Woke bylaws have dramatically changed Hollywood’s product.
Raunchy comedies are out, with “Ricky Stanicky” being an exception relegated to Amazon Prime. Old-school rom-coms went the way of the fax machine, with the mediocre “Anyone But You” over-performing with love-starved patrons.
Yet Hollywood’s new moral order has no qualms about making hitmen (and women) the newest trend.
Yes, many recent films ask us to empathize with stone-cold killers. They murder for a living, earn fabulous paychecks, and often live to see the end credits roll. And they anchor a shocking number of films. Let’s tally up some recent examples.
- Brad Pitt in “Bullet Train” (2022)
- The “John Wick” franchise – plus “The Continental,” a new Peacock series and the upcoming “Ballerina” spinoff with Ana de Armas.
- Michael Fassbender in “The Killer” (2023)
- “The Hitman’s Bodyguard” (2017) and its sequel, “Hitman’s Wife’s Bodyguard” (2021)
- Mary Elizabeth Winstead in “Kate” (2021)
- Jessica Chastain in “Ava” (2020)
- Sasha Luss in “Anna” (2019)
- Michael Keaton, Maggie Q in “The Protégé” (2021)
- Glen Powell in “Hit Man” (June 2024)
- Taraji P. Henson in “Proud Mary” (2018)
- Three “Equalizer” films starring Denzel Washington
Some of these films are played for laughs. Pitt’s paid killer brings a comic, Zen-like approach to his craft. Most movies make it clear we’re meant to root for the assassins. They’re almost always smart, shrewd, and good at their work.
87North/Columbia Pictures/Sony. 2022.
This month, Michael Keaton directs himself in “Knox Goes Away,” the tale of a veteran hit man forced into retirement by dementia. Keaton’s character, John Knox, attempts to “cash out” while he can, hoping to funnel his money to his estranged family members.
It’s Keaton’s second time behind the camera. His directorial debut, 2008’s “The Merry Gentleman,” also found Keaton playing a hit man with a heart of gold.
What’s happening?
Antiheroes are all the rage in Hollywood. Blame Tony Soprano and Walter White. The deeply flawed figures at the heart of “The Sopranos” and “Breaking Bad,” respectively, taught us to engage with damaged souls.
The hitmen genre flows effortlessly from there.
ROBYN BECK/AFP via Getty Images
It helps that the genre taps into our collective bloodlust. Few films choreograph death and destruction with the majesty of the “John Wick” saga. Every film is a ballet of bloodshed.
Other stories guarantee big, bold action sequences, the kind that play well in international markets.
Ka-ching!
These films also tap into our hunger for redemption. Yes, we enjoy seeing fathers reunite with their children on screen, or addicts come clean after years of hard living. What’s more powerful than an assassin realizing his line of work has crushed his soul?
Keaton’s character in “Knox Goes Away” knows he’s dying, but he’ll use his last days to repair some of the damage done to his son and ex-wife. The screenplay also makes clear that the targets of his handiwork essentially had it coming.
No judge. No jury. Just an execution.
Brookstreet Pictures. IMDB. 2024.
Hollywood also recognizes something about the zeitgeist. American audiences are sick of seeing assailants walk after committing heinous attacks. Soft-on-crime policies permeate big cities, and to see deeply flawed people kill said thugs is cathartic.
Too many stores now lock up the essentials for fear of even more theft.
The fascinating part of this cultural shift circles back to the woke movement. Today’s movies can’t luxuriate in the “male gaze” without triggering cries of “The Patriarchy!” The few R-rated comedies that traffic in “problematic” themes get pummeled by mainstream movie critics. Reviewers pounced on Amy Schumer’s “Snatched” for casting minorities as the villain.
Many classic movies couldn’t be made today thanks to the new, progressive mindset.
Yet woke scolds won’t go near the hit man genre. No outrage. No calls for their cultural banishment. No hashtag campaigns designed to snuff them out.
The same isn’t true, ironically, for vigilante films.
When Bruce Willis revived the classic “Death Wish” franchise in 2018, critics howled in protest. Even the film’s trailer triggered cries of racism and fascism.
How is Paul Kersey’s one-man war on crime different than John Wick slaughtering literally hundreds over the course of that franchise?
It isn’t. Actually, Wick’s body count is far worse. So is his moral compass.
Jennifer Garner fared far better with the similarly themed 2018 film “Peppermint.” Social critics pulled most of their punches, probably because the vigilante in question was a woman.
Neilson Barnard/Getty Images
That reminds us how hypocritical the woke movement remains. Social justice types rage against “ageist” attacks on President Joe Biden but stood down when Will Ferrell flirted with an Alzheimer’s comedy based on President Ronald Reagan.
They tried to cancel country singer Morgan Wallen’s career after he uttered the “n-word” in a private conversation caught on tape. Yet they rally behind First Son Hunter Biden, a man who repeatedly used the same word in text messages.
The woke Left will rage against a comedian for telling the “wrong” joke or a comedy for telling so-called “gay panic” jokes. If the hero snuffs out someone without a trial they look the other way.
Heck, make the assassin female and they might dub it “empowering.”
There’s little chance Hollywood will slow the flow of assassin-themed films. Some still make serious coin, and crime remains out of control across the country.
It’s not logical, but a part of us feels safer with people like John Wick meting out justice. Hollywood’s topsy-turvy moral compass doesn’t seem to mind.
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Christian Toto is an award-winning journalist, movie critic and editor of HollywoodInToto.com. He previously served as associate editor with Breitbart News’ Big Hollywood. Follow him at @HollywoodInToto.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.
