GREEN COBRA is the genre-bending story of a hit-man (aka Life Ending Technician) who details, to a documentary film crew, her rise in a mostly male dominated field. She is being filmed on the backdrop of a typical day on the job; which consists of Russian mob clients, disturbing methods of torture – and maybe one too many bad ex-boyfriends.
Sigurd Culhane’s film opens with a simple, yet stunning, visual with his choice of set location – along with a look and feel to the film that encompasses a wonderful green tone.
Two Russian goons are dragging a man (Patrick Tamisiea) tied up in a chair – via cellophane wrap – into an abandoned warehouse. It seems Tamisiea has had sex with a bride at her wedding – and he was not the groom – a new mob boss was.
Now comes the payback. Enter Green Cobra (Colleen Foy) a slightly psychotic woman who has thought of every career path – including selling drugs – until deciding to choose a predominately male held position as a hit-man.
Foy gives an intriguing and powerful performance as she enters the story in high heels while on her headset – speaking about toxic relationships. Almost numb from the torture she is about to embark on, her driving force is that she replaces the victim for the ex-boyfriend who did her wrong. Even as she asks Tamisiea if he loves her – when he finally says he does – it’s too little – too late. She’s taking back control of her life through a sick and twisted game of cat and mouse – and she loves every minute of it.
While torturing her victim, Green Cobra multi tasks with giving an interview for a documentary. We see our victim in the background of the interview as she shoots a nail into him with a nail gun – in between answering questions on camera. One of the benefits she states of this job is that it’s “freelance”.
Tamisiea gives a wonderful performance as the victim. He makes you feel every moment of his captivaty and pain.
Listed as a comedy, this film lacks a sense of laugh out loud humor you would expect. The violence is disturbing which makes you forget that this is a comedy at all.
Lighting, cinematography (Andrew Aiello), score (Leland Cox) and set location in the film are all top notch.
This film confirms the saying “hell hath no fury as a woman scorned”.