Download Free Killer Diller

First and foremost this film is about the blues and the story of a
juvenile

delinquent stuck in a baptist halfway-house who must play in a sappy
christian
band with fellow halfway-house delinquents when they really just want to
play
the blues. In this respect, the film was interesting and relatively well
made. The
story arc was laid out plain and predictable, but still enjoyable
enough.

My criticism of the film comes when the film's autistic character Verne
enters the
story as a piano prodigy with an affinity for driving an invisible fantasy
car. To
me, this portrayal of autism is marred by typical on-screen half-truths
that
breed
ignorance in understanding this unfortunate disorder. I will state
plainly,

however, that I am certainly not an expert in defining autism, nor do I
know
any
autistic people. However, it is clear to see that Killer Diller was not
accurate.
They started with trueish conceptions of autism: that those who have it
have

communication disorders, preoccupation with fantasy, repetitive acts and

attachment to objects.

However, Verne, the autistic character in this film, was more less
portrayed
as a
late-teens autistic child who has apparently never received significant
treatment
for his condition and thus he is basically just a socially awkward kid who
drives
an invisible car, shakes all the time, has to pee all the time, and goes
beserker
when anyone questions his "rocking." But in the end, with just a little
bit
of
socializing and positive feedback about his piano skills, Verne is another
autism
success story, able to at once overcome what would have been severe speech

impediments, years of social disfunction and other problems all without

treatment, therapy or any real help.

The problem with this is that it looks like the film makers just watched
Rainman
and watered down the formula. All autistic children, of course, will
overcome
their most severe problems sometime in adulthood through random
coincidence

and socialization. Afterall, their speech impediments are never really all
that
limiting, really just idiosyncrasies to be overcome with a few laughs. But
this is
resonable since all autistic people are really just idiot savants in
hiding.

Rainman is a counting genius and Verne from Killer Diller is a piano
prodigy.

This, to me, is dangerous, the concept of always simplifying disorders
into
cute,
manageable characters who can overcome their "hang-ups" in 90 mins or two

hours. I'm not saying either cases are inconceivable, but the sad truth is
that the
communication problems caused by autism are typically overcome after

considerable work with a doctor, etc. from EARLY childhood. Verne,
especially,
is a case that in which the character is supposedly not treated or not
thoroughly
treated at all and can suddenly overcome speech impediment once he accepts

his surrounding social situation. He really has no vocabulary or
pronounciation
problems, just a little stumbles here and there, a few quirky repeats, a
few
off-
kilter statements, a few simplistic, childish speeches. I think that if
Verne was
real, he would unfortunately never be able to carry on a conversation with

typical language. His chances of being a piano prodigy wouldn't be too

excellent....okay, you get the idea.

One last criticism: the acting of Verne in this film was not very strong.
I
realize
this was a low budget feature with no real "name" actors attached, etc.
However,
Dustin Hoffman is an accomplished actor who takes his character studies to
the
limit. His taste for reseach and observation/immitation almost always
brings

believability-- at least a considerable degree--to his roles, Rainman
being
no
exception. In this case, the actor to play Verne seemingly went to little
more
trouble then to take cues from the director just before the take. "Ok,
actors ready.
Verne, umm...., rock back and forth....and act like you need to go to the

bathroom. Okay? Okay. Roll Sound. Roll Camera."

And so on... anyway, I honestly don't know how much research went into the

role of Verne, and it very well may have been treated with care. But I
honestly
didn't get that impression. Verne's place in the film ranged from comic
relief to
agency for change for the main character to superficial change into a
sociable,
well-adjusted guy. I just didn't think he was treated with respect. The
only

mention/serious handling of his condition was with a doctor of sorts who
spoke
on his autism only in passing. If you wanted to leave this film as is, why
not just
cut that scene and claim that Verne is just a kooky, weird guy instead of
a

character with autism, a guy who would have been dealing with a serious

condition all of his life and probably wouldn't have come out so socially
apt..

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it was a nice horror movie......like it..... i am still a fan of this site.

I almost didn't see the movie because of the title, then I read the
description in the SXSW directory, and I'm glad I did; it's up there
amongst
my favorite films from the 2004 selections.

A real killer diller, can really play, according to Vernon (Lucas Black),
an
austic savant at piano, who crosses paths with Wesley (William Lee Scott),
a
car thief sent in a halfway house. Wesley has a way of getting into
trouble, but this time, manages to get something right, by striking up a
friendship with Vernon, and turning the halfway house gospel group into a
rockin band. The music is real killer diller, the acting engaging, and
the
crisis is plotted out very realistically. Scott and Black both do
outstanding jobs in their roles, and they have chemistry as unlikely
friends; you believe the bond. W. Earl Brown is equally believable as the
gruff, loving father who does what he can to love and protect his son.
Fred
Willard, as the director of the halfway house, provides comic relief by
believing in his mission to help the kids and in joyfully spiting his
brother, who doesn't think a bunch of criminals belong in their community.

The music is outstanding; director Tricia Brock got the blues, by bringing
in real bluesmen like Keb Mo' and Tree Adams to work the soundtrack and to
work with the Killer Diller Blues Band. And actress Niki Crawford does her
own singing (and the SXSW audience heard live proof of it). I hope there
is
a soundtrack released; the music is hot, rocking blues. See this
movie!.