By Renee Santos
Los Angeles, CA (The Hollywood Times) 3/5/23 – Featuring a distinguished ensemble cast, THE HIT is a funny, affectionate, and smart dark comedy about a man whose unforeseen circumstance becomes the desperate launching pad for an inadvertent choice to become a Hitman. The story is immediately turned loose on a hilariously dark premise. A sharp script opposed by morbid satire and a few surprises brings in twists needed to jolt the audience up in their seats snowballing the storyline into a pinnacle of professional-grade jokes.
Reggie Currelley is on the front line of burgeoning artists. Wearing a plethora of hats as the Director, Writer, Lead Actor and Executive producer of THE HIT, his sharp humor, relatable characters, and uproarious work leaves you in stitches without offending the viewer. Elevated by strong performances from his comedic paring with Alexandre Chen as Tyrone, to the supporting roles of Renee Gautier as the brazen waitress Felicity and Keisuke Hoashi’s role of the clumsy lawyer cousin, Bruce, Currelley integrates charm and surprising poignancy addressing racial stereotypes through a comedic reflective lens.
There are many comedy nuances that aren’t missed. Currelley’s, Chester, while at home, sports an aqua blue tee-shirt as a constant reminder of his devotion to his beloved pet. The chihuahua terrier mut, Lois Lane’s caricature face is in close up on the center of this tee-shirt in an ironed-on framed square. The same image is also framed on the wall in the entryway which he doesn’t miss touching as he enters and exits his apartment. None of Currelley’s comedic punches use brazenly tasteless humor even while showcasing some classic comedy moves like Hoashi’s, Bruce, repeatedly spilling hot coffee on a white shirt. He utilizes subtext stripping away the cliche to have the audience discretely in a constant giggle.
Taking on a comedic feature film is no small task. I was riveted from the beginning through most of the adventure, my only criticism of this script was to see a bit of the expository anecdotes at the end shortened. The finish of the film did seem like a sketch stretched a little thin, but overall Currelley was able to tap into a unique playground bringing dark comedy closer to laugh-out-loud enlightenment.
The ensemble collaboration of a stunningly talented group of actors shapes a new genre of comedy showcasing the sentiment of slapstick comedy classics like Norbit and The Great Outdoors, Rom-Coms like Bridesmaids, and the screwball antics of Bringing up Baby. Although the story doesn’t hit parodies like Airplane or the Post-Modern position of Monty Python, it does have a unique voice that I believe makes THE HIT, a solid candidate for earning its place in the comedy shrine of chuckles.
THE HIT deserves the platform to be seen. This is the type of film that could sneak into the elite group of classic comedies floating on the changing tides of preferences and time and yet remaining relevant.
