I spent part of last night watching 'Hitman', the latest video-game-to-movie adaptation, and probably the best of the bunch so far. Admittedly, though, that's not really saying much. The qualification 'best game-to-movie adaptation' is about as worthy an achievement as 'nicest smelling turd' - although, to be honest, 'Hitman' is entertaining in a fairly forgettable sort of way. Directed by Xavier Gens (the French director who brought us the now second-best console-to-cinema project, 'Silent Hill'), 'Hitman' attempts to strike a balance between modern, crowd-pleasing action sequences, an intricate double-cross-laden plot and a film about the gradual emotional awakening of a man who has been raised from birth to be an unstoppable killing machine. Predictably, it only really succeeds at the first of those aims, the political intrigue and international cat-and-mouse coming across as Bourne-lite and the character-driven moments aiming for 'Le Samourai' and 'Leon', but falling well short of those lofty ambitions.
Part of the blame can be attributed to the film's videogame origins - the Hitman series was never a particularly story-heavy franchise, its popularity arising from the amoral tabula rasa its nameless protagonist presented the gamer with. You imprinted your own personality on Codename 47 (the closest thing to a name your character gets) via the way you decided to play the game - quietly sneaking in the shadows, knocking out civilians with tranquilisers and stealing their clothes so as to get close to your target and make the kill quietly - or, alternatively, steaming in all guns blazing, taking out all and sundry in your path. The film attempts to be faithful to the videogame in several ways - Timothy Oliphant certainly looks the part as the bald, barcode-tattooed, immaculately tailored assassin, and certain moments in the movie evoke the above-and-behind-the-head floating camera viewpoint from the game - but Oliphant is far less convincing when trying to portray 47's dawning desire to protect rather than kill than he is when, say, involved in a three-against-one sword battle on an empty subway car.
However, the film is stylishly shot, the action sequences are bruisingly effective without resorting to the excessively tightly-shot and frenetically edited template seemingly ubiquitous in modern action cinema, and the plot, while not water-tight, generally moves along at a fair clip. It's not a bad movie by any means, and deserves praise for aiming higher than contemporary brethren such as the execrable likes of 'Doom' and the inexplicably resilient 'Resident Evil' series. However, as mentioned above, it's not a patch on 'Leon', a far superior movie in every sense.