Score it big-time inane but a load of fun.

One of the funniest movies to come along in awhile.

The last word in good-time mayhem.

Far from redundant. That's because (Kirk) Wong deftly balances the outrageous stunts. [24 April 1998, p. 6E]

Manages the seemingly impossible task of being very funny indeed and being as dark as anything Wong has ever made. This is an almost painfully bleak comedy that makes you squirm in the manner of “The Out-of-Towners.”

Unquestionably a slick piece of goods. The training and experience of Wong and his crew --- culled largely from such action series as "La Femme Nikita" and "Once a Thief" --- keep the film lively and vivid.

This movie isn't afraid of venturing into the realm of bad taste -- in fact, it revels in it.

The filmmakers seem to think they can also manipulate us by combining the erotic with the disgusting. And they can--it's a foolproof tactic.

This isn't a movie so much as a marketing strategy -- a moving poster loosely disguised as a motion picture.

Mark Wahlberg could lose some of the good will he generated from his performance in "Boogie Nights" by playing an idiotically gentle killer for hire in The Big Hit. [24 April 1998, p. 53]

That rarest of all genre hybrids, the screwball-romantic-action-situation-black comedy. Rare for good reason. Who'd want to see a thing like that?

A high-concept, low-reward hodgepodge that mingles elaborate stunts and shootouts with stereotypical ethnic humor.

The television commercials for the movie say something about this being the same team that brought you “Face/Off,” which is about as relevant to this picture as noting that Paul Thomas Anderson got Wahlberg to drop his pants in “Boogie Nights.”

The characters in these movies exist in a Twilight Zone where thousands of rounds of ammunition are fired, but no one ever gets shot unless the plot requires him to.