Right is a 2015 American romantic action comedy film directed by Paco Cabezas, written by Max Landis, and starring an ensemble cast featuring Sam Rockwell, Anna Kendrick, Tim Roth, James Ransone, Anson Mount, Michael Eklund, and RZA.

[4] The film, which follows an overoptimistic young woman (Kendrick) who discovers that her new boyfriend (Rockwell) is a former professional hitman, was released in the United States on April 8, 2016, by Focus World.

Over hot chocolate, he shows Martha his belief that underlying all physical objects lies a current that can be precognitively anticipated, and both of them have it.

Richard enlists Von and Johnny to stay and defend their house, defeating their plans to rule the family as sole survivors; in frustration, they abuse Martha in response to her mockery.

Moon grabs Martha and tells her he puts more dangerous people off their game by killing their weaker loved ones.

Munch meets Martha at the entrance, notes her dilated pupils, and asks Steve to help him get them to the hospital.

[6] Michael Helfant and Bradley Gallo would finance the film for Amasia Entertainment and co-produce along with Circle of Confusion's Mattis and Rick Jacobs.

[18] Richard Roeper of the Chicago Sun-Times described the film as "hard-R violent comedy in the tradition of "Grosse Pointe Blank".

"[20] Andy Webster in his New York Times review comments that "Anna Kendrick's star shows no sign of dimming".

[21] Peter Debruge of Variety gave the film a negative review, writing, "Not an especially sustainable work model, professionally speaking (it’s murder on word-of-mouth, for starters), but then, this fixer is ready to make some changes in his own life, maybe even find romance with an on-the-rebound Anna Kendrick—which is where Max Landis’ ultra-cutesy script picks up, asking whether a character like that can find and sustain love ... or else die trying.

For about a decade after Pulp Fiction, such quirky hit-man comedies were all the rage, though in the post-Gigli era, (the eerily similar) Mr.

"[22] Katie Walsh of the Los Angeles Times wrote: "It feels at once overwritten and thematically thin, coasting on a cutesy concept before descending into relentless, and therefore meaningless, violence.