Metacritic reviews

In this post-"Mad Max: Fury Road" action movie age, “occasionally bonkers” just doesn’t cut it anymore.

After a while, you give up trying to make sense of the plot and sit there gaping at the car crashes, fight scenes, and shootings. The problem is that even the mayhem quickly becomes repetitive.

This vaguely science-fiction action picture based on a video game (and not a sequel to 2007’s Hitman) is an idiotic mess with a bafflingly dense prologue, an endless final battle, lifeless performances and anticlimactic twists, but it does have a degree of visual flair.

Consistently off by a beat, Hitman: Agent 47 fails to ever click into gear.

Agent 47 is just slightly less dull than its disavowed predecessor — or at least its dullness seems less active, because it doesn’t turn anyone as inherently interesting as Olyphant into a dour-faced killing machine.

Insofar as Hitman: Agent 47 is about anything, really, it’s about the pleasures of being on location — from the gratuitous image of Ware taking a dip in a five-star-hotel swimming pool to the sight of Singapore’s staggering Gardens by the Bay.

For all its cheap talk about the importance of innovation, Agent 47 just feels like a copy of a copy of a copy.

If first-timer Aleksander Bach's choices as a director are any indication, he's a filmmaker who cares less about characters and actors than about dubious surface dazzle.

It’s the first feature film for director Aleksander Bach, and he shares the blame with the pair of screenwriters. His creation is a muddled mess that is briefly lifted by some fun set pieces, but never is more impressive than a 108-minute Audi commercial.

Hitman: Agent 47 is a film that bears nothing but a passing resemblance to the game that spawned it, but that shouldn’t surprise anyone, as it’s all just a cash grab, anyway. No choice but to wash, rinse, repeat: cha-ching.