Aleksander Bach directs the forthcoming 'Hitman' re-make, out this Summer.
Agent 47 returns in a glossy re-boot of 2007 movie 'Hitman', with first time director Aleksander Bach at the helm and 'Homeland' star Rupert Friend taking over as the shaven-headed assassin intent on uncovering the mysteries of his past.
Rupert Friend is looking mean in 'Hitman: Agent 47'
From the producers of the original film, 'Hitman: Agent 47' is another high-octane action thriller with plenty of rapid fire gun fights, massive explosions, kooky gadgets and infeasible escapes, and while it is marketed as a re-make in the literal sense, there appears to be little in the way of re-hashed material from the original movie, which is just as well given the poor ratings following its release. After its first appearance at San Diego's Comic-Con last year, the first trailer has finally been unveiled to the public.
Arnold Schwarzenegger gets one of his most complex roles yet in this messy, violent thriller, another trip to the dark side for filmmaker David Ayer. As in Training Day and End of Watch, Ayer is exploring that moral tipping point where the people charged with protecting society become a danger. But the formula sags badly in this sloppily written script, which relies on grotesque violence instead of a coherent plot.
Schwarzenegger plays Breacher, the head of an elite DEA squad that has just stolen $10m in drug-bust cash. But someone takes it from them, after which the team members start turning up murdered in increasingly vicious ways. So Breacher and his colleagues - hothead Monster (Sam Worthington), prickly Lizzy (Mireille Enos), beefy Grinder (Joe Manganiello), hotshot Next (Josh Holloway) and smoothie Sugar (Terrence Howard) - band together to find the killer. Meanwhile, two local Atlanta cops (Olivia Williams and Harold Perrineau) are also on the case, clashing with Breacher at every turn. And shadowy goons hired by a drug cartel are lying in wait.
For about two-thirds of the running time, this is actually an intriguing whodunit, complete with clues and red herrings, suspicions and surprises. There's also a sense of urgency, as we never know who's going to get it next. Although the escalating grisliness is hard to stomach (it even reduces seasoned cops to retching wrecks), as is a hint of unnecessary romance. Then when the truth is revealed, the whole movie collapses into utter nonsense, desperately straining for moral resonance but undermining its own point with gratuitous brutality.
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There really is no point in looking for logic in a fifth Die Hard movie; these films have become a parody of themselves, wallowing in their inane action set pieces and sassy one-liners without much concern for plot or coherence. And this is no exception. There may be the bare bones of a decent narrative here, as our hero John McClane gets in the middle of a messy spy situation. But the unsubtle filmmaking blunts everything. On the other hand, it's so committed to entertaining us that resistance is futile.
This time, John (Willis) takes an urgent trip to Moscow, where his estranged son Jack (Courtney) has been arrested for murder. But before John even gets into the courthouse, chaos erupts in the streets and John ends up on the run with Jack and Yuri (Koch), a fellow prisoner. As cars and buildings crash down around them, John discovers that Jack is actually an undercover CIA operative helping Yuri escape in exchange for a file of information about corrupt government official Viktor (Kolesnikov). As Viktor's tap-dancing goon (Bukvic) chases them into the countryside, there are a series of twists and turns that lead them to, of all places, Chernobyl.
But don't worry, an overdramatic scene establishes that the nuclear residue can be instantly eradicated by some sort of magical gas. So this frees our heroes for the usual antics involving enormous guns, mammoth explosions and lots of bad guys coming to inventively grisly ends. Along the way there's one of the most mind-bogglingly destructive car chase imaginable, like Bourne on acid, as well as a couple of preposterously fiery helicopter assaults. In between, Willis and Courtney have fun with the father-son dynamic, alternating between bitterness and emotional bonding before heading back out to "kill some scumbags".
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