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Good Kill

Good Kill

Drama · Thriller · War · 2015

In the shadowy world of drone warfare, combat unfolds like a video game–only with real lives at stake. After six tours of duty, Air Force pilot Tom Egan now fights the Taliban from an air-conditioned bunker in the Nevada desert. But as he yearns to get back in the cockpit of a real plane and becomes increasingly troubled by the collateral damage he causes each time he pushes a button, Egan’s nerves—and his relationship with his wife—begin to unravel.

Movie details

Good Kill

2015 Drama · Thriller · War 1h 44m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

In the shadowy world of drone warfare, combat unfolds like a video game–only with real lives at stake. After six tours of duty, Air Force pilot Tom Egan now fights the Taliban from an air-conditioned bunker in the Nevada desert. But as he yearns to get back in the cockpit of a real plane and becomes increasingly troubled by the collateral damage he causes each time he pushes a button, Egan’s nerves—and his relationship with his wife—begin to unravel.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Good Kill?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Twelve O'Clock High

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Names above the title

The people responsible.

Directed by

Andrew Niccol

Written by

Andrew Niccol

Ethan Hawke

Ethan Hawke

Commandant Tom Egan

January Jones

January Jones

Molly Egan

Zoë Kravitz

Zoë Kravitz

Airman Vera Suarez

Jake Abel

Jake Abel

M.I.C. Joseph Zimmer

Bruce Greenwood

Bruce Greenwood

Lieutenant Colonel Jack Johns

Alma Sisneros

Alma Sisneros

Emily James

Kristen DeVore Rakes

Kristen DeVore Rakes

Iris

Court is in session

Put Good Kill on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.