Please Kill Mr. Know It All Sandra Feldman & Colin Carter

Please Kill Mr. Know It All Sandra Feldman & Colin Carter
5
Stunt performer turned filmmaker Sandra Feldman's second feature film is a romantic comedy of errors that toes the waters of slightly satirical, feminized film noir. Think The Truth About Cats and Dogs mixed with Mr. & Mrs. Smith, only minus the '90s angst, chemistry, action and production values, and you're in the right section of Netflix.

Please Kill Mr. Know It All is a likeable enough film with a bit of wit, plenty of good intentions and a strong lead performance from Lara Jean Chorostecki; it's mostly just lacking in personality and consistency. The setup, while strongly indebted to the previously mentioned films, is rife with comic potential: an advice columnist becomes romantically entangled with the hit man hired to kill her alter ego. It's actually more complicated and reasonable, if a little too dramatically convenient, than it sounds.

Sally (Chorostecki) is an aspiring novelist working as an anonymous advice columnist. When a famous musician (Tom Wilson) credits her nom de plume with changing his life in an interview with Colin Mochrie (the scene is so Canadian you can practically smell the maple syrup slathered beaver and musky hockey pads), Sally is suddenly pressured to put a face to her name.

To ensure maximum hijinks, her sassy agent (Kristina Pesic) has led the publisher to believe that Mr. Know It All is a indeed a mister, so Sally plays along, sketching the face of a handsome bearded man she sees at the movie theatre to use as her by-line picture.

Hilarity is supposed to ensue when the hit man starts being recognized in public and realizes he's been hired to off himself. More yuks are intended to follow when Sally begins to have feelings for our suave killer while running interference between him and her fake self.

Quite simply, Jefferson Brown is too bland to keep up with Chorostecki's plucky, slightly neurotic take on a woman afraid to take chances (the reason for her reticence to externalize her desires is the script's most clever idea), and so the sparks between them feel forced, which takes most of the electricity out of the picture.

Though it has its moments, Feldman's shot at playing cupid assassin misses the heart and only grazes the funny bone. (Breakthrough Entertainment)