Film Review: The Hit List (2011)
The hit list has a particularly exciting and fascinating fantasy at its heart, pulling on the desirable idea of eliminating your enemies in real life (be careful what you wish for). As with all good thrillers, fantasy eventually turns to horror as the notion of humor fades into a nightmare involving a violent death in cold blood. The idea is brilliant and much of the plot progression is masterful, but the overall execution is flawed. It’s almost as if the writers captured a story that was too great for their own good, unable to approach it in the way that more experienced filmmakers would have. Perhaps a few more minds needed to be involved in the various editing phases.
In Seattle, Washington, professional killer Jonas Arbor (Cuba Gooding Jr.) is suddenly struck by traumatic memories, made worse by the fact that he recently discovered that his health is declining. Instead of continuing with the assassination assigned to him, he becomes vigilant and attacks a different target, a controversial talk show host. Before the details are revealed, the opening scene simply shows Arbor crawling out of bed in his underwear, and a next shot with an agent claiming that the hitman has disappeared. No action, no explosions, no murders, just a man in black announcing the status of Arbor. Then move on to the title sequence, complete with James Bond graphics and a theme song, also reminiscent of 007: “47 Ways to Die,” by Lillian Ax. It’s incredibly anticlimactic and one of the worst openings for any action movie.
Immediately, the introductory dialogue is generic; But when the excitement begins to build, the conversations follow suit. Allan Campbell (Cole Hauser) is a Washington DC businessman struggling to get ahead, but always behind on money and prospects. His boss has lost faith in him; a younger coworker steals your promotion; and his wife Sydney (Ginny Weirick) is cheating on him with his best friend. He also has a new black eye from a loan shark who has been unable to pay. When he stumbles upon a bar to drink his sorrows with Jack Daniels, he sees Arbor sitting nearby. Reluctant at first, Jonas decides to strike up a friendly conversation, and before long, the two are chatting like old friends. Arbor reveals that he is a professional assassin, but Campbell laughs, not before scribbling a list of five names on a napkin. Intended as a joke, Allan is mortified to discover that Arbor has planned in detail to eliminate all five targets, as a favor to his new “friend.”
An important theme involves Allan defending himself and fighting those who push him. Arbor is clearly psychotic and Campbell has just created another relationship that he can’t stand. However, he needs the help of the rogue agent to handle at least one of the targets. Interestingly, one of the names on his list that he would actually like to see dead, but when the death toll starts to rise, he realizes the truly horrible nature of his actions. He is unquestionably an accessory to all the murders. The first target is your boss, Fred Gates (Rich Cowan); the second is his competition, rookie Brian Felzner (Sean Cook); the third is the underworld thug he borrowed money from, Dom Estacado (Brandon O’Neill); the fourth, his best friend Mike Dodd (Drew Waters); and the final and most important blow is his wife, the only person for whom he will sacrifice anything to protect. As the people on his list are quickly dispatched, the government agency that employs Arbor is on his trail, along with local authorities.
The premise is intense and creative, along with some of the action shots. However, the hit list is really an exercise in creating a strong villain, and Cuba Gooding Jr. actually rises to the occasion (he even has his own catchphrase). He’s not the greatest antagonist ever devised, but his Terminator characteristics and ruthless murders are more than adequate. In the end, a Precinct 13 Assault scenario is set, and Gooding is still a feasible psychopath. The actual conclusion might have needed some polishing, along with much of the dialogue, supporting characters, and cinematography, but Gooding doesn’t disappoint. The hit list had more potential than I knew how to handle, resulting in a movie that could use a solid remake by more experienced filmmakers.
– Mike Massie
