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And yet in cinema, the idea of the hitman persists. The dramatic possibilities are endless. In the hitman, we have our most overt metaphor for capitalism, an independent contractor, often doing the unpleasant work of large corporate enterprises illicit or legitimate , who make their living reluctantly and at the direct expense of others. As the idea of the hitman has evolved and been fleshed out by generations of screenwriters and directors, the job has been utilized as a metaphor: for legacies of trauma, the staleness of the American Dream, our soulless conveyor belt economy, the aspiration to achieve perfect discipline and the imperfect humanity that makes the aspiration folly, the question of determinism, of fate, chance and our free will, and even filmmaking itself.
Sometimes movie hitmen are hot, smart, dangerous, rich, suave killers. Sometimes they are the complete opposite. But first, some criteria. The following is a ranking of characters who have been tasked with killing a specific target for monetary compensation. And that last piece is crucial because it rules out killing for yourself in the interest of politics, revenge, power, or self defense.
There can be elements of these motivating factors in any kill, but on a base level there needs to be a professional context. Only by including people who are bad at the job can we truly appreciate the hitmen who are great at it. Who can say. Jay Neil Maskell , Kill List. Seth Paul Dano , Looper. Alex Lewis Liam Neeson , Memory. The Killer Michael Fassbender , The Killer — The entirety of this film is about imperfection and fucking up the best laid plans, but the only contract kill we actually get is a fail.
Robert Rath Sylvester Stallone , Assassins. Joe Joseph Gordon Levitt , Looper — The guy just hangs out in a cornfield waiting for his target to appear from the future, bagged and tied, then blasts them with a shotgun.