The director is an up-and-coming next-generation whiz kid who has worked with Tony Scott and eventually directed the excellent sci-fi success "Moon" (2009), recognized everywhere in the world except the US. It is just too bad that he had to start his directing career with yet another killer-for-hire story. I mean: don't they already represent roughly 50% of film production worldwide?
The fact the killing is done with exotic, high-tech means bordering on the latest bloody video games is not an innovation. I found it impossible to have any sympathy for the main character for the following reasons:
(1) we don't know why he is killing the people he is killing;
(2) we know that his wife is fully cognizant of her husband's profession and even encourages him to stick with it through bouts of depression and that she is pretty much in a killer premenstrual world of her own all through the 30-minute film; apparently, the cow has absolutely no moral qualms about her second-storey balcony being used as an intercontinental missile launch pad or the fact that her son is raised in a murderer's den but the weather in Switzerland simply gives her conniption fits(!);
(3) the hero's five-year old son is an emotionally retarded - and singularly inexpressive - quasi-autistic child whose only sign of life and contact with the outside world is that he is terminally addicted to video games (like his father);
(4) in the general context of killing-as-a-profession, the bucolic "normal" Swiss postcard environment depicted is positively stomach-churning;
(5) there is no possible way the viewer can be made to interpret with any certainty the meaning of the ending: was the anti-hero really trying to talk to his last victim's widow, and, if so, for what purpose? To tell her "Oh, by the way, I'm the one who offed your husband. He was a really bad man but I didn't mean to also pulverize your little girl. I'll try to do a better job next time, O.K."? Or was he deliberately setting himself up for a hit job (a suicide)? In both cases, the victim's widow's life is put at risk and we are asked to believe that this killer has a "conscience", which is itself one the most revolting aspects of the hit-man genre in general in that it asks the viewer to empathize with the angst, mood swings, family dramas and ingrown toenails of the perpetrator while not giving a rat's patoot for his victims.
Technical note: This is the point in the film where the "whistle" of the title should be heard but isn't due to an inexplicable oversight in the sound editing.
But then the film's other trappings are so sophisticated in their own polished and narcissistic way that no viewer will dare mention that last reservation aloud and everybody will pretend that they fully get the film's meaning.
In conclusion, "Whistle" is a shabby little shocker that assumes the worst about its viewer's moral values and intelligence level. If it is meant to be satirical or somehow "funny", this dimension totally escaped me, unless there is a parallel to be drawn between the hero's wife and the cows insistently mooing in the Alpine countryside.
The fact the killing is done with exotic, high-tech means bordering on the latest bloody video games is not an innovation. I found it impossible to have any sympathy for the main character for the following reasons:
(1) we don't know why he is killing the people he is killing;
(2) we know that his wife is fully cognizant of her husband's profession and even encourages him to stick with it through bouts of depression and that she is pretty much in a killer premenstrual world of her own all through the 30-minute film; apparently, the cow has absolutely no moral qualms about her second-storey balcony being used as an intercontinental missile launch pad or the fact that her son is raised in a murderer's den but the weather in Switzerland simply gives her conniption fits(!);
(3) the hero's five-year old son is an emotionally retarded - and singularly inexpressive - quasi-autistic child whose only sign of life and contact with the outside world is that he is terminally addicted to video games (like his father);
(4) in the general context of killing-as-a-profession, the bucolic "normal" Swiss postcard environment depicted is positively stomach-churning;
(5) there is no possible way the viewer can be made to interpret with any certainty the meaning of the ending: was the anti-hero really trying to talk to his last victim's widow, and, if so, for what purpose? To tell her "Oh, by the way, I'm the one who offed your husband. He was a really bad man but I didn't mean to also pulverize your little girl. I'll try to do a better job next time, O.K."? Or was he deliberately setting himself up for a hit job (a suicide)? In both cases, the victim's widow's life is put at risk and we are asked to believe that this killer has a "conscience", which is itself one the most revolting aspects of the hit-man genre in general in that it asks the viewer to empathize with the angst, mood swings, family dramas and ingrown toenails of the perpetrator while not giving a rat's patoot for his victims.
Technical note: This is the point in the film where the "whistle" of the title should be heard but isn't due to an inexplicable oversight in the sound editing.
But then the film's other trappings are so sophisticated in their own polished and narcissistic way that no viewer will dare mention that last reservation aloud and everybody will pretend that they fully get the film's meaning.
In conclusion, "Whistle" is a shabby little shocker that assumes the worst about its viewer's moral values and intelligence level. If it is meant to be satirical or somehow "funny", this dimension totally escaped me, unless there is a parallel to be drawn between the hero's wife and the cows insistently mooing in the Alpine countryside.