“Hitman” is probably the most disproportionately over-represented profession in movies, at least over the medium’s last half-century. “Killers Anonymous” is one of those occasional films that attem…
“Hitman” is probably the most disproportionately over-represented profession in movies, at least over the medium’s last half-century. “Killers Anonymous” is one of those occasional films that attempt novelty by having a character cast of nothing but hitmen — which isn’t really all that much of a novelty, for the above-noted reason.
After a brief Los Angeles prelude in which we’re introduced to the notion of the titular 12-step-type group for assassins, we follow’s meeting facilitator to London. There, he meets up in a pub with a biker-styled lesbian hitwoman eager to explain why it’s not her fault she bungled a recent job. She sticks around following this interview to frisk with a flirtatious exotic dancer , but it turns out the latter has something rather less friendly in mind.Meanwhile a U.S.
DP Havard Helle and production designer Cassandra Surina dress up the film in an array of garishly candy-hued color schemes that are wholly gratuitous. But that strategy does succeed fairly well in distracting you from the fact that — digressions and flashbacks aside — most of this movie consists of a few characters sitting in one basement room, talking about things they did elsewhere.
None of these things fit together. Still, for better or worse, the stakes are never high enough that it really matters. Even as a kind of complicated genre homage, this movie is so inorganic we soon stop expecting it to be suspenseful, credible, or even logical. It’s just competent actors unconvincingly play-acting toughs amid a stimulating profusion of colored lighting gels.
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