Koen De Bouw

Werner De Smedt

Jan Decleir

Jo De Meyere

Filip Peeters

Hilde De Baerdemaeker

Geert Van Rampelberg

Tom van Dyck

Johan van Assche

Gene Bervoets

Lucas Van den Eynde

Laurien van den Broeck

Deborah Ostrega

Dirk Roofthooft

Patrick Descamps

Anne-Caroline Suberville

Jan Dyck

Miek Van Bocxtaele

Els Dottermans

Anaïs Terryn

Lone van Roosendaal

Roland De Jonghe

Katrien Vandendries

Ludo Hoogmartens

Bart Slegers

Marc Peeters

Tom Waes

Eddy Vereycken

Kristine Arras

Vic de Wachter

Babett Manalo

Jan Van Looveren

Jappe Claes

Marc Janssen

Peter Borghs

Charley Pasteleurs

Cela Yildiz

Erik Van Looy

Chris Lievens

Jef Geeraerts

Nicolas de Pruyssenaere

Carl Joos

Philippe van Leer

Vincke & Verstuyft trilogy

Crime

Thriller

Action

De zaak Alzheimer

TROS Bridge Rights

MMG Film & TV Production

PVPictures

Belgium

Netherlands

Nederlands

The Memory of a Killer

One could say, and would more often than not be proven right, that European films boast a maturity and sophistication sorely lacking in Hollywood movies. However, now and then Old Continent filmmakers can’t help but succumb to the vices of their American counterparts, and the outcome is something along the lines of this movie – which not only features an appearance by the dreaded Red Digital Readout, but also revolves around a Hitman with a Selective Conscience (who additionally happens to be physically old and mentally infirm, none of which prevents him from being always One Step Ahead).

The killer’s name is Angelo, and as the AllMovie overview correctly points out, “it goes against Angelo's principles to kill a child.” I’m pretty sure the word “principles” is used in that sentence for lack of a better term, because as far as tenets go, Angelo’s are seriously warped. From a strictly moral standpoint, there is absolutely no difference between murdering an adult and murdering a child, but somehow we are supposed to be able to tell a ‘good’ assassin from a ‘bad’ one based on whether or not they are willing to make age distinctions.

What doesn’t occur to Angelo and his ilk is that children grow up to become adults, so that in a few years it will magically no longer be against his principles to kill the very same person whose life he is currently so hell-bent on preserving (and who’s to say what the cutoff age is anyway? What if I remain a child at heart?). By the same token, we are all somebody’s children – even God’s children if you want to get theological about it –, aren’t we? So technically we should all be off limits. But who knows? Maybe this double standard is a sign of the character’s cognitive decay, in which case director Erik Van Looy is a whole lot more clever than I’m giving him credit for (I sincerely doubt it, though).

De Zaak Alzheimer - Trailer

The Memory of a Killer

производственные компании

Актёрский состав 37:

Recommended films

Trailer

Sequels and Prequels