Among the 22 films to ever receive the ‘F’ CinemaScore lies a recurring theme: films that challenge audiences’ values. With Killing Them Softly, perhaps attacking their values is more apt. Andrew Dominik’s follow-up to The Assassination of Jesse James by the Coward Robert Ford takes place in the fall of 2008. Its gangster tale unfolds in the forefront; the presidential election plays to Barack Obama’s victory in the background. The battle between Bush-era conservatism and the centrism postured as hope isn’t just in the peripheries. It’s the point. The marketing promised action, droll humor, and James Gandolfini back in the mob, but Dominik delivered cold violence in a film stylistically and narratively detached from itself.

Upon release, Roger Ebert of the Chicago Sun-Times called it “a dismal, dreary series of cruel and painful murders.” Contrarily, Scott Tobias of The A.V. Club labeled it a film whose director was “careful not to play ideological favorites… because he’s more interested in measuring the distance between the professed ideals of modern-day America.” With Killing Them Softly’s release, both sides of the political divide fell into its crosshairs right as they bought their tickets.

“America’s not a country. It’s just a business,” Jackie (Brad Pitt) tells Driver (Richard Jenkins). Killing Them Softly didn’t just come out too soon for 2008 to fully register as period setting; it also came out three weeks after the 2012 election. Those unhappy with Obama’s second win didn’t want it rubbed in their faces. Those who were saw a critique of his centrism as cruel and unproductive. Both wanted something more familiar, perhaps something a little more hopeful. As for those who’d be disappointed in our country either way? Well, no one asked them.  – Matt Cipolla, Co-programmer of Who Gives an ‘F’