THE LAST HIT

When a trained assassin for the local mob is assigned to eliminate a certain seventeen-year-old beauty, the killer opts to help the girl escape.

Michael Glier’s The Last Hit is yet another tale of vigilante justice, and like all those before it, the movie reeks of weapons, dead bodies and lots of running and hiding. Louis Pappas, who is the screenwriter of The Last Hit, also portrays Simon Carson, the film’s principal character. Simon is a highly skilled annihilator for a crime syndicate. He’s a brilliant shooter who never misses his mark. Simon is all business, all the time, with cold steely eyes that show no compassion for either his victims or the bosses who pay him extremely well for his work. But business as usual comes to a screeching halt when Simon meets young Gabby, and it’s not for the obvious reason of romance.

First and foremost, The Last Hit is Michael Glier’s debut feature film and I assume that it was produced on a low budget. That being said, I have to admit that this film is outstanding in every conceivable way. The storyline is smart, compelling, and fast moving with much in the way of sensitivity and subtle humor. The film score moves the action along beautifully, and also gives us pause at opportune moments. Every single actor, from principals to walk-ons, is unbelievably talented and uniquely interesting. Furthermore, their portrayals are so authentic that we wonder if we’re really viewing actors at all. For a real treat, pay particular attention to a character named Grassy Knowles, played by Irwin Levenstein.

Special kudos should also be extended to Oscar Espino (who, like Glier, doubles as one of Sal’s henchman) for seamless camera moves. I didn’t even mind that touch of solar glare at the very beginning of The Last Hit, which simply adds to the film’s overall realism.

As for any problems in the movie: I can’t find even one.

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