Ariel Vromen's The Iceman

I am not a fan of biopics. Directors eliminate the truth. Actors fail to convey authenticity. However, I must admit that Ariel Vromen’s The Iceman persuaded me to not judge all biographical films the same. Still, this conclusion entailed some research. In my fact check, I discovered numerous biographies and other accounts suggesting that Richard Kuklinski was indeed a deceiver and a predator.

Though Kuklinski claimed to have assassinated his first victim as a young teen, the film executes the facts for the most part. Either way, Michael Shannon’s performance intensifies this film! Kuklinski’s ruthlessness as a hit man manifests Shannon’s vision of the protagonist.

Vromen’s film is a drama centered on the contract killer’s notoriety and mendacities. Kuklinski pirates pornography for the Mafia, yet his

In the movie, the first instance of his ferocity is his murder of a bar occupant who barks an insult towards Deborah. The viewer sees the man getting into his car; just as he proceeds to start it, Kuklinski appears, grabbing the man, and then slicing his neck with precision. Of course, Deborah surmises nothing because she declines to face the truth. This façade continues until the end of the movie.

After the incident, Kuklinski returns to his routine. Bootlegging porn. His life then changes when he receives a visit from Roy and his crew. Kuklinski’s composure and surpassing of an “admittance exam” strikes Roy; in that moment, he is hired.

From the beginning until the end, Kuklinski prevails at his job. Demolishes it. His lack of morality enables him to succeed at his trade. Shannon’s eyes provoke fear and insecurity, taking you to a place of aversion; his gaze inspires repugnance.

At any rate, I do want to touch on the movie’s overall effects. The darkness serves as an allegory, stemming from the protagonist’s temperament. The filter appears as grime over the camera lens, repressing every