Grosse Pointe Blank

As a satire, Grosse Pointe Blank doesn't completely add up-the parts are greater than the whole-but it's very much alive and kicking.

High school reunions should only be this satisfying — and hitmen this open-minded about the value of psychotherapy.

Despite some early indications from the two Cusacks and Arkin that it's going to be funny, it winds up an unholy mess that becomes steadily more incoherent -- morally, dramatically, and conceptually.

Cusack is charming and assured in the film.

Of the many violence-inflected black comedies that Pulp Fiction spawned, Grosse Pointe Blank ranks among the best [...] It never feels derivative [and] finds its own identity as a quirky romcom.

Director George Armitage gets the mix of wry humor and edgy violence dead on, and [John] Cusack’s cocked-grin charm and earnest determination tells us not to take it all too seriously without sinking his character into farce.

Starring 80s poster boy John Cusack and featuring a blistering soundtrack curated by Joe Strummer, ‘Grosse Pointe Blank’ is like John Hughes directed The Killer.

The big joke in Grosse Pointe Blank is that it treats being a professional killer like its just another profession, one thats gotten staid and corporate (25th anniversary)