But, she added, "Jesus Christ knows that no one was murdered in this case." "Jesus knows me, and Jesus understands me," Vallow Daybell said, adding that she mourns those who died. But she insisted she is not guilty of murder and said her victims have visited her in spiritual form and are happy in the afterlife. Vallow Daybell says her children and Tammy Daybell visit herįor the first time in the trial, Vallow Daybell gave an accounting of her own actions, speaking in court for roughly 8 1/2 minutes. Prosecutors say Vallow Daybell was motivated by arcane religious beliefs about "dark energy" and the "end times," as well as by her desire to pursue a life with Chad Daybell - which included conspiring to kill his now-deceased wife. The lengthy trial was full of strange and shocking moments. The scene was horrific, Boyce said, adding that while law enforcement, jurors and he himself will be haunted by images of the children's bodies, he saw no sign that Vallow Daybell feels any remorse. The judge noted the "disgust" he saw on jurors' faces during the trial. Her children - Tylee Ryan and Joshua Jaxon "JJ" Vallow - had been "burned, mutilated and dismembered, and buried like animals," Boyce said. He juxtaposed her enjoyment of a honeymoon in Hawaii with her children lying in shallow graves in Idaho. And while the actors all have their moments, nobody gets much of a chance to develop a flavorful character in a film that tries too hard on every level."You chose the most evil and destructive path possible," despite having a wealth of better, less harmful options, Boyce told Vallow Daybell. Pegg’s cold-blooded killer, smirking with amusement at all the small-town villainy, is a less likable peg (sorry) for comic-strip carnage than everyone seems to think. But Kill Me Three Times is too self-conscious to be anything much beyond smart-assy and tiresome. There’s nothing wrong with McFarland’s plotting, which is more than sound enough to work, especially with Stenders and editor Jill Bilcock hustling the action along at a driving pace, accelerated by Johnny Klimek’s music. He witnesses a series of attempted murders, scams, deceptions and acts of violent revenge, intervening with a blackmail scheme of his own when he spies a chance to double his fee. The humor derives mostly from Charlie finding himself not the expected executioner so much as the observer. The main players in a town whose other inhabitants are mostly kept offscreen are Nathan Webb ( Sullivan Stapleton), a dentist in deep with gambling debt and manipulated by his ruthless receptionist wife Lucy ( Teresa Palmer) wealthy bar owner Jack Taylor ( Callan Mulvey), whose violent jealousy has pushed away his battered bride Alice ( Alice Braga) her buff surfer-mechanic boyfriend Dylan ( Luke Hemsworth), who is planning their escape together and corrupt cop Bruce (a self-parodying Bryan Brown). McFarland and Stenders piece together the events that led to Charlie’s demise with puzzle-like dexterity, only gradually revealing who hired him. But this ain’t no sun-kissed restful paradise. Cinematographer Geoffrey Simpson turns this imposing natural setting into a dynamic canvas for sinister deeds, with a muscular shooting style and vivid embrace of color and light. That would be Eagles Nest, Western Australia, a sleepy coastal hamlet with miles of pristine beaches, presented here with wild bushland, desert sands and red rock gorges all within reach. In an opening voiceover, private detective and assassin-for-hire Charlie Wolfe ( Simon Pegg) announces his astonishment at dying in a place like this. Add in overdressed sets that call attention to themselves, heightened performance styles, skewed framing and cartoon violence, with the camera lavishing glossy money-shot adoration on every ribbon of bloodshed that explodes whenever bullet meets flesh. It continues with the non-sequential storytelling, divided into three time-shifting chapters (“Kill Me Once,” etc.) of overlapping action that allow key developments to be covered from different perspectives. That starts with the bold retro-graphic titles and swingin’ surf rock soundtrack, full of fat guitar licks. But everything here feels borrowed from readily identifiable sources.
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