A blank, baby-faced hunk (Jason Priestley) who works as a bookie is reluctantly promoted by a new gang boss (Robert Loggia) to become a hit man, and then has some trouble adjusting to the fact that he’s so good at it. I suppose the point of this black comedy is how willing all of us are nowadays to accommodate ourselves to murder. It’s the material for Swiftian satire, but writer-director M. Wallace Wolodarsky, a TV veteran, isn’t up to the job. In order for this to have a pointed moral position, one has to believe in the characters on some level, and only Peter Riegert, as the hero’s mentor, and Janeane Garofalo, in a small part as a hooker, come close to earning belief. Most of the performances and much of the mise en scene are stiff, and the laugh cues in the horribly banal and TV-like music score discouraged me even from smiling. One more indication of what Tarantino’s pervasive influence has wrought: this seems to tip its hat to him in a gag about blood on a new car’s leather upholstery. Maybe you’ll bust a gut, but I doubt it. With Kimberly Williams and Jay Kogen. Michael J. Fox, one of the producers, has a cameo. (JR)

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