Final Kill is aware that it is comprised mainly of recycled materials. It knows that its characters are excessively familiar archetypes, and the plot uses every cliche in the book. The movie seems to want the bizarre D-list cameos ranging from Randy Couture to Danny Trejo, to Dr. Drew Pinsky to stand out in somewhat jarring fashion. While Final Kill familiarizes itself with every stock persona and story beat, it does what it sets out to do earnestly. The filmmakers are not even all that concerned if the action, suspense, and humor does or does not resonate with you.
“…a hunted protection specialist is hired for one last job: safeguarding a couple who stole from the mob.”
The story is every Neo-noir you’ve ever seen. Mickey Rome (Ed Morrone), a hunted protection specialist, is hired for one last job: safeguarding a couple who stole from the mob. They are whisked away to a sprawling Costa Rican villa, supposedly an off the grid safe-house, while they wait to turn states evidence. Along the way, we encounter a rogues gallery of familiar character types like Pauly (Johnny Messner), Mickey’s skeevy colleague/ nemesis, and Riser, the big boss (a mustachioed Billy Zane).
While the film’s plot is a B-movie style recreation of well-worn character and story signposts — like Mickey’s defiant attitude toward his psychiatrist, a tirade ripped right from one of Tony Soprano’s therapy sessions — the dialogue has an undeniable snap to it. Mickey is a short fuse who always has a quick (or sometimes lengthy) rejoinder, some of which are legitimately amusing. Despite being mired in hard-boiled catchwords, the script has its moments with the strongest exchanges almost taking on the patter of a Howard Hawks film. Almost.