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Hitman: Agent 47 | 2015 | R | - 2.7.5

In this sequel, a woman (Hannah Ware) with heightened senses searches for a man who will not leave her thoughts and dreams. She confronts two genetically enhanced secret agents (Rupert Friend and Zachary Quinto) who alternately threaten and protect her, and she learns family secrets that lead to more questions. Also with Ciarin Hinds, Angelababy and Thomas Kretschmann. Directed by Aleksander Bach. [1:36]

SEX/NUDITY 2 - The shape of a woman's nipples is evident through her top. A shower scene shows the partial buttock of a woman and we then see her wrapped in a large towel. From the back at night at a hotel pool we see a woman's buttocks partially covered in a skimpy bikini bottom; she swims under water in a long shot and her back is bare.
 On a city bus, a man and a woman kiss briefly and another couple holds hands.
 A woman asks a man genetically programmed for killing whether he can feel love and he refuses to answer.


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VIOLENCE/GORE 7 - In an aircraft factory, a dozen soldiers point rifles and search for a woman who slides out of a wrecked helicopter and shoots two men (we see blood flow), then shoots a man in the neck, the chest, the groin and the chest again three times (he falls and gets up, unharmed); a man throws two other men into a factory hopper and gushing blood comes out the other end, a giant clamp cuts another man in half with some blood spurting side to side and the first man smashes another man in the neck with a propeller blade and blood sprays as the man falls off-screen; a man grabs a woman by the head and slams her skull into the nose of a small airplane (she falls unconscious), two men fistfight with throws, kicks, punches and knives and we see that both men are indestructible as a knife wound in a shoulder heals instantly (with a bit of blood on the knife) and the unconscious woman appears awake and holding a gun and she shoots into a glass wall, shattering it and the wind from a jet engine behind the glass sucks in two men, and some furniture, and erupts into flames.
 Men in hallways of a large company shoot at a man who wields two large handguns and shoots several men dead with some blood splatter, rolls down a staircase while shooting additional men (blood splatters toward on two door windows), and a bullet enters the head of a man lying on his back and creates a pool of blood on the floor; the gunman strangles with another man with a metal wire, kicks and punches other men, and shoots additional men with blood flowing, and then throws two men off a balcony and we see them later, sprawled on a floor and apparently dead.
 An SUV chases another car and the passenger shoots through the rear window of the car in front, killing the driver (we see blood shoot out from the front and back of the driver's head). A gunman enters the hotel room of a man and a woman and shoots the man three times (the shot man falls off-screen, but appears well in subsequent scenes); the gunman pistol-whips the woman and the camera cuts to the hallway as he walks away with a garment bag over one shoulder (the woman is likely inside it).
 A man exits a car with two gun-carrying bodyguards in a parking garage and enters a building where they find two unmoving men at computer consoles in a small room and they slump forward (we see bloody bullet holes between both sets of eyes in close-up) as a gunman sitting in a chair shoots and kills both bodyguards (no blood shows) and the first man says that he has a GPS chip in his heart; the gunman holds a sharp knife to the other man's eye, coerces computer access codes from him, and then releases him. A man sends his weapons case through an X-ray at an embassy and the camera cuts to him chained to a table that is anchored to the floor and he states that he is an assassin; the interrogator threatens to kill the man with his own high-powered rifle and the man stands up, upturns the table and shoots a guard dead (we see some blood flow), we then see the man wearing the guard's uniform as he leaves the embassy. A woman disguised as a mother with a baby that we can't see in a body sling, smirks and draws a handgun as a gunman nearby shoots her and she is thrown backwards off her bench (no blood is seen).
 In a night scene, a gunman shoots several men in a corridor and stairway, splashing blood on walls and floors leading to a rooftop heliport; one man falls and the gunman first kicks the man in the head and then shoots him in the head, creating a pool of flowing blood as we see a hole between the victim's eyes, a woman shoots another man, who falls dead on the rooftop (no blood) and she looks up and sees an elderly man in a helicopter as he compresses an inhaler, which clicks and blows the helicopter into several giant balls of fire and smoke that fill the screen as a rooftop elevator door opens and a man inside begins to pull a gun and the man and woman look at him, and then open fire.
 Several soldiers fire many hooks attached to metal cables into a sports car and trap it in an intersection as men and women exit their cars, screaming and running; the trapped car's tires spin, squeal and smoke as a few soldiers swing down the cables to the street and a man uses two guns at once to kill them all (we see some blood spurt from two of the soldiers' chests) and stabs a drugged pin into a woman's hand (she passes out, and he carries her to safety).
 A woman tied to a straight back chair sits in front of a loud jet engine, then unties and unwraps herself and lets the wind of the engine pull the chair away. A woman awakens at night to find herself tied to the throttle of a flying helicopter; she pushes the stick forward and crashes loudly through shattering glass walls, then sweeps through a whole floor of computers and furniture, demolishing it.
 Through digitally controlled programs a car runs over an explosive device and blows up in a fireball, landing in pieces while a rifle fires through another car and the bullet penetrates the driver's head (blood sprays onto the windshield and out the back of the head). A man opens a glass gun cabinet, sees an explosive device, and the whole wall erupts in flames and smoke.
 Two men fight with kicks and punches on a subway platform, they tackle each other as other men and women run away, screaming; an arm break move fails because the intended victim has superhuman bones and he also has liquid armor underneath his skin that we do not see, so bullets and knife cuts do not harm him; the two men fall onto a railway and one jumps away as the other lies down inside the rails and a train passes over him. A man fights a half-dozen other men who enter his hotel room; he breaks two men's arms, breaks a wrist, shoots one man in the head (blood spatters on walls), breaks the teeth of another man leaving bloody gums and elbows another man in the head hard.
 Several men take an elderly man to an interrogation room where we see him tied into a dental-chair like seat and they torture him with drugs (please see the Substance Use category for more details) and take him to the roof of their tall, glass building, where they put him into a helicopter as a gunman fires a shot and another man catches the bullet in his hand; after a brief fistfight between the two men in which a wall is punched and broken, the gunman strangles the other man with a wire and slams him into a live, frayed electrical wire in a broken wall, where the second man is electrocuted (we see him convulsing).
 A dimly lit room shows a filled bathtub with 10 toes sticking up at the far end; the camera pans back to show a sparking toaster in the water (we cannot see the rest of the dead person). During opening credits, we see blurry scenes of a laboratory, blood in a test-tube, a man with a gun pointing at another man, soldiers with rifles, some blood splatter on elevator walls and a frightened looking little girl. A woman holds gauze to her arm where a bullet grazed her and a man removes it to show a small red wound and he wraps the arm in gauze. A seemingly dead man lying prone on a floor, face turned to the camera, opens his eyes.
 An SUV chases a sports car and four motorcyclists join the chase in a parking garage and the cyclists shoot high-powered rifles at the sports car, the car hits a motorcycle, throwing the rider off (presumably dead as he hits the concrete floor) and two other cyclists slide and slam into the car and die; the last rider slams into the car and is thrown over it into concrete abutments and dies as the car escapes and three obstacles rise in the exit ramp floor and the chase vehicle crashes into them and sticks.
 A woman in several scenes "hears" and "sees" people in her mind who are several floors below her in a building or are driving on a highway toward her location: She hears and we see a man beating a woman in an apartment building and she flips the call button on a police box to bring help; she experiences flashbacks to when she was a toddler and she sees her father running with her through a forest and then putting her under a sewer grate in a few scenes; from her view in the backseat of a car, a bullet hits the passenger side windshield, her father shouts and the glass fills with blood (we hear that her mother died there, but do not see the woman) and the little girl looks out another window and sees a young boy surrounded by soldiers with rifles.
 A woman ducks down in her seat and screeches as a bullet shoots through the passenger compartment. A man shoots a handgun into the air in front of an embassy and armed soldiers arrest him and a woman companion whose face is blood spattered when she speaks with an interrogator. A gunman opens a case to reveal knives and handguns; he removes two handguns from his holsters and sleeps sitting up until he receives a phone call telling him he has 48 hours to eliminate two targets.
 A bar code is visible on the back of the neck of a bald man; a flashback to a time when he was about 11 years old also shows him with the bar code and bald. In an elevator, a man straightens his shirt cuff rimmed in blood.
 A man tells a woman that a man will kill her and she speaks with the man saying that she will kill him, but does not harm him. A man tells a woman that he is a genetically programmed assassin with heightened senses and that she has heightened senses and other enhancements. We hear that genetic experiments removed the sensations of love, fear and pain from humans. We hear that a 72-year-old man has rheumatoid arthritis and Stage 3 cancer. A man with red scratches and gouges on his face tells a woman that their father died to save his children.
 A man sharpens a short knife blade on a stone in close-up. In an elevator, a man gives a woman a large folding knife. A man trades a folding knife with a middle-school aged boy for his inhaler.


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LANGUAGE 5 - About 7 F-words and its derivatives, 6 scatological terms, 2 mild obscenities, name-calling (weak, little girl, scared little girl, thing, small man, crazy),1 religious profanity (GD), 1 religious exclamation (Holy [scatological term deleted]).


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SUBSTANCE USE - A woman swallows a Dilantin tablet and finds the prescription bottle empty, a woman steals a bottle of Dilantin from another woman's purse in an airport and swallows a pill, a man tells a woman to stop taking a drug and learn to handle her heightened sense of hearing and sight, an elderly man and a middle-school aged boy breathe with the help of inhalers, a man stabs a drugged pin into a woman's hand to incapacitate her (please see the Violence/Gore category for more details), a man tells a technician to "cook him" and the tech injects a blue liquid into an elderly man's arm causing the victim to squirm and he turns red and shouts in pain, and a man says to a technician to "dose him again" and the tech says that "You'll kill him." A man in a small computer office pours and drinks a short glass of whiskey. A man at a pawnshop cage has a cigarette burning in an ashtray with smoke wafting upward and a bottle of beer beside it.


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DISCUSSION TOPICS - Murder, war, genetically enhanced soldiers, hit men, human experiments, genetic design, choices, sacrifice, redemption.

MESSAGE - One may choose whom one becomes, no matter one's background.

CAVEATS

Be aware that while we do our best to avoid spoilers it is impossible to disguise all details and some may reveal crucial plot elements.

We've gone through several editorial changes since we started covering films in 1992 and older reviews are not as complete & accurate as recent ones; we plan to revisit and correct older reviews as resources and time permits.

Our ratings and reviews are based on the theatrically-released versions of films; on video there are often Unrated, Special, Director's Cut or Extended versions, (usually accurately labelled but sometimes mislabeled) released that contain additional content, which we did not review.


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