Recycling a long-forgotten hit movie can either turn into a homage kind of good or a bad rip-off. Unfortunately for its talented actors, Mr. Right falls on the latter.
Sam Rockwell does his best here, bringing in his killer moves. Anna Kendrick looks like she’s having fun. RZA makes his late appearance count. Tim Roth drops in as the movie tries to make a Tarantino connection and manages to be amusing. Their characters, however, are disposable.
The plot is a mixture of a derivative rom-com, a half-baked twisted redemption tale, and a B-movie mob story. Martha’s life wouldn’t be complete until she tames her own fuckboy. Francis, with his own brand of pseudo-fighting-science, is a hitman who kills his employers due to some vague moral awakening. A pair of homoerotic gang bros execute an ill-conceived takeover that’s used in the climax to spice things up.
These three plotlines unfold through nonsensical sequences sprinkled with silly fight scenes and inhabited by one-dimensional characters (Hopper is described as a seriously mean guy). Any comedy that it earns is solely from the talent of its actors because the script by Max Landis and direction by Paco Cabezas doesn’t give them anything remotely decent to use.
It doesn’t help that the low production value makes everything look cheap and unremarkable. They’re in New Orleans, but the background is too generic to know the difference.
Mr. Right wants to be Grosse Point Blank but it’s lazily written and sloppily executed. There’s something interesting about a hitman who kills his employers but the makers of the movie don’t want to put in any effort, relying on its actors’ comedic quirks to get by.
Mr. Right is tolerable when strictly viewed as a dumb crime movie where two actors amuse each other. Other than that, it’s purely mind-numbing.
Mr. Right is 3 bad movies in 1 with B-movie production value, nonsensical script, and disposable characters.