I've searched for a copy of this movie on DVD in stores, on-line for 10 years and finally located a VHS copy from Amazon.I truly do NOT understand why this movie isn't listed in Mimi Roger's or Anthony Lapaglia's Wikis as I regard it as their best work. I plan to copy the VHS to DVD ands share it on torrent sites.No one else seems to give a flip about marketing it on DVD or I'd have ordered it by now. Never play leapfrog with a Unicorn.I'd rather have a bottle in front of me than a frontal lobotomy.There's your ten lines, Bubba.

Although just a decade ago, Anthony LaPaglia was a wild guy in movies, not the subdued leader of the hit TV program "Without A Trace." He usually played very profane guys, too. That's certainly the case here in this film which I've always seen labeled "Bulletproof Heart," (not "Killer").Actually, all four lead actors in this movie were interesting: assassin LaPaglia, love-sex- interest Mimi Rogers, comedians Matt Craven and Peter Boyle. The latter two play comedian-types, I should say. Craven is particularly funny in this movie. Rogers is here mainly to show off her huge breasts. She shows them off particularly in a bondage-type scene that is a bit sick. (This movie isn't exactly The Sound Of Music, morally-speaking. It's pretty sleazy.)The film has a good mixture of drama, humor, sex, violence and suspense. However, it also is a good example of Hollywood's depravity, pagan views and fatalistic viewpoints. Seeing more and more of that with my second and third viewing of this , my rating went lower and lower until I finally canned this from my collection. It's just too sordid.....but, for the first-time viewer, a real eye-opener which keeps your attention.

I first saw this film many years ago when it came out on video. Having just recently bought a copy it proved fascinating to watch it again after so long. The set piece I remembered in most detail was of the two protagonists seated facing each other in an empty warehouse.The emotional charge in the scene is ferocious. The film is a curious work, mixing almost Steve Martin comedy with high gangster genre "Carlito's Way" style drama. I'm not sure if the screenwriter and the director between them completely pull off this trick. Personally I would have preferred it if the comedic element had been dropped. The film concerns an extremely efficient though extremely jaded hit-man called Mick (played by Anthony LaPaglia). He has unemotionally killed so many people that it seems as if violent death and sex, as it were the agony and the ecstasy, for him have merged. (Early in the film he is shown lying semi-naked in bed, and as the prologue to having intercourse he is receiving a somewhat intimate massage from a masseuse/prostitute. As she straddles him he is shown contemplating stabbing her with a pair of scissors.)When he goes to dispatch his latest kill Fiona (Mimi Rogers) only to find that she is positively waiting to be killed he is totally thrown. In her seduction of him he becomes the apparent willing victim, being both tied by the wrists to the bedhead and thrashed across the face; as things climax so to speak he manages to break free. This appears to be his epiphany,the awaking of deeply repressed feelings of love and compassion within him. At this juncture I feel compelled to indicate that in English seventeenth-century love poetry words such as "Kill" and "Come" were interchangeable, and I did wonder if the allusion here was intentional. It seemed so in respect of the ending of the movie. Unfortunately this means that the viewer must plod through all the credits in order to see the denouement. This is ultimately a very sad film as one is left with the impression that Mick is now a completely broken man. He had briefly found love only to lose it again. The only difference being that now he knows exactly what he has lost. As a little aside I must add here that I have never seen anyone either in movies or television drama who cries more convincingly or affectingly than Anthony LaPaglia. The acting of both Mr LaPaglia and Miss Rogers is faultless throughout. The film does have its weaknesses as I have hinted at, but overall is a different and interesting slant on the old gangster/hit-man type story.

Hitman Mick is approached by small time mobster George to do a rush job that night on a woman (Fiona) who has stolen a lot of money from various people. However when Mick arrives he finds that she is not only expecting him but is ready to be killed. Mick is enticed by her and starts to get to know her – falling under her mysterious spell and eventually finding what he feels is love in his otherwise dead world. However the time must come.This film is very stylish. It begins with a `hit' that is slow and quiet while `love is all around' plays in the background. This style stays with the whole film as it manages to feel both stagy but also be a cool and slick piece of film. The problem is that this style isn't fully carried into the plot or the characters. While the story of a hitman falling for his victim or finding love isn't new I still want something more than the usual.This is too straight forward and expects us to make huge leaps way too quickly in the film. The slick direction almost helps to conceal this – but not quite. The lack of character development in the two lead roles also weakens the film. LaPaglia can stare into the distance and act detached all he wants but his sudden fall into love is not easy to swallow at any point. He almost manages to hide this by `looking deep and lost' but not totally. Rogers swings from bubbly to scared to ready every 5 minutes and we never get to go beneath the surface with her. Boyle is OK if only because his performance brings the strengths out in his role without exposing the weaknesses.Overall a stylish directing job and several really nice touches do not a great film make. The weakness in plot and character are evident from 15 minutes in ans stay there for the rest of the film. It's a shame – a better developed script and characters would have made this a much better film. Good but flawed.