Outrageous and wildly un-PC story has hit-man Frank Kitchen, a bearded Michelle Rodriguez, kidnapped and forcibly given gender reassignment surgery by doctor Sigourney Weaker as revenge for Kitchen's killing of her mobster brother. Kitchen wakes up from the surgery to find himself now a woman, but Kitchen is now determined to find out who did this to him so he/she can exact his/her revenge. From there, the film is a fairly standard revenge picture along the lines of "Point Blank" or "Oldboy" where Kitchen works his way up the food chain of underworld figures until he reaches his eventual final target. Anthony LaPaglia, who I don't think I've seen in years and was quite excited to see in something again, plays one of those targets who double crossed Kitchen. Tony Shalhoub also has a juicy role as an interrogator taking a statement from Weaver in a Death and the Maiden-like verbal sparing match, where Weaver narrates the events of the film and serves as film's framing device. Produced, written, directed by Walter Hill, he brings an assured hand to the action and fills the script with his usual tough clipped dialogue. I was about to write that this is Hill's best work in years, but it's really just Hill's first film as director in many years. Hopefully he's been living comfortably off of his producer credits on all of the Alien sequels and prequels, but it's exciting to see Hill return to his scrappy low-budget action film roots with this outlandish action flick. "The Assignment" also boasts a score by the great Giorgio Moroder (with orchestrations by and some additional music by Raney Shockne), which is Moroder's first feature film score since the 1990s. Now if you were wondering if the film has a subtext around gender politics, violence again women, and such, it does not. Hill's film is less like The Wachowski's rich genre and gender mixing "Bound" and is more similar to Steven Soderbergh's "Haywire," which was more just a straight-up action film focused on Gina Carano kicking ass (but with a bit more pulpy Roger Corman/Samuel Z. Arkoff exploitation thrown in for good measure). Overall, "The Assignment" is a must see for fans of Hill and 1970s style of gritty pulpy action films.

Overall this is a must see movie and terribly underrated. I don't have attention deficit disorder and was able to find awesome entertainment in this piece of work. When I saw her (Michelle) beautiful face, I had to know her taste in scripts and how she held up to being queen of her own scene. Truthfully, I found it well ahead of it's time with plot, make-up, set design. First, there is Michelle who is so beautiful, no make-up would make anyone believe she's male-which made the movie soo juicy and riveting as a strong actress who faced this gender thing as oppose to the many many many men who do the same. Hence, "Eddie Redmayne Plays Transgender Woman and Pioneer in New Film— See the 1st Photo of the Oscar Winner in Character!" (Heller, 2015) I hope more of these roles are invented as more people will be interested with other than identity crisis Secondly,the plot led and held us thrill seekers by portraying a gun slinging hit person, who obviously didn't have an identity crisis or crying spells throughout the movie.Third, Both leading ladies weren't there to fight f__king aliens or race cars. Mrs. Weaver can keep anyone entertained with her the marvelous acting skills and someone's superb writing abilities. Rodriquez held my attention with her agenda and how she would conform into her new identity while avenging her enemy. At the same time both women face life struggles with sexual and social awareness's/awkwardness.Finally, Less is more. Rodriguez did not need to pull off being a man or a woman with make-up or mannerisms though well done, that was the beauty in the entire movie attuned with her talents and skills. Mrs. Weaver's arrogance and brilliance along with Rodriguez's compassion for her girlfriend. Yes, I have some constructive criticism-Elements that lead to a revenge type plot where this is typical in any movie, but adding more symmetry of the hit-man's background that was spoken in Weaver's therapy sessions could have given more foundation to Rodriguez's character-therefore giving the audience more scope, relations, and sentiment towards Rodriquez.

Frank Kitchen (Michelle Rodriguez) is a paid assassin who has stepped on some toes. His reward is a sex change operation at the hands of Sigourney Weaver whose brother was a victim. The story is told as two flashbacks, one from each of the main characters. Now a woman, Frank wants revenge, The film starts and ends as a noir graphic novel, but fails to keep the mood in between with a lack of animated scenes or graphic sets and colors. There is still time for them to re-edit the film and turn it into an "uncut" version. Weaver had a lackluster character, poorly written. Likewise Frank could have used some personality having less than John Wick.Guide: F-word. Sex. Caitlin Gerard, Michelle Rodriguez FF nudity...thanks for taking one for the team.

"Extreme Prejudice" director Walter Hill's most audacious crime thriller "The Assignment" might eventually emerge as a cult item after the controversial LGBT criticism about it dies down. This exploitative Canadian independent film release concerns a disgruntled female plastic surgeon who turns a professional, pistol-packing assassin into a female without either his knowledge or consent. "You've been a very bad man," Dr. Rachel Jane (Sigourney Weaver of "Alien") condemns homicidal Frank Kitchen (Michelle Rodriguez of "The Fast and The Furious"), in an audio recording left behind for our protagonist to listen to after his surgery. "This is your opportunity for redemption." Basically, Dr. Jane radically changed Frank because the latter had iced her worthless, cocaine-snorting, playboy brother, Sebastian (Adrian Hough of "Underworld: Evolution"), who was drowning in debt to the Miami mob. Dr. Jane had given her brother enough money to liquidate his gambling debts, but he recklessly blew every cent. After her brother's demise, she spent a small fortune tracking down the elusive Kitchen. Improbably, Jane believed the sex change would make Kitchen into a better woman than a man! After our angry protagonist recovered sufficiently from this shocking ordeal, he sets out to exact a terrible toll on those dastards who had a hand in the appalling sex change operation that turned his life upside-down. Along the way, Kitchen realizes that a long-time, criminal accomplice, Honest John Hartunian (Anthony LaPaglia of "Empire Records"), whom he had trusted, sold him out to Jane. When everything becomes clear to him, Kitchen realizes an attractive nurse, Johnnie (Caitlin Gerard of "Magic Mike"), with whom he had a one-night tumble, was also a part of the set-up.While the hopelessly frustrated Kitchen contends with his own quandary, the megalomaniacal surgeon, Dr. Jane (Sigourney Weaver of "Alien"), who quotes Shakespeare and considers herself an artist, has been locked up at the Mendocino Psychiatric Facility in Northern California. Psychiatrist Dr. Ralph Galen (Tony Shalhoub of "Men in Black") must evaluate Jane, lashed up in a straitjacket for her own good, to determine if she is competent to stand trial for a massacre at her clandestine surgical facility. After receiving an anonymous tip, the San Francisco Police had taken Jane into custody. They found the good doctor unconscious on her own operating table surrounded by four bullet-riddled men. Jane's male surgical nurse and sometime lover Albert Becker (Ken Kirzinger of "Freddy vs. Jason") lies dead with a pistol in his hand. Ballistics matched the slugs from Becker's gun that he had used to kill not only the three men, but also to wound Jane in the shoulder. Meanwhile, Kitchen sets out to find Dr. Jane after gunning down several other criminal contacts that he suspects may have conspired with Jane. Kitchen's luck runs out initially when she confronts Jane. Jane's henchmen take our transgendered heroine captive, but they fail to frisk her. Ultimately, this proves to be a fatal mistake. Meantime, Dr. Galen refuses to believe Dr. Jane's alibi that Kitchen shot her three bodyguards, Albert, and wounded her. A major point of contention between them is the existence of Frank Kitchen. Galen doesn't believe the man exists, despite Dr. Jane's assertions to the contrary. Instead, he is convinced Jane "invented Frank Kitchen to protect the memory of Albert Becker." Predictably, "The Assignment" provides Hill with an opportunity to orchestrate several indiscriminate, B-movie fire-fights that easily rack up a double-digit body count. Apart from its bizarre premise, this gritty exercise in murder and mayhem resembles one of Walter Hill's brutal, old-fashioned, shoot'em ups. Hill has helmed classics like "48 HRS," "Hard Times," "Last Man Standing," "Bullet to the Head," "The Driver" and "Red Heat." Unfortunately, despite gunfire galore and the glee with which our merciless protagonist devastates the opposition, Michelle Rodriguez is not entirely convincing as a guy. The biggest liability is the bogus beard that looks like it has been attached to her face with glue. Meanwhile, Hill achieves more success with computer-generated-imagery. Rodriguez cavorts about in private during an early scene as a nude dude displaying a hairy chest and abundant male genitalia. Not surprisingly, Rodriguez makes the most of this outlandish role, and she finds herself trapped in some confrontations that are quite entertaining in a pulp fiction way. Sigourney Weaver has a field day as the cold-as-a-scalpel surgeon who castrated Frank. Deep down, Weaver's Dr. Jane is thoroughly despicable; she would have been in good company with Hitler's demented surgeons who exploited Jewish prisoners in the Nazi death camps. Categorically, Weaver steals the show with her nuanced performance and detailed character. All the other characters blend into the background with British Columbia locales that have been dressed to resemble San Francisco. "The Assignment" evokes memories of an earlier Hill epic "Johnny Handsome." In that movie, a deformed gangster went under the knife, and the surgical procedure changed him into a nice guy. Inevitably, his evil past came back to haunt him. For the record, "Turk 182" scenarist Denis Hamill dreamed up "The Assignment" back in 1978, and Hill rewrote it many times before finally making it. Ironically, during the first few minutes of the film, we hear Kitchen confess that he had killed a lot of people during his time, and his comeuppance (the sex-change operation) was preferable to death. Admittedly, Hill and Hamill have a tough time making this sex change gimmick work. Nothing about Kitchen's discovery about his castration is played strictly for laughs, and Hill and Hamill keep "The Assignment" from degenerating into lowest-common-denominator camp. Whether you're either transgendered or a traditional enthusiast of hard-boiled thrillers, "The Assignment" (talk about a generic title) will take you by surprise, if it doesn't ultimately alienate you. Obviously, this is just the kind of movie that few people would want to see, and perhaps least of all want others to know that they had seen. For fans of 75-year old writer & director Walter Hill, "The Assignment" qualifies as a departure from the norm that delivers.