9. The Contracted Goons Shoot 'Em Up
In this film, Paul Giamatti shoots a man in the arse. Not just any man though his own man. And he does this because the guy complains he's been shot in the arse, hoping that it serves as a reminder not to get shot in the arse again. Honestly, that's the most times I've ever used the phrase 'shot in the arse' in a point's opening sentences. Yet still, the act itself is significant, insofar as someone's going to get sued for that. There's a reason why painfully ironic punishment died out around the middle ages proper laws began to protect workers against that sort of stuff. So really, when your boss shoots you in the arse (again, sorry) to make a point, you can bet good money that the victim's going straight to the union and requesting representation. I'm aware that the assassins of Shoot 'Em Up's world aren't too likely to have such an organisation, but I'm going to make a logical assumption. Namely, the fact that Giamatti's working for the arms lobby, and all the goons appear pretty identikit. This would imply that the company hired out some sort of large firm I mean, look at the amount of people Clive Owen's Smith gets through which in turn would imply enough organisation for 401ks, flexi-time and a union. So when word get's out that Giamatti is an arse-shooting lunatic, you can bet there's going to be trouble. Even if the man doesn't sue over his inability to ever sit down or visit the toilet without crying, there's going to be some sort of boycott, assuming Smith doesn't kill their whole workforce, and scores of other contracting firms while he's at it. I guess I shouldn't ask for any logical consistency in a film about a man who eats carrots and can kill a room-full of assassins while having sex with Monica Bellucci, but hell, you came here for the over-analysis, right? ... Right?