The idea of a ‘reverse’ hitman is one of the film’s narrative post-modernist choices, one which takes the standard hitman tropes and attempts to make them likeable to a mainstream audience, whilst commenting on the techniques and established knowledge of past hitman characters in film. If his reputation for killing his handlers is so well known, why would anyone hire him? Whilst it can be argued that he’s hired on a word-of-mouth status due to his former lifestyle, the film shows us that he’s someone who is frequently hired, even with his vigilante streak.
MAKING MR RIGHT 2015 CODE
One of the sub-plots in the film sees a pair of small-time gangsters ( James Ransone and Michael Eklund) try to make their boss Richard ( Anson Mount) hire Francis to kill a random gangster so that Francis’ code of honor would mean that Francis actually kills Richard, leaving the gangster pair to take over Richard’s large crime empire. Whilst the idea of writing a ‘reverse’ hitman is one that’s understandable in constructing a likeable protagonist (creating a character that’s essentially a pseudo-vigilante icon, meaning his murder is somewhat justified in broad terms), it’s one that doesn’t quite make much sense in its internal logic. When his past starts to catch up with him, Francis finds he must fight back, whilst trying to maintain a normal relationship with the naïve Martha. Due to McKay’s complete bewilderment with Francis, she ignores Francis’ constant warnings that he is actually a hitman who is always targeted by scorned enemies and his past mentor Reynolds ( Tim Roth), that constantly puts him in danger.ĭue to an unestablished mental breakdown, Francis lives by a ‘reverse’ hitman code – instead of killing the intended targets that he is paid to kill, he kills the person who gives him the assignment, with the ironic message of “murder is wrong”. Right” ( Sam Rockwell), a love-at-first-sight encounter that has the pair dating immediately. Desperate for a new romance to shield the pain of her sudden breakup, a chance meeting within a convenience store has her bumping into Francis “Mr. Right is a solid rom-com action film whose post-modernist elements constantly cut into the film’s goofy charm, a film which is conflicted with its own identity, flipping between a Tarantino-esque dissection of the hitman film genre and a modern Facebook era rom-com filled with enough quirks and snappy dialogue to keep you entertained.Īfter catching her boyfriend cheating on her, Martha McKay ( Anna Kendrick) is at her wit’s end. Right is the modern bi-product of this long-running fashion.
The independent cinema movement of the 90’s and Tarantino’s game-changing features ( Pulp Fiction and Reservoir Dogs), much like any popular film movements (spaghetti westerns, superhero movies) saw a boom of imitators, many missing the point and subtle touches of Tarantino’s films.Īs any genre gets popular, more films are created in a similar fashion, which dilute their popularity and force filmmakers to create alternative or deconstructed versions of the original text. Tarantino’s films constantly play with form, dialogue infused with pop culture references and manipulation of established genre tropes, which makes his films prime post-modernist material. The most famous example (and one that really brought the movement into mainstream fare) is the cinema of Quentin Tarantino. Post-modern cinema wants to actively point out the different film elements that make traditional cinema work, show them to you and deconstruct these cinematic codes in order to stand apart and comment on its established genre/story-telling methods that its currently indulging in. To break it down, post-modernist cinema essentially is cinema that tackles ‘modern’ or traditional cinema. To talk about this film, you must talk about the rise and acceptance of post-modernist cinema with mainstream audiences and how this has changed the way modern genre films are tackled.
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