The Hitman movie series is the kind of Hollywood property that became a mini franchise by mistake. It’s unlikely this latest instalment was made to fulfil any burning need on the part of the audience, more probably it’s a result of the lack of imagination in some sectors of the movie industry.
Based on an enduringly popular computer game series about a genetically and behaviourally programmed super killer with a bald bonce and barcode tattoo, Hitman: Agent 47 reboots the 2007 movie with a new star — Rupert Friend replaces Timothy Olyphant — but precious few fresh ideas.
Friend is effective as Agent 47, the deadly, inscrutable product of a shady, now-defunct government programme to create the ultimate warrior — think of a budget Bourne. However, as a naturally expressive actor, this stony, dead-eyed shtick is a bit of a challenge for him. He’s constantly sucking in his cheeks, presumably to stop himself emoting.
47 favours a sharp suit — Italian wool, popular with moths as well as professional killers, we learn — and a nice bright red tie, all the better to chime visually with all the splattered blood. He looks like a murderous member of Kraftwerk. Agent 47 may or may not be assigned to kill Katia (Hannah Ware), a young woman who unwittingly holds the key to his past as well as her own. Zachary Quinto (best known as Spock in the Star Trek reboots) is a rival agent who claims to be the only thing keeping her alive.
Aleksander Bach, a commercials director making his feature debut here, seems to believe that there is no scene that can’t be improved by portentous slo-mo followed by a blur of baffling violence. The editing is unforgivably sloppy. “You told me you wanted to do this and I told you I would do it with you,” says one character to Katia. The problem is, she didn’t. That crucial scene must have ended up on the cutting room floor. It’s a pity the rest of the film didn’t follow it.
Aleksander Bach, 15, 96min