If you haven't seen the Wild Target 2010 movie, you’re honestly missing out on a masterclass in deadpan delivery. It’s weird. It’s quirky. It’s quintessentially British in that way only a film starring Bill Nighy can be. I remember stumbling upon it years ago on a rainy Tuesday, expecting a generic hitman flick, but what I got was something way more charming. It’s actually a remake of the 1993 French film Cible émouvante, yet it manages to feel entirely like its own thing, mostly because the cast is just so incredibly stacked.
Think about it. You’ve got Bill Nighy as a middle-aged, socially stunted assassin. Emily Blunt plays a chaotic kleptomaniac. Then there’s a very young Rupert Grint, fresh off the Harry Potter sets, playing a confused apprentice who thinks he’s just learning to be a car wash attendant or something equally mundane. It shouldn't work. The premise is thin as paper, but the chemistry is electric.
What Wild Target 2010 Movie Actually Gets Right
Most action comedies try too hard. They push the "action" part until it’s just CGI noise, or they make the "comedy" so broad it loses all its heart. This movie stays small. Victor Maynard (Nighy) is the most professional killer in the business, but he lives with his overbearing mother—played by the legendary Eileen Atkins—who gives him hitman-themed birthday cards. It’s absurd.
When Victor is hired to take out Rose (Blunt), he finds himself unable to pull the trigger. Why? Because she’s a disaster. She’s selling fake Rembrandts to dangerous people and living life like she’s invincible. Victor doesn't fall in love with her in a traditional, cinematic way; he becomes fascinated by her lack of order. It's a character study masquerading as a farce.
The pacing is breathless. Director Jonathan Lynn, who gave us My Cousin Vinny and Clue, knows how to handle a large ensemble in tight spaces. You can tell he trusts his actors. There are long stretches where Nighy just uses his face—that specific, twitchy, repressed Nighy face—to convey more than five pages of dialogue ever could.
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The Rupert Grint Factor
Let’s talk about Tony. After playing Ron Weasley for a decade, Rupert Grint needed a win. In the Wild Target 2010 movie, he finds this perfect niche as the accidental protégé. He’s the audience surrogate. When Victor and Rose are dodging bullets in a high-speed chase through London, Tony is just trying to figure out if he’s officially employed.
His introduction is one of the funniest bits in the film. He’s cleaning windows, gets caught in the crossfire, and basically just falls into the plot. There is a specific scene in a hotel where Tony has to share a bed with Victor, and the level of awkwardness is palpable. It’s the kind of humor that doesn't rely on punchlines; it relies on the sheer discomfort of the situation.
A Cast That Outperforms the Script
While the writing by Lucinda Coxon is sharp, it’s the supporting cast that elevates this to "hidden gem" status.
- Martin Freeman: He plays Hector Dixon, a rival assassin who is genuinely terrifying but also hilarious. He spends half the movie trying to prove he’s better than Victor.
- Rupert Everett: As the villainous art collector, Ferguson. He’s campy, he’s cruel, and he fits the aesthetic of the film perfectly.
- Eileen Atkins: Louisa Maynard is perhaps the darkest character in the movie. She pushes her son to kill more people because she’s worried he’s losing his edge. It’s dark stuff, but played for laughs.
The film didn't set the box office on fire when it came out. Critics were lukewarm. Rotten Tomatoes has it sitting at a mediocre score, but critics often miss the point of a "comfort movie." This is a film you watch when you want to feel good, even if people are getting shot. It’s stylish. The cinematography captures a version of London that feels timeless—lots of browns, greys, and pops of red from Rose's outfits.
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Why People Still Talk About It in 2026
It’s the "B-movie" energy that keeps it alive. In an era of $200 million superhero epics, there is something deeply refreshing about a 90-minute comedy where the stakes are personal. The Wild Target 2010 movie represents a type of filmmaking that’s becoming rare: the mid-budget British romp.
We see this often in threads on Reddit or film Twitter—people "discovering" it on streaming platforms and wondering why no one told them about it. It’s because it’s a movie that rewards repeat viewings. You notice the small things. The way Victor meticulously cleans his boots. The way Rose steals absolutely everything that isn't nailed down. The subtle nods to classic noir.
Honestly, the soundtrack deserves a mention too. It’s jaunty. It feels like a heist movie from the 60s. It keeps the tone light even when the bullets are flying, which is a hard balance to strike without feeling insensitive or weird.
Comparing the Remake to the Original
If you're a film nerd, you might know the original Cible émouvante. Jean Rochefort played the lead there. The 1993 version is much darker. It’s more of a cynical look at aging and loneliness. The 2010 version leans into the "found family" trope.
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Is one better than the other? Not necessarily. They’re just different flavors. The British version is much more of a "caper." It wants you to have a good time. The French version wants you to think about the existential dread of being a hitman. I’ll take Bill Nighy and a cup of tea any day.
Actionable Takeaways for Your Next Movie Night
If you're planning to watch the Wild Target 2010 movie, here is how to get the most out of it:
- Watch for the physical comedy: Bill Nighy’s movement is deliberate. He moves like a man who is constantly afraid of breaking an unspoken rule. It’s brilliant.
- Pay attention to the background: Rose is constantly shoplifting or "borrowing" items in the background of scenes where other characters are talking. It’s a great bit of character building that doesn't need words.
- Don't expect a gritty thriller: If you go in expecting John Wick, you’ll be disappointed. Go in expecting The Pink Panther with more guns.
- Look for the cameos: There are several faces from British TV that pop up for thirty seconds and disappear.
The film ends exactly how it should. No spoilers, but it sticks the landing by focusing on the characters rather than a giant explosion. It’s about Victor finding a life outside of his mother’s basement and his "work." It’s about Rose finding someone who actually cares about her. It’s about Tony... well, Tony just survives, which is a win for him.
Stop scrolling through Netflix for two hours. Just put this on. It’s short, it’s funny, and it features Emily Blunt at her most charmingly chaotic. It’s a reminder that movies can just be fun without needing to set up a cinematic universe.
To really appreciate the craft, look up Bill Nighy's interviews about the film. He often discusses his approach to "stillness," which is the core of Victor's character. Once you see it, you can't unsee how much work goes into making a character look that bored. It's a specific kind of genius that makes this movie a permanent fixture in the "rewatchable" category for fans of British cinema.
Next Steps:
- Check availability on your local streaming services (it frequently hops between Amazon Prime and various "free with ads" platforms).
- If you enjoy the vibe, look into Keeping Mum (2005), which shares a similar dark-but-cozy British humor.
- Pay close attention to the art forgery subplot; it's based on real-world art world absurdities that make the "fake Rembrandt" joke even funnier.