Very very predictable, including the post credit scene !!!

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Worth seeing just to witness how winsome it is.

Because I saw the high rating on here I gave this movie a shot. Normally I'm not very keen on older movies because most of the time they don't age well. The Hit is certainly not an exception on this rule, on the contrary, I don't think I even would have liked it in 1984. I thought it would be interesting to see a younger Tim Roth, that I do like now, but his beginning career was not a great start. Even John Hurt didn't impress me. The acting is all quite mediocre. Maybe it's due to the story but you can't just blame it on that. The extras are sometimes also really bad. I'm disappointed in this movie. It's clearly highly overrated.

Those only familiar with Stephen Frears more recent and audience-friendly work (High Fidelity, The Queen, Mrs. Henderson Presents) may not know what to make of The Hit, but it's a masterpiece deserving of much more attention than it usually gets. With the distinction of being Tim Roth's first big-screen role, as well as starring veterans Terence Stamp and John Hurt, it's a surprise that the film isn't better known, but despite the shiny cast and the subject matter that could have made a blockbuster for Tarantino or Guy Ritchie, The Hit is not an easy watch. Frears took a premise right out of the crime drama genre, and turned it into a poetic road film, a character study and a thesis in existential philosophy.It works incredibly well thanks to the chemistry between the three leads, all excellent actors in top form who deliver very memorable performances, and thanks to Frears' sensitive treatment. The Hit is a simple, minimalistic film, and it's at its best when it's nothing but three men on the road together reacting to one another and to their own fears. The mob-movie framework gives the story its meat and its context but doesn't dominate it - at its heart it's all about the characters. It's an unusual, striking and effective film that, at its best, rivals Reservoir Dogs in its brutal and honest dissection of honor among thieves and the relationships between violent people.

The HitAssassins don't have apprentices because they don't want other people's eye-goobies all over their riflescope.And while the gunman in this drama is more a close-range type of guy, he must still contend with a hapless partner.Ten years after he sent his crew to jail, following a botched robbery, Willie (Terence Stamp) is living the highlife in Spain.However, everything changes when a well-worn hit-man Braddock (John Hurt) and his green trainee Myron (Tim Roth) arrive to escort Willie to Paris, where he'll reunite with those he ratted out.While on the road, the aged assassin struggles to comprehend Willie's Zen-like state and the bond he's forged with Myron.One of the most violent, artistic, yet humorous attempts at exemplify the decline of a triggerman's career, The Hit is on target.Unfortunately, the only guests at an assassin's retirement party would be the vengeful offspring of their previous kills. (Green Light)

Ten years ago Willie Parker testified in court against some of his criminal buddies and ever since then, has been waiting for them to settle the score while hiding out in Spain. Soon enough his tracked down by two hit men, the slick professional Braddock and his raw rookie Myron. Who plan to take him back to Paris to meet up with those he done in, but on their trip there they stop off at a Madrid apartment that includes an unplanned kidnapping of a young Spanish girl, Maggie. Through the trip Parker's pondering manner starts getting on the pairs' nerves and the feisty Maggie makes matters even worse. Nothing is truly going to plan with these constant distractions and the Spanish police are hot on their trail. I wasn't expecting to like "The Hit" as much as I did. But came away really enjoying and thinking highly of this oddity, after knowing nothing about it to begin with. It was neat blind purchase (well, it only cost $2), which really did pay off. This colourfully kooky British crime feature has a premise that likes play mind games by breezily building upon the animated characters and random situations they find themselves stuck in. It's about them finding their feet and coming to terms that death might be around the corner. Nothing to fear in something you shouldn't be afraid off. Peter Prince's tautly fleshed out script has real sensitivity about it and goes down well with the simple road trip storyline. While rather talkative, the dialogue driven outing has a lyrically deeper underbelly, where personalities clash with amusingly engaging and wittily sly results. Action is little, but it doesn't suffer from it and when it unfold, its intensely drawn up. Director Stephen Frears paints a poetically subdued feel to it with such freshly assured and suave direction. He truly sets up some beautiful visions without losing any of that brutal edge when called for (the surprising climax takes the cake). Mick Molloy's fetchingly sublime photography-work incorporates the alluringly picturesque backdrop of Spain with elegant scope. He even frames diverse scenes with inspired shots that have you in awe. Eric Clapton plugs away for the sweepingly airy opening title and Paco de Lucia stirringly upbeat Spanish flavour to the music score kicks up the energy levels and unpredictable vibe. The technical side of the production is pretty top-draw and sufficiently done. The performances are all marvellous in crafting out their characters and feeding off each other with believable chemistry. An outstandingly novel John Hurt plays the professionally cool, tough as nails hit-man Braddock with such cold venom. Character actor Tim Roth (in his film debut) is brilliant in a total opposite persona as a young clueless, hot-wired rookie Myron getting a little too attached to their captivates. Terence Stamp stands-out in his turn of the lively accepting Willie Parker, who throws up some words of wisdom along the way and strangely becomes fixated with his closing destiny. Laura del Sol dashingly fine as the strong willed Maggie who adds the sparks. Also showing up in short, but potent roles is Aussie actor Bill Hunter and Fernando Rey playing an officer closing on their tails. "The Hit" is a focused, well thought-out production that I believe to be perfect across the board. Some people might find it to lead nowhere, but seductively enterprising is what comes to my mind.