Buzz
While hit man movies often share familiar themes, the finest examples transcend basic tales of hired killings. These stories often explore the moral codes, loyalties, or passions that drive these characters. Some grapple with past errors, others are consumed by revenge, and many search for redemption, escape, or a cause worth sacrificing everything for.
As Richard Linklater’s Hit Man (featuring Glen Powell) debuts on Netflix, offering a fresh take on the world of contract killers, we revisit a curated selection of twelve unique films about assassins. Spanning genres from existential rom-coms to intense thrillers, revenge sagas, action blockbusters, and beloved series, these movies cater to a wide range of tastes.
Pulp Fiction (1994)
While many iconic films grace this list, none rival the lasting impact of Pulp Fiction, a homage to Quentin Tarantino’s ‘60s and ‘70s influences that became so influential it birthed an entire sub-genre of copycats. The movie also played a pivotal role in accelerating the indie film movement of the ‘90s.
Beyond its cultural significance, it’s a masterpiece weaving a non-linear tale of a mob boss, his spouse, two assassins, a boxer seeking redemption, and a duo of diner thieves, all interconnected in unexpected ways. Packed with unforgettable lines (you likely know someone who can recite the Christopher Walken watch monologue by heart), this Los Angeles epic might have taken a different shape had Tarantino opted for a different cast.
Over the years, numerous actors have been linked to the film (with varying degrees of plausibility), but two names stand out: Julia-Louis Dreyfus and Matt Dillon.
The Seinfeld actress was reportedly unable to take on the role of Mia, which ultimately went to Uma Thurman, while the Drugstore Cowboy star nearly landed the part of Butch, the boxer, which Bruce Willis eventually played (Tarantino wrote it with Dillon in mind). In both instances, destiny ensured the perfect casting. Willis, who initially sought to play Vincent or Jules, was nine years older than Dillon and perfectly embodied the worn-out fighter. And while Dreyfus is undeniably talented, her dance moves on Seinfeld suggest she might not have been the ideal match for John Travolta in the iconic dance sequence.
Leon: The Professional (1994)
The tranquil and methodical existence of an assassin, filled with gun maintenance, milk consumption, and Gene Kelly film marathons, is disrupted when he intervenes in a bloodbath to rescue his 12-year-old neighbor, Mathilda, in The Professional. Reluctantly, he (Jean Reno) agrees to train her (Natalie Portman) as a “cleaner,” igniting her desire for vengeance against her family’s killer and her infatuation with her older protector. Both actors deliver captivating performances.
Gary Oldman also shines as the corrupt DEA agent they target. A chaotic and explosive presence, Oldman and writer/director Luc Besson crafted the character’s unpredictable brilliance during filming, with Oldman improvising pivotal scenes. In 2014, Oldman told Playboy that his iconic demand for “E-V-E-R-Y-O-N-E” during the climactic showdown was an attempt to amuse Besson.
Despite the stellar cast and the film’s visually stunning action scenes, Besson uncomfortably dwells on moments highlighting Mathilda’s lingering crush, leaving a legacy that Portman told The Hollywood Reporter was “complicated” for her (the movie marked her feature debut).
As Portman explained in Starting Young, a 10th-anniversary DVD featurette, the film could have been even more unsettling had her parents not advocated for necessary script revisions.
Grosse Pointe Blank
(1997)
Grosse Pointe Blank is a darkly comedic tale of a hitman grappling with existential dread, as star, producer, and co-writer John Cusack’s character attends his 10-year high school reunion and revisits his hometown—and the ex-girlfriend (Minnie Driver) he left behind. Cusack even subjected himself to the “special torture” of attending his own high school reunion for authenticity.
In an interview, Cusack explained that the film critiques how people detach themselves from the harsh or unethical actions they sometimes justify in their professional lives. Beyond that, it’s celebrated as a razor-sharp romantic comedy with a biting edge, an iconic soundtrack, and a thoughtful exploration of aging and self-reflection as one approaches their thirties. As Driver’s Debbie wisely advises, it’s best to “leave your livestock alone.”
Ghost Dog: Way Of The Samurai (1999)
In most assassin films, rules play a pivotal role. Jim Jarmusch’s Ghost Dog elevates this concept, following a hitman (Forest Whitaker) revered in his community who lives by the samurai code, with unwavering loyalty to his master.
Ghost Dog stands out as a strikingly original take on a mainstream genre, much like Jarmusch’s zombie flick The Dead Don’t Die and his western Dead Man. Jarmusch described the film as a “gangster samurai hip-hop Eastern western” in an interview with Filmmaker Magazine. His eclectic influences range from literary classics like Don Quixote and Frankenstein to films such as Le Samouraï and Point Blank.
Ghost Dog is another film on this list celebrated for its exceptional soundtrack, crafted by RZA of the Wu-Tang Clan, who later composed for the next entry on this list (Kill Bill) and numerous other projects.
Kill Bill (2003)
Tarantino’s second appearance here (combining Kill Bill: Volumes 1 and 2) is a relentless revenge saga. Uma Thurman’s The Bride, a former assassin, is left for dead at her wedding, only to awaken years later and embark on a bloody quest to eliminate those who wronged her.
From gouging out eyes to battling the Crazy 88s and mastering The Five Point Palm Exploding Heart Technique, Thurman’s character stands as one of the most formidable figures on this list. The concept for Kill Bill reportedly emerged during the filming of Pulp Fiction, though it took a decade to bring the two-part epic to life.
The delay between the films proved advantageous; Tarantino told IGN that the extended period allowed him to reconnect with Thurman, collaborate closely, and observe her interactions with her daughter, Maya, which added depth and nuance to her character.
Collateral (2004)
Michael Mann’s gripping thriller captures the essence of a single night in Los Angeles, as cold-blooded hitman Vincent (Tom Cruise) forces Max (Jamie Foxx), a cab driver, into a harrowing night of assassinations. Originally set in New York, the film’s location shifted after Mann joined the project.
An intriguing detail from the DVD commentary (as disseminated by Film School Rejects) reveals that Cruise and Mann crafted an elaborate backstory for Vincent. Mann explained, “We imagined an abusive, alcoholic father who was culturally progressive—likely a Vietnam veteran and member of Ed Sadlowski’s Steelworkers Local, with African-American friends on Chicago’s South Side. He was also a jazz enthusiast.”
Mr. And Mrs. Smith (2005)
Two assassins employed by rival agencies accidentally fall in love, only to discover each other’s true professions. This revelation sparks a fierce rivalry, leading them to unleash chaos in a Spy vs. Spy-style battle that destroys everything in their wake—including their relationship—before reigniting their passion.
Doug Liman’s action-packed romantic comedy thrives on the undeniable chemistry between Brad Pitt and Angelina Jolie, two immensely talented actors whose off-screen romance captivated tabloids while overshadowing Pitt’s marriage.
Though Pitt and Jolie’s real-life relationship eventually faltered, this film (along with the underrated drama By The Sea) remains a testament to their on-screen magic. Interestingly, Nicole Kidman was reportedly initially cast opposite Pitt but withdrew due to scheduling conflicts or a lack of chemistry, depending on the source. Either way, Keith Urban might owe his happiness to that twist of fate.
Red Eye (2005)
Wes Craven’s high-altitude thriller follows an assassin (Cillian Murphy) who manipulates a hotel manager (Rachel McAdams) during a flight, coercing her into aiding his plot to assassinate a government official. Clocking in at just 85 minutes, Red Eye delivers relentless tension—you could watch it twice, with a break, in the time it takes to sit through Oppenheimer.
Despite its box office success and an 80 percent rating on Rotten Tomatoes, Murphy isn’t a fan of Red Eye. “I don’t think it’s a good movie,” the Oscar-winning actor told GQ in 2024, though he conceded, “It’s a good B movie.”
Murphy also praised his collaboration with McAdams and appreciated the chance to portray a character who shifts dramatically from charm to menace. However, it’s not a movie he’d choose to watch on his next flight.
In Bruges (2008)
Purgatory takes the form of a cultural tour through Bruges, Belgium, as Brendan Gleeson and Colin Farrell await their fate after a botched hit, under the watchful eye of their foul-mouthed boss (Ralph Fiennes).
Unlike most hitman films, In Bruges delves into the emotional fallout of a job gone wrong. Martin McDonagh’s debut blends dark humor with themes of guilt, driven by the dynamic between Gleeson and Farrell and the explosive arrival of Fiennes’ character.
While the cast is stellar (including a cameo by Ciarán Hinds), one notable absence was Matt Smith. Originally cast as a younger version of Fiennes’ Harry, Smith embodied the character’s swagger and voice, complete with a striking hairstyle and a sword used for a dramatic beheading, as seen here. (A year later, Smith took over from David Tennant as the lead in Doctor Who.)
Looper (2012)
Writer/director Rian Johnson ventures beyond traditional assassin narratives, crafting a complex time-travel story about hitmen who eliminate targets sent back 30 years by the mob to evade detection. Featuring Joseph Gordon-Levitt and Bruce Willis as younger and older versions of the same character, Looper sets the two on a collision course over their intertwined fates.
Similar to Kill Bill, this project evolved over a decade, with Johnson developing the concept from 2002 until its 2012 release. While Levitt was always the intended lead, there was once the possibility he’d play a dual role, swapping a prosthetic Willis nose for aging makeup.
The Equalizer (2014)
The genre rarely features hitmen as heroes, but The Equalizer flips the script with a retired government operative turned vigilante. Denzel Washington has cemented his status as an action/thriller icon over the past 25 years, highlighted by his five (and counting) collaborations with director Antoine Fuqua. While their 2001 film Training Day remains unmatched, the Equalizer trilogy stands as a powerful late-career achievement for Washington. Inspired by the ‘80s TV series (later adapted into a Queen Latifah-led CBS show unrelated to the films), Washington wasn’t the first choice for the role; Russell Crowe, his co-star in Virtuosity and American Gangster, was previously attached.
John Wick (2014)
While many hitman films feature the line, “It’s not personal, it’s business,” for John Wick, it’s deeply personal. Keanu Reeves’s character is thrust back into a brutal world of violence after losing his wife and the puppy she left him to ease his grief.
The film’s emotional core resonates with audiences, but its true brilliance lies in its groundbreaking fight choreography. While other movies on this list treat action like a dance, John Wick redefines the genre with its precision and influence.
Interestingly, though the series is now synonymous with Reeves’s athleticism and martial arts expertise, the original script envisioned an older protagonist, targeting action legends like Harrison Ford and Clint Eastwood, with Wick initially written as a senior citizen.
