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Nobody does brooding crime dramas quite like the brits. And while the best of the lot is already a bonafide masterpiece and a touchstone for modern style…there’s plenty more where that came from.

For instance, Stephen Frears’ The Hit was just rescued from obscurity by way of a Criterion release. The plot’s pretty simple—Tim Roth and an unusually Astley-esque John Hurt chauffeur mob informer Terrence Stamp across Spain to an all-but-certain death in Paris—but the real draw is the casual bleakness, flights of existential fancy, and practical lessons in how hired killers dress for the desert.

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