When the pair finally decides they can’t kill each other, they rip each other’s clothes off (her bra is visible) and have aggressive, almost violent sex on the floor. A conversation about how many people they’ve killed is ambiguous enough to make audiences think they’re talking about sexual partners.Ī house-wrecking skirmish between the Smiths is depicted as violent foreplay. She also does a “job” that requires her to wear a leather dominatrix outfit and to whip her target’s backside-before breaking his neck. Later, Jane is shown in her bra and a slip. She’s hardly awake before the pair begins kissing passionately. Jane wakes up covered by a sheet (but apparently naked underneath) the next morning. John and Jane make out in the rain, then spend the night together immediately after meeting. Early on in a bar, Jane reaches for a weapon in her garter belt, revealing a lot of leg-and giving us a hint at the connection between sex and violence to come. Smith’s counselor asks them, “How often do you have sex?” Both are hesitant to answer, and John Smith asks, “Counting the weekend?” When the couple returns to counseling at the end of the movie, John says, “Ask us the sex question again.”īetween these narrative bookends, sexual tension and innuendo infuse practically every scene. Their respective employers deal with this “security problem” by giving the husband and wife assassins 48 hours to kill each other. The expert killers’ differing approaches (his: brash, seat-of-the-pants hers: meticulous, clinical) cancel one another out and botch the job, revealing their secret identities in the process. Though their initial meeting at a bar in revolution-torn Bogotá, Colombia, should have given them a clue, neither knows what lurks under the workaday facade of the other: a deadly assassin.īut when both hit men (or is it hit people?) are assigned to the same target, their tepid marriage heats up-explosively. Emotional distance has led the couple to counseling to reinvigorate their stale six-year-old union-a partnership languishing in the day-to-day doldrums. On the surface, John and Jane Smith’s mundane marriage is indistinguishable from that of Mr. Smith, an odd hybrid that’s one part action flick (à la 1994’s True Lies), one part romantic comedy. “There’s just this huge space between us, and it just keeps filling up with everything we don’t say to each other,” Jane Smith confesses to a counselor.
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