Contract Killers
This seems to me to be more or less an episode of Alias being shown in the middle of season 3 with little action, almost as though it is a common episode. Also, allow me to explain, because so little work is done in development that the characters seem developed, the people who made this believe all had been told in the last seven episodes. But since there are no such episodes n this case it makes it rather easy to ignore what’s happening as it is very low of inters range. It focuses on the character of “Jane” (Farrell), a CIA assassin who has outlived her usefulness and attempted to kill her manager who actually issued the order to have her killed.
This sees her on the march to Trinidad, where she forms an unlikely alliance with the on holiday Lars (Willis), and pursued by another hired gun, this one named Pernell (Giles, whom we can’t help but adore, owing to his association with notorious movie chaos creators, The Asylum).
In terms of technical production, it is quite good. The action is not remarkable but quite consistent, and the editing is average. There is also a rather hard look that she brings to this character. The only issue is that though in principle I understand the character and the trauma that she is supposed to have gone through, the script gives me no cause to be invested in her or any of the people involved in the conflict.
There is only one piece of background provided for Jane, which is 30 seconds of exposition that is thrown at the viewer somewhere in the middle; it is not brought about by anything, attached to anything, lead into anything, and then it is quiet about it for the rest of the movie.
It would not have required a lot of work; there is no need for me to have her whole chronology stamped on my brain, in the least, something peculiar, to suggest that a person was there, not just an asset moved around from one set to another by the director. It illustrates pretty much the same shortcoming with regard to the other characters: superficiality, no human, no sense.
The bright spots here would be the impressive locations used and a nagging anxiety, possibly because the central goal of the villains, involving a software program meant for attacking financial institutions, remains somewhat obscure. Or perhaps by this point, I should have ceased to care. The film had relevancy, but at that point in time, it was slowly losing me. Nevertheless, perhaps it can be saved by adding 15 minutes of ‘Previously on Contract Killers’ at the beginning, but I would not bet on it.
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