The Hit-Stephen Frears

Stephen Frears The Hit had been collecting digital dust on my DVR for well over a year before I decided to give it a whirl. I liked the premise of two hit men retrieving a stoolie over European borders to balance out the scales of underworld justice. And with Tim Roth, John Hurt, and Terence Stamp playing the pro and antagonists, how could you go wrong?

There was nothing remarkable per-se about The Hit that really sets its mark higher above similar films in nature, which, as said reviewer, demands running out to watch. But it was a solid film. Whether or not this was due to the superior acting skills of Roth, Hurt, and Stamp—as seldom do you get such an amazing trio together at the zenith (or, in Roth's case, beginning stage) of their careers—the direction of Frears, or the writing of Peter Prince is a choice best left to the dealer. Regardless, it was pretty damn good from the outset until the end.

The characters assert themselves pretty early on in the film and it doesn't take a crystal ball to figure out how everyone and everything will end up.

Willie Parker (Terence Stamp), is strangely at peace with fate solely resting in the hands of his kidnappers and almost seems to have a death wish, as, when he is provided the egregious opportunity to slip away, he merely goes on a leisurely stroll to gaze at some nature, within a short perimeter of his captors.

Myron (Tim Roth) has his dark heart set on the proper path to underworld stardom under the tutelage of Braddock (John Hurt), he just lacks the discipline necessary to truly propel his star into the next level of respectable geezer, and is malleable and allows for his emotions to be toyed with to the point of catastrophe.

The character of Braddock is about as sadistic and stoic as it gets. His words are few, he doesn't think twice about performing an execution in broad daylight, nor does he allow feelings to impede getting a job done. Any potential leaks are made to be plugged with lead and flesh is just as good of an insurance policy in the life he leads as is an extra gun on the ankle.

Unlike the bumbling comedic duo in Fargo, this troop's mishaps occur amidst a game of metaphorical volleyball. Myron will do whatever Braddock asks, respects his advice, and genuinely believes that he is being led to where he wants to end up with good guidance. Where he fouls things up though is when he allows for the shit being poured into his ear from both of the hostages they are carrying in tow, Willie and Maggie, to get the best of his conscious, and he begins to question Braddocks leadership.

Braddock himself also begins to screw things up when he betrays his code of ethics and develops a soft spot for Maggie. Combined with Willie's cerebral trickery this spells disaster for the two hit men and things continue to tumble the closer they get to the Spanish border. Eventually, we come to realize that Braddock has his faults as well and seems to have a bit of an appetite for sadomasochism, willfully encouraging Maggie in her hatred of him, smiling as she bites down on his hand during a moment of rage.

The Hit was packed full of the low-level special effect blood splatter and grit that was the calling card of the 80's, and it was nice to see Frears depend so heavily on a cast that was able to execute their parts to perfection.

Stars: ***1/2

Verdict: Watch

Cousins: In Bruges, Fargo, The Grifters, The Ref, The Chase, Suicide Kings