The Hit - Le tueur était presque parfait

Terence Stamp is aces as a criminal who rats out his associates, then spends a decade hiding out in Spain. But his time is now up: two hitmen, the icy cold Braddock (John Hurt) and the cocky young Myron (Tim Roth, in his theatrical debut) have tracked him down. Now they are transporting him back to his execution in England. But things don't go quite the way that everybody expects, and Braddock & Myron end up taking a young Spanish woman (the sexy and feisty Laura Del Sol) along with them, and the idea of what to do with the captives seems to change from moment to moment.

"The Hit" is a solid British crime feature done with intelligence and nuance. While it has the typical violence for the genre, it doesn't play out the way that this viewer really expected. What made the difference is that this story (written by Peter Prince) focuses far more on the characters and the journey than the destination. And the characters are an interesting bunch. Stamps' character Willie Parker in particular takes a philosophical approach to his destiny that also functions as the theme of the story. He gets over his fear and resigns himself to his fate - something that Braddock apparently doesn't like.

Stamp and Hurt deliver standout performances in a film that also benefits from the chemistry among its cast. Although it's become something of a cliche by now to have two criminal types with contrasting styles, it's fun here to see the odd-couple dynamic between Hurts' Braddock and Roths' Myron. Del Sol has sufficient appeal to make the viewer tense about what might happen to her, and Aussie actor Bill Hunter is quite good in his brief appearance as a criminal who merely happens to be in the wrong place at the wrong time. But Fernando Rey is rather wasted in his role as a senior policeman who usually just arrives at crime scenes after the fact, until a rather abrupt finale. Look for British character actors Willoughby Gray, Jim Broadbent, and Ralph Brown in small roles.

Although not as well as known as other favorites in the British crime genre, this is definitely worth your time, especially if you admire the actors, and the highly capable director, Stephen Frears, who went on to do films like "Dangerous Liaisons", "The Grifters", and "The Queen".

Eight out of 10.

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

I can't believe that this film had gone for so long without me knowing it was around. I'm a big fan of the crime/drama genre so when I stumbled across the fact it was going to be on some free to air digital channel at about one in the morning a couple of months ago, I thought I'd give it ago. In fact, I'd never heard of it before nor have I since. No one seems to know of it and it's a damn shame as this is a VERY underrated film, especially surprising given the fact John Hurt, Terrance Stamp and Tim Roth are in it.

The film deals with human interaction between a 'grass' from ten years back, a rookie gangster and an old-time gangster in almost superior form to many other films. The fact it takes a 'road movie' approach gives us more time to develop with the characters, as well as the characters themselves to do a bit of bonding. What follows is some fascinating dialogue between the three (and between a young Spanish girl on a lesser extent) and some very interesting relations building up. The stone cold presence from Hurt, the silent but 'you know he's up to something' Stamp and the, almost, 'comic relief' character in the form of Tim Roth all combine in a truly mesmerising mixture of events. I was glued to the screen.

The narrative also takes on a mysterious, almost multi-layered approach when talking about the police hot on their tail. The fact we never hear the detectives talk or any of the police communicate leaves us with a sense that we know what's going on but we're not actually there, almost as if the three male characters in the car are dreaming up the scenes themselves as to what MIGHT be happening at their last point of call if the police had yet arrived.

The action and dialogue is well spaced, even though the script is great anyway, and you truly struggle to work out what might happen next. The disturbing way in which Stamp seems to say nothing at all yet communicates with Roth like he's known him for years twinned with the fact panic hits him like a train later on in the film and he suddenly becomes a chatter box is an amazing juxtaposition which really adds to the experience.

Another attractive aspect of the film is the setting. This also acts as a juxtaposition as the beauty and heat that oozes from the screen really counterbalances the disturbing reality that Hurt and Roth's characters are there to 'get' Stamp and make him pay for his previous actions as well as the sadistic interior that makes up Hurt's character. You can't get too caught up in the setting which you only really see when the journey is being killed off, and you know that with every second that rushes by on the road; Stamp is apparently closer to his death - clever stuff.

The film is simple. The narrative is easy, there aren't too many characters to deal with, there aren't too many on screen distractions (unless you count the girl) meaning you have more reasons to focus on EXACTLY what's going on and although the film looks a little aged, I can guarantee it's thoroughly enjoyable.

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.