"Sometimes you need the honesty and security of a whore."
- Zed (Eric Stoltz)
"['Killing Zoe'] is a movie about choice, and not choosing. About following, and control through hysteria, and lies of omission. It's largely my mind-state at the time when I wrote it, and how I was viewing the world."
- Roger Avary interviewed by Manohla Dargis, VILLAGE VOICE, 9/6/1994
Entertainment Weekly - 01/27/1995
"...Deftly constructed and briskly paced..."
Variety - 01/24/1994
"...A vivid thriller....Avary has concocted one of the most assured directing debuts in recent years with a film that demonstrates a one-of-a-kind sensibility well worth watching..."
USA Today - 08/19/1994
"...The film moves at a fast clip, with its occasional surprises extending to stylistic flourishes as well as to plot twists..."
Los Angeles Times - 08/26/1994
"...Writer-director Roger Roberts Avary does have a genuine gift for hysteria..."
Chicago Sun-Times - 09/09/1994
"...It's made with a kind of manic joy..."
Nihilism, violence and personal degradation rule the day as an American safe-cracker goes to Paris for a daytime bank heist, only to learn that his partners in crime are drug-addled losers. PULP FICTION producer Avary directs this time.
Zed's a safe-cracking ex-con who's just deplaned in Paris where he and his childhood crony, Eric, are going to mastermind a huge Bastille Day heist. Before his scheduled rendezvous with Eric, Zed spends $200 for a night with Zoe, an angelic, nymph-like prostitute. But their post-coital morning is rudely interrupted by the arrival of Zed's partner in crime, who treats Zoe like a disposable plastic doll. On Bastille Day eve, Zed finally realizes his French connection doesn't believe in advance planning. Instead, Eric and his fraternity of drug-addicted pinheads initiate a non-stop, pre-heist round of drinking, heroin-shooting and pill-popping. From the look of things, they may never pull this robbery off.
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