The Last Hitman

I’ll admit, I’ve listened to my share of hitman stories, and most of them blur together after a while—same old morally bankrupt killers, same predictable double-crosses. *The Last Hitman* broke that streak for me. From the opening scene, Yocum hooks you with a protagonist who’s as compelling as he is reprehensible. This isn’t a man seeking redemption; he’s a professional who’s suddenly realized he’s the mark, and his reaction isn’t panic—it’s cold, methodical rage. The story’s pacing is masterful: it breathes when it needs to, letting the tension build, then slams you with a twist just as you start to get comfortable. The supporting cast—especially a rival hitman with a personal vendetta—adds layers without cluttering the narrative. Now, about that narration: Justin Price *gets* this character. His performance is understated but razor-precise, with a weariness that suggests decades of bad decisions catching up. He handles the dark humor beautifully, too—there’s a scene where the protagonist dispatches a target mid-conversation about fast food, and Price’s timing makes it bizarrely hilarious. My only critique? The female characters sometimes feel underdeveloped, more plot devices than people, and there’s a mid-book lull where the momentum stalls just a touch. But the finale? Worth every second. The audiobook’s production is flawless—no awkward edits, no volume spikes—just a seamless, gripping listen. If you like your thrillers with a side of existential dread and a narrator who sounds like he’s one bad day away from retirement (or a bullet), this is your next obsession.