The Hit List inexplicably opens with some sort of James Bond-inspired opening credits. It doesn't really jive with the rest of the film, but two points for trying something a little different. The Hit List, outside of its crazy title credits, is a solid little Action/Thriller with a flair for the dramatic. A tight, intense script; solid leads; and just the right combination of explosive action and psychological drama are all present, and each an attribute usually reserved for superior pictures, with movies like The Hit List generally left to fend for themselves by simply going through the motions with no real purpose aside from gunfire and explosions.
The Hit List is still a relative success in terms of its potent combination of action, intensity, character dichotomies, and psychological tension. A sequence featuring Hasuer and Gooding, Jr. swapping war stories and woe-is-me tales in a darkly-lit pub that is suddenly turned on its head by an admission of murder and a willingness to carry out five more is the film's most chilling and captivating, with Gooding selling an intensely serious demeanor that's accompanied by a deviously and disturbingly playful edge. Hauser, in turn, delivers a fairly standard action hero performance; he runs around well and looks terrified enough, but this is clearly Gooding, Jr.'s show and he nails the part until the film falls apart in its final few minutes.
Indeed, The Hit List in its final act tries to become some strange hybrid that's part Collateral and part The Terminator. The similarities are striking, and even if the film never achieves close to the same level of greatness as either of those wonderful films, there's just enough personal identity in the rest of it to set The Hit List apart.