Hitman is a textbook example of a movie that epitomizes Hollywood’s formulaic approach to blockbuster hits, and in that regard can be cited at cocktail parties when an example is needed of Hollywood’s uniformity. Except that it is made by a French guy. Luc Besson (the director of The Fifth Element ) has evolved into a prolific producer and is, in his instincts and flair, more American than Hollywood itself (whose films seem tame and sluggish in comparison with Besson’s sleek action tale machines). Hitman is explicitly based on a supposedly popular video game, but in the execution comes across as identical to Besson’s previous productions, which include 90 some films (Kiss of the Dragon, The Transporter, and Unleashed, most of which he also wrote or co-wrote. There’s always the trained killer cut loose on society, the sleek, impossibly narrow nine-foot tall femme fatale who becomes the focus of the killer’s energies, and a succession of betrayals and revelations leading to higher corruption. Hitman is little different, except for the fact that he is bred, like a Freddie Krueger, as the bastard spawn of maniacs by a group of outlaw Christians, which is explained in the trailer better than in the film itself (and which makes the show sound like a knockoff of Martin Cruz Smith’s clever action series from the 1970s, The Inquisitor). He is called Agent 47. As in The Mechanic and most hitman movies since, Agent 47 is betrayed by his own organization and goes on the run, seeking revenge.

As played surprisingly effectively by the unlikely Timothy Olyphant, he has a shaved head and a bar code tattooed on the back of his head, which makes this undercover agent stick out in a crowded airport or train station like a tuxedo on casual Friday. The girl this time is Olga Kurylenko, who is yet narrower and taller than her predecessors. The attractively rumpled Dougray Scott is the constantly foiled Interpol agent on his trail. Prison Break’s Robert Knepper is the oily and corrupt Russian cop. Despite a couple of okay fight scenes, Hitman’s overriding uniformity with its fellow hitman movies makes it difficult to distinguish or even remember.

This entry was posted on Monday, November 26th, 2007 at 11:00 pm and is filed under Reel Politique - Film columnist DK Holm. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.