In Killer Joe, a squirrelly, debt-ridden Texan named Chris (Emile Hirsch) decides to put a hit on his mother in the hopes that her life insurance will secure his financial freedom. Though this is a classic film-noir setup, director William Friedkin is not interested in writing a simple Texas noir. When (actually good!) Matthew McConaughey's Killer Joe arrives on the scene, he commandeers the plot away from this arc, guiding it into very different territory. The Southern Gothic style is heightened to the point of parody, and the film ends on a delightfully ridiculous crescendo that subverts all expectations. (KRISHANU RAY)