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A professional assassin, having just "cleaned up" a botched "job," is pressured into another new assignment by his boss. He is beginning to find himself off-balanced and self-questioning about his chosen career, when he is thrown into complete turmoil by the unusual nature of this latest "hit." A prominant woman has accumulated a massive amount of bad debt from shady characters and threatened them with police exposure, yet seems resigned to her fate when informed of a contract on her life. In fact, she even seems to look forward to her own demise. Why? As the killer tries to understand and resolve the situation, he begins to feel emotions long suppressed, perhaps, that he didn't even know he possessed. Before he can straighten out this upside-down, backwards, and inverted, crazy situation, his boss turns up the heat. Having his driver around, who is an old friend but unreliable and twitchy, nonetheless, does little to settle his jangly nerves. Finally, an impasse is reached with dire ...Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
Feature directorial debut for American playwright and screenwriter Mark Malone. Although he wrote the screenplay, Malone only receives a "from story" credit; in order to qualify for a Canadian tax shelter, the film's producers instead gave sole screenwriting credit to the pseudonymous Canadian writer Gordon Melbourne. See more »
[after Mick agrees to do the hit]
Thank you! Hey, you're a beautiful man. If you had pants on, I'd kiss you.
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Nice title, middling photography, awful script, and then the acting, ugh!!!
Bulletproof Heart (1994)
This wears its film noir visuals on its sleeve and even there, in the one clear intention by the filmmakers, it holds back. For one reason, it's in color, but not the noir intense color you might expect in a modern iteration, but a dull and workaday visual approach with grey blacks and soft edges. Too bad, because the visuals were the one hope for making this thing work.
The idea is promising--a woman knows she is going to be killed by a hired killer, and she seduces the killer(s) and avoids her death, at least at first (not to give away the end). But that is the entire plot idea, totally, so for an hour and a half we slowly (slowly) get there. There is a lot of "soft porn" as we go, and not very good either (not advancing the plot and not for its own sake, whatever soft porn is supposed to be doing in a movie in the first place). The script has shades of the clipped dialog and indifference lead character of noir, but maybe the comparison to great films of the past isn't helping appreciate this one.
The director, Mark Malone, has a series of five star movies to his name (five out of ten) except his last one, which gets three. This is his first, and it feels like it, with some clumsy breaks in the narrative flow that feel like film school tricks. The writing is painful, the editing lazy.
There are better low budget crime and suspense films to cut your teeth on.
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