The Hit - Le tueur était presque parfait

Two hit men go to Spain and pick up a fellow crook who went into hiding years before. They are suppose to drive him back to Paris, however as they hit the road, it quickly becomes clear that things are not what they seem and that the hit men are in for more than they ever bargained for.

Tightly plotted and neat little thriller that works thanks to its three stars. Terrence Stamp kicked his career into high gear once more with his turn as the man hauled off for execution. So calm in the face of death its almost unnerving and its not hard to see how he can begin to play his captors like a violin. John Hurt and Tim Roth are his equal as the two hit men who never saw what they were walking into. This is ensemble acting at its finest.

This is a great little film. Its worth seeking out.

I can't believe I'm discovering this little gem only now, about 20 years late! Shame on me. How comes...?

Now this is the kind of stuff I like. Intelligent, brilliantly written and directed, with mindblowing actors' performances by Tim Roth, John Hurt and Terence Stamp (gee I never realized before that Stamp was SUCH a talented actor!! Shame on me again!), a real personality, an outstanding camera work, and multiple references to the cinema history... all this with just the right amount of dignity, not too much, just the right amount. And an original and tasteful use of hispanic music, that is 100% adequate.

"The hit" is suspenseful, unpredictable, funny, challenging.

Makes me wonder how many times Tarentino viewed it... he obviously viewed it several times, for sure.

Great flick. I can't believe that there are only 395 votes for this movie on Imdb, meaning that only a very selected group of people actually had the luck to come across this little diamond. Such a shame. I bet many Coen fans would really love "The hit" if they only had the opportunity to view it...

Low key drama is very interesting if you give it time and listen to the dialog. The acting by the four main characters is effective, the story is straightforward, and the outcome is always in doubt. Special mention must be made of the excellent score and scenery. John Hurt elicits tension with his minimalist performance. Terrence Stamp shows detached indifference to his pending fate. Tim Roth and Laura Del Sol also give convincing performances. Some terrific camera angles and sharp direction adds to the overall enjoyment of "The Hit". This is not a loud movie, but rather a very quiet one that will hold your attention despite a leisurely pace. - MERK

Stephen Frears' highly original talent was evident in his first feature 'Gumshoe' from 1971. After thirteen years in the confining world of Television he has again been granted the opportunity of stretching his legs on the wider screen. Although not a palpable 'hit' when first released its merits have since come to be appreciated in retrospect as Frears' subsequent reputation as an accomplished filmmaker has been firmly established.

The plot here is pretty basic but Frears' skilful direction of his players, Peter Prince's sparse but loaded dialogue and Mick Audsley's taut editing have given us a tense, well constructed piece in which the dynamics between the four main characters are constantly shifting and our initial impressions of them are totally subverted as the film progresses. The landscape plays an active role and this, together with Paco de Lucia's score, gives this film the feel of a latter day Western.

Superlative John Hurt hasn't been required to learn many lines but his silences speak volumes and Tim Roth makes an assured screen debut whilst Terence Stamp has one of his best roles and one which enables him to exhibit a rarely seen comic edge. Sultry Laura Del Sol had made quite an impression in Saura's flamenco version of 'Carmen' the previous year and her transition here from eye candy to spitfire is extremely effective.

To say that Mr. Frears has gone from strength to strength would be an understatement and he now indisputably belongs to the select group that comprises truly world class British directors, the rest of whom are deceased.

Forget the flashy but empty "cor blimey guv" Brit crime movies of the last few years like 'Snatch' and 'Sexy Beast'. Apart from 'Croupier' and 'Gangster No. 1', most of them aren't worthy of being mentioned in the same breath as the brilliant but largely forgotten 'The Long Good Friday', 'Mona Lisa', and the most underrated of all, 'The Hit'. Terence Stamp, playing a character not too dissimilar from the one he later portrays in 'The Limey', is a former gangster who grassed up his criminal mates years earlier. Now living in semi-retirement in Spain he is unexpectedly kidnapped by two hoods (John Hurt and, in one of his earliest screen roles, Tim Roth) who plan on taking him to Paris and killing him as punishment for betraying the criminal code. Of course, things don't go quite as planned and along the way the sexy Laura del Sol gets forced against her will to accompany them. This is a very fresh and interesting film that is more character than action based so might not appeal to the Guy Ritchie crowd. It's their loss. Stamp is just brilliant and his interaction with Hurt and Roth makes this a must see movie. The supporting cast also includes the legendary Fernando Rey ('The French Connection') as the cop on their trail, and Aussie veteran Bill Hunter as a crim in the wrong place at the wrong time. 'The Hit' is one of the most overlooked British movies of the last twenty years, and highly recommend viewing for all discerning movie buffs.