The Devil's Business

Two hit men arrive at a house under instruction to kill the guy who lives there. They sit around talking waiting for him to get home, one of 'em goes for a Pooh just as he gets back. Timing, eh?

The cast, all four of them, are very good, especially Billy Clarke as Pinner, the elder, experienced hit-man. His unblinking 10 minute monologue is flipping ace, a great, weighty centrepoint of the film. The majority of the runtime is the verbal exchange between the two hit men, there is gore and jump scares but they're not over used and the script will hold your attention as it creates a nice creeping tension.

The only weak point is the very end of the film, without giving anything away, it gets, we thought, a little silly. It's a let-down, but a forgivable one as the hour leading up to it was so enjoyable and well made.

Well worth a purchase/rental!

I had read several very positive reviews of this movie so I was excited to watch it...I was very disappointed. The ending was incredibly cheesy and silly, the sound effects were way overdone (there is a part with a baby where they play a crying baby sound as if you couldn't tell it was a baby...come on) and the music was this ever-present "typical horror movie" soundtrack. I was a bit put off at first because the plot summary sounded so much like the (far superior) Kill List, and it really is pretty similar...if you took the great cinematography, the unflinching brutality and the budget away from Kill List and then put the music from an 80s episode of Unsolved Mysteries over the entire thing, you might get something resembling this movie. It's only 69 minutes but it felt way too long and was very predictable and obvious. The lead actor did a really good job and the actor playing Kist was effectively creepy and without them this would be firmly in Syfy Channel B-movie territory. I still wouldn't recommend it; this is one that is not worth the hype. Just go watch Kill List again and save yourself the trouble.

A sure thing in cinema is rarely just that, especially in horror films. This is the case in The Devil's Business, in which veteran hit-man Mr. Pinner and his greenhorn associate Cully wait in the home of a target due to arrive later after attending an opera, Mr. Kist. It seems easy enough, but after the discovery of a devil worship altar in a shed things start to go pretty pear shaped and pretty soon the night is one of terror. I'm not usually drawn to horror films with criminal protagonists as the nature of their work immediately puts them at a remove from my natural sympathies. However writer/director Sean Hogan conducts things with great skill, drawing inspiration from theatre to make things instantly compelling. Pinter's The Dumb Waiter was apparently a source and the characters of Mr. Pinner and Cully come out and grow from their very first exchange of dialogue, on the one hand we have the old master, wise, cautious and with little time for any consideration other than making things go absolutely smoothly, and on the other the young man, the thug in training who tries to talk the talk but constantly reveals his inexperience. Billy Clarke is great as Mr Pinner, sharp, sarcastic and assured while Jack Gordon is equally good as Cully, clumsy, curious and eager he brings a naive likability to a role which in the wrong hands could grate. They share fine chemistry and so as events get out of control an impressive level of pathos emerges along with the suspense, one genuinely hopes these two will get away OK. Rounding things out Jonathan Hansler is suavely sinister as the classy Mr. Kist, while Harry Miller makes for a solid old school boss. The film makes good use of shadow and darkness, with good use of eerie blue twilight as well as rich red, and calm and controlled camera lets the actors and dialogue shine whilst milking the uneasy setting, a highlight scene involving Mr. Pinner recounting a scary story as the camera moves slowly on his increasingly strained face, much like watching an intense monologue from the front row of a theatre. Some may find the dialogue a bit overwritten but I really appreciated it, I thought it great to see a film where the writing is so integral. Towards the end things do get a little out of control with traditional grue and madness that doesn't sit so well with what has gone before but on the other hand its still pretty unnerving and it does bring a certain needed release, without sacrificing too much power. Basically I thought this was pretty excellent, highly recommended if you can dig horror with a slow burning fuse and lots of talk.

Ripe for rediscovery, The Devil's Business remains a tense, thrillingly unpredictable, darkly foreboding, palpably disturbing Brit-crime/horror hybrid with exhilarating eruptions of unleavened weirdness. A blackly funny, wholly credible, exceptionally well-made independent British horror film, The Devil's Business has an nihilistic, doomy ambience, with rigorously compelling performances. Frisson-hungry fans of equally skewed Brit-horror eccentricity like 'The Ghoul' 'Mum & Dad, and 'K-Shop' are sure to appreciate the no less Mephistophelean menaces lurking oppressively within 'The Devil's Business'. It is extraordinarily rare to discover a genre feature that commingles gritty crime and lurid folk horror tropes so adroitly. Sean Hogan's infernally creepy The Devil's business is a heady distillation of Stephen Frears The Hit and the weirder elementals of monster master Clive Barker.

The Devil's Business is largely two men talking about their business on the shady side of the law, and the younger man's contemplation of life as a hitman given the older man's experience.

At first, this can be off putting and seemingly slow paced. But, what they are discussing isn't quite as banal as it may seem. There is something deeper happening.

Now, add in some supernatural ritualistic elements from the target of their assignment, and the talking becomes a bit more complex.

Overall this remains a small film that has heart as long as you don't mind a storyline that leaves some gaps in the logic. The acting of the two is earnest if a bit defined by their characters. They are still believable for who they are.