Rated: PG-13 Reviewed by: Jim Release date: June 4, 2010 Released by: Lions Gate Films
This flaccid action comedy has Katherine Heigl with a Doris Day look and bangy, dialed-down Ashton Kutcher who also produces.
Killers has Kutcher's Spencer keeping his CIA background from his new wallflower wife, Jen (Heigl). The film seems to go for some unpredictable hilarity touching on love and marriage with serious firepower. The latter only seems to be aimed at the viewer with even the targeted females not able to drawn much its lethal vapidness.
Robert Luketic's potential in assassin paranoia initially has undersexed Jen nagged by her parents - her dad (Tom Selleck) a no-nonsense gun-loving pilot and her tipsy mom (Catherine O'Hara). What was to be a nice honeymoon of a trip where another possible hubby falls by the wayside has the fastiduous woman running into the undercover Spencer at work. And, Spencer happens to have eyes for this blustery gal who sees him as her ideal man. A swift marriage ensues.
As time quickly passes, with Spencer in the architecture racket, the couple's banal bliss is disrupted when he needs to gather in his old hit-man self. Their neighbors could very well be contracted to kill the couple. But, Heigl doesn't make Jen a convincing comedic presence as she learns about her husband's secret affiliation, and the reasons for what is happening to Spencer aren't clearly explained.
Ultimately, Killers is an example of a project greenlighted because of its stars, but one might think with Kutcher's business sense that the key relationship, the action, and the shouting wouldn't be as weakly executed as it is. Jen's visage has a constant herky-jerkyness and Spencer is more like the model the way the camera treats him, but Heigl and Kutcher don't generate any interest together as the flirty interplay is interrupted with bouts of shouting.
This phoned-in rom-com obviously calls to mind the likes of Mr. & Mrs. Smith and the better True Lies, but Luketic's reunion with Heigl is arguably flatter than The Ugly Truth. It's clear he couldn't make a fun vehicle from the superficiality by scribes Bob DeRosa and Ted Griffin. Maybe with some tweaking the filmmakers could have brought the dullness to something more spirited like The Whole Nine Yards. But with all the listless litany (save for the odd charm of O'Hara and Selleck) there's little truth in a trifle like this, with Martin Mull wasted as Spencer's former boss.