With wide-angle lenses eerily framing massive buildings within a nearly vacant metropolis harboring phantom warehouses and hangars... along with sparsely furnished government offices befitting only the most uncompromising of heartless decision-making... much of the b-crime/neo-noir ASSASSIN seems equally futuristic science-fiction...
Starring GET CARTER villain Ian Hendry as the titular hired gunman, patiently awaiting his hit while really only sharing genuine dialogue and contact with Verna Harvey, so young, beautiful and easy there must be a backstabbing fatale twist under her sleeve: but ASSASSIN isn't espionage, playing thoroughly straight and efficiently offbeat as far as Hendry's gun-preparing, waiting-around-in-purgatory meantime goes...
Unfortunately there's a distracting and visually contrasting b-story involving his primary human target: a government worker who supposedly stole files harmful to mission-dispatching Control Chief Edward Judd, overall playing-out like a modern-1970's TV-episode (with TV-director Peter Crane at the helm): so there's almost equal time at a drunken convention leading to a mundane wedding party...
Overall making ASSASSIN a deliberately obscure cult-curio where Ian Hendry's central mission (that also includes two junior assassins prepping to possibly take HIM out) doesn't get enough of that intriguingly cold and meticulous, rogue and monotone anti-hero attention -- that both the title and title-character had initially promised.