![]() It’s too politically correct and just a tiring sequence of action scenes. “Hitman: Agent 47” is a movie to be avoided, at least on the theaters still charging full price for it. Ware never overdoes the drama, which allows the audience to see a strong, independent woman. Hannah Ware’s strong facial features are also impactful on screen. His distant stare and serious expression is perfect for the role. Rupert Friend captures well the essence of a cold killer, who seems affected by nothing. ![]() The acting is good, given the circumstances. The prologue of the film works well because of its fast pace, but it’s a exception. The quick cuts between close ups get tiring as the whole thing begins to feel staged. Sometimes “chase and fight” scenes have few wide shots of the action, which makes the viewer wish that more was shown. The scenes themselves are well-shot, but editing is not on par all the time. Impossible not to miss the Hollywood of the 1980s and 90s, which gave us, for example, a limitless Robocop and an uncompromised storyline, without having to preach to us about fate and responsibility. And, even worse, these conversations affect what was supposed to be an emotionless character. He and Katia engage in philosophical discussions of why we act in certain ways and if we can be changed. The result: he becomes politically correct, which turns him a boring character very quickly. The killer, who should be a fantastic anti-hero, is “purified” by Hollywood. Characters are undeveloped and there is no reason to care for a woman whose story is unknown and whose friends and enemies change from scene to scene. It is in this sea of confusion where the viewer stands after thirty minutes. Even more inexplicably, she begins to trust him, hoping he can help her find her lost father. Suddenly, however, Hitman chooses not to kill her. When we finally learn that this woman, Katia (Hannah Ware), is the daughter of the scientist who engineered the agents, we seem ready for the movie to truly begin. This lack of narrative exposition results in scenes that have no dramatic tension, since we don’t know what is at stake until fairly late into the film. There is no reason to care deeply for these characters because the audience isn’t told anything about them. The film goes straight into a chase and fight sequence, followed by Agent 47 trying to kill a woman. The movie condenses all this plot into a rushed voice over during the opening credits. When the government decides to restart the cloning after many years, Agent 47 (Rupert Friend) knows he must stop the creation of the deadliest army on Earth. ![]() These killers were supposed to lack human fears and possess unprecedented strength and skills. ![]() The film, based on a popular video game franchise, tells the story of a genetically programed assassin who was created together with other 46 clones and then abandoned. It does nothing new and, worse, throws characters right into the line of bullets without giving the audience any reason to care and cheer for them. “Hitman: Agent 47” is one of those films. When there is nothing more to say, the film becomes a vague memory, ready to completely fade out of your brain as soon as you leave the theatre. The second type leaves you with nothing to say because it’s put together in a way that eliminates any chance to think or talk about it. The first type includes the films that blew your mind away, and after your silence ends, you feel compelled to discuss, argue, speculate, philosophize and more. There is a difference between a movie that leaves you speechless and one that leaves you with nothing to say.
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