The Assassin's Code

The Assassin's Code (2018) is not a bad film, for direct-to-video fare. The major beats are predictable well in advance. The heroes, villains and villains in the guise of heroes might as well be wearing black and white Stetsons and the characters who are about to die might as well be wearing red shirts. Production values are modest, although they do utilize an elegant mansion, casket and several luxury automobiles. Cinematography is unimaginatve, other than a few aerial shots that seem to be stock images. As is typical of low-budget productions, the film relies heavily on jiggly-cam shots which are distracting and shatter willful suspension of disbelief. The action/stunt choreography, car scenes and gunfights seem about thirty years out of date. The love story is not well developed and the reconciliation near the end seems to come out of nowhere. The acting is generally pretty good. Justin Chatwin is credible in the lead and Peter Stormare delivers a nuanced performance. Sprinkled throughout the film are little gems of dialogue and characterization that shine against the unimpressive background. While the film employs a lot of tropes and often seems familiar, it offers a few fresh moments. The damsel in distress scene has a unusual twist.

I saw the film's world premiere last week at the Cleveland International Film Festival, where it sold out every showing. It's a noir crime-thriller that's not what you'd expect -- it hits the ground running with action, then expands into an intelligent character piece. Justin Chatwin and Peter Stormare are both arresting in the kind of roles that indie films allow actors to break out of their stereotypes -- Stormare delivers an unexpectedly touching, tour-de-force monologue in one of the best standalone scenes I've ever seen; and veteran radio guy Mark Thompson ("The Mark and Brian Show") is fantastic as rookie-detective Justin's captain and surrogate father figure. The dialog is smart and laugh-out-loud funny, and the soundtrack is knockout. A real hidden gem of a film.

Worth watching for Stormare's limited scenes and some okay mob stuff. And I have a weird thing for Lifetime diva Yancy Butler, so there's that. But Chatwin chews the scenery shamelessly, the relationship scenes are torture and the dialogue is laugh out loud cop shop. Still, I was only intemittently bored and mostly entertained. Nice fish, too.

Very old school, film noire vibe made in a modern style. Very enjoyable. The score is brilliant.

A classic thriller with a weak script and multiple lackluster perfomances. Another case of a passable story reduced to a unimaginative work that wastes the talents of decent actors. Jason Chatwin does a good job with little support and the work of Peter Stormare is first rate as the baddie. If you like John Wick or Proud Mary you may find this interesting but most will lose interest quickly.