Kill List

Fuckers Who Kill People For Money: The Unsentimental Portrayal of the Hitman in Kill List

KillList

The hitman has become a cultural figure that has undergone various aesthetic and moral transformations in cinema. The most typical and somewhat surprising characteristic of the contracted-killer is that he or she is shown to be a solitary figure worthy of empathy or even admiration; a sleek and often charming loner that the story is attracted to – suspending the audience’s judgement or allowing them to explore his/her inner conflict in order to understand their motivation or veiled humility. Amongst his description of the subcategories of hitmen in his chapter of ‘Crime Culture: Figuring Criminality in Fiction and Film’, Andrew Spicer describes the aestheticised version of the hitman as the ‘Angel of Death’: “a highly masculine fantasy of total self-sufficiency”. This increasingly recognisable antagonist and the subsequent notion of fantastical perfection is precisely what Ben Wheatley challenges in his latest feature – Kill List (2011).

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