The Limey Best Cheap Price: Save more for The Hit Today

Best Price :$29.95
Offer Price : $17.57
Availability : Usually ships in 24 hours

The Hit Specifications

This memorable drama helped bring British director Stephen Frears back from the limited opportunities of television (where he spent 13 years after making his promising debut feature, Gumshoe) and into the ranks of world-class filmmakers. Driven by the self-confident charisma of Terence Stamp, the vicious charm of John Hurt, and a fascinating debut performance by Tim Roth, The Hit concerns a criminal informant (Stamp) on ice for the past decade in Spain. Found out by the mobster who wants revenge on him, Stamp's character is apprehended by a pair of hit men who have to escort him to Paris. Along the way, the serene abductee, having become a bit enlightened during his ten-year retreat, seems not to worry about death or anything else. It's his overseers who feel the strain of their imminent task of spilling his blood. Smart, very funny, and very unconventional, The Hit is also a treat to look at as Frears enjoys the expanse of the big screen again. --Tom Keogh

[else][endif]

The Hit Overviews

Terence Stamp is Willie, a gangster s henchman turned informer trying to live in peaceful hiding in a remote Spanish village. Sun-dappled bliss turns to nerve-racking suspense, however, when two hit men played by a soulless John Hurt and a youthful, loose-cannon Tim Roth come a-calling to bring Willie back for execution. This stylish early gem from Stephen Frears boasts terrific performances from a roster of England s best hard-boiled actors and ravishing photography of its desolate Spanish locations a splendid backdrop for a rather sordid story.

SPECIAL EDITION FEATURES:
New, restored high-definition digital transfer, approved by director of photography Mike Molloy
Commentary featuring director Stephen Frears and actors
John Hurt and Tim Roth
Parkinson One-to-One: Terence Stamp, a 1988 television interview with the actor
Original theatrical trailer
PLUS: A booklet featuring a new essay by film critic Graham Fuller