.

billcr12 Simon is a recent college graduate who has recently broken up with a long term girlfriend. He wanders the streets of Paris, brooding over his former partner, Michelle. Along the way, he meets a prostitute, first as a client, and later as a roommate. He comes up with an idea for her to make easy money through blackmail. The problem is that the movie meanders with bad direction and no real conclusion. Simon is a man with no emotion, and, in the end I did not care about him at all, or any other character he encounters on his meaningless travels. I could not wait for film to end, and there is no reason at all to sit through Simon Killer.

Rodrigo Amaro After leaving his girlfriend behind in America, recent graduated student Simon (Brady Corbet) travels to France in order to chill out and do nothing, and try to meet other people avoiding being alone the best way he can, usually enjoying female companies. First he meets a prostitute (Mati Diop), of whom they get to know a little better and he starts to help her with some problems; later on he gets the attention of another girl and her friend. With all those connections we get the final image that he's always up to make schemes, taking advantage of everyone he meets and trying to make everything favorable to himself. The problem with this Tom Ripley kind of character is that he is unsympathetic to the audience to the point where you really want to punch him instead of understanding his "pain".The movie? Self indulgence at its best. And worst: part of the audience buys it very easily. There's no greater message, no big and interesting portrayal of how sociopaths act and it's not even a good movie. It threats to be but it never quite reaches the limited potential it has. This time director Antonio Campos imitates "Last Tango in Paris" by using minimal dialog, going from nowhere to nowhere, filled of empty and boring sequences in between with characters we can't find anything worth relating or understanding. And just like Bertolucci's classic there's the sex. The way it was portrayed and filmed, well, those were remarkable, I give you that. Really playful and exciting.The only thing that impressed me about "Simon Killer" was Brady Corbet, once again involved in a project that proves some provoking challenges for an actor to play with and he's bold enough when the movie is not stranded in its catatonic state. Corbet is in "Mysterious Skin", "Melancholia" and the remake of "Funny Games", so with that list in mind you already know he's up to something really dark or controversial, great materials. Even though writing the story here, and probably creating the best moments for himself (oh yeah those sex scenes and that includes one truly daring moment - best scene, very original but I warn you beforehand that it can be problematic to close minded folks), he's up to no good. This doesn't generate enough interest as a cinematic experience.And once again, Mr. Campos employed poor technique methods of cinematography and editing to convey its story the way it must be seen - the voyeuristic look of someone who spies someone at a distance and behind a person's back. It should help the movie but it's artistically dull and empty. The photography was better used in here than it was in "Afterschool", this time providing good looking shots of a Paris a little emptier than usual which reflects the main character's unbearable loneliness. He captured a good atmosphere of the place combined with the character souls - dark and cold but always trying to be colorful, close and animated, danger closer than everyone thinks, and in every corner. But he still doesn't know how to edit a movie, doesn't know how to take advantage of cuts instead of just using static images. Inaudible or whispered dialogs tortures us from time to time. And has this guy never heard of captions? To leave Simon lost without understanding what people are saying to him in this foreign country is acceptable but Mr. Campos leaves us as well in the dark and for long periods every time there's a conversation in French. There's talent in there, the problem is that he doesn't know how to use it rightly. He desperately needs to know how to write a story without creating too much artificial things, make it more human instead of transparent experiences.Spare me from saying that it was an enigmatic or philosophical experience. Rubbish. Campos almost fooled me with "Afterschool" (a good film, not great), but he's not fooling me with this. Tedious and shallow but with two or three good things. 5/10

gavin6942 A recent college graduate (Brady Corbet) flees to Paris after a break-up, where his involvement with a prostitute (Mati Diop) begins to reveal a potentially dark recent past.Since watching this film last night, it has been gnawing at me, and it keeps growing in my mind as something of a masterpiece. Though, to see it in that way, one must first realize this is not a film concerned with a plot, but rather with the study of one particular character. (Just do not go in thinking you can ever understand him.) Corbet was evil and gritty in "Funny Games" and may have stepped that up a notch here. The character is more subtle, more of an enigma, but this in many ways makes him creepier: is he a sociopath, a killer? We know he is a liar, and we are left doubting almost any claim he makes about his past. (Corbet's career is already legendary, also having worked with Gregg Araki and Lars von Trier, among others.) While not directly inspired by Joran van der Sloot (the Aruba man best known to Americans as the likely killer of Natalee Holloway), the creators used him as a "point of reference", and it shows. For a visual look they emulated 1970s cinema, and particularly John Cassavetes' "The Killing of a Chinese Bookie" (1976). I think they nailed it.To fully "get" this movie I would need to watch it again. As I said, it grows. I like it more today than yesterday and feel like a re-exploration of the themes and characters would only add to that. Who is Simon? We may never know.