![]() 18 Unnamed Police Officers - Killed by Agent 47 (Player's Choice, Optional).38 Unnamed Civilians - Killed by Agent 47 (Player's Choice, Optional).Seven of Delahunt's Body Guards - Killed by Agent 47 (Player's Choice, Optional).Richard Delahunt - Killed by Agent 47 (Player's Choice).Alvaro D'Alvade - Killed by Agent 47 (Player's Choice).40 Unnamed Civilians - Killed by Agent 47 (Player's Choice, Optional).29 of Delgado's Guards - Killed by Agent 47 (Player's Choice, Optional).Fernando Delgado - Strangled with Fiber Wire by Agent 47 (Player's Choice).Manuel Delgado - Killed by Agent 47 (Player's Choice).Scoop - Killed by Agent 47 (Player’s Choice, Optional).Carol Anne - Killed by Agent 47 (Player's Choice, Optional). ![]() Six Unknown Women - Killed by Agent 47 (Player's Choice, Optional).Andrew Chiseler - Either set on fire by a unnamed Baltimore Street gang member or killed by Agent 47 (Player’s Choice, Optional).Unnamed Baltimore Street Gang Member - Either optionally killed by Agent 47 or shot to death by Scoop for not finding out where Agent 47 is hiding.24 Unnamed Baltimore Street Gang Members - Killed by Agent 47 (Player's Choice, Optional).Joseph "Swing King" Clarence - Killed by Agent 47 (Player's Choice).An edgy, hard-hitting Norris entry that at least tries be something a little more different. Michael Parks memorably nasty, thuggery performance is a blast whenever his on screen. The support cast offer able assistance with their parts. Joel Derouin's music score really does skew back to those saucily cruising, but uneasy jazz scores of the 70s. Some rousing suspense can be detected too. Get ready for a bloody onslaught with smarting wise-cracks! Aaron Norris' hardboiled direction is brisk, gritty and accordingly sombre in its grungy atmospheric charges leaking from such moodily shot-on locations. It doesn't really focus on Norris' martial arts abilities, as it doesn't get much of a show-in with him preferring to use his punishing shotgun. As double crossings, secret meetings and vicious set-ups plague the get-up. Amongst this moral interruption, it can be rather offensively racist, mean-spirited and brutal in its staged barbaric violence that's broken out in the crime underworld. But this plot device (in a surprisingly story-bound presentation) gives Norris' character a humane element to counter-pouch that cold, fearless nature driving him to complete his job. Sure it can get over-sentimental with a flabby and pointless subplot involving a 'young nice boy' living next door to Norris. Lee Thompson's "Death Wish 4: The Crackdown (1987)". The premise is transparently black n white (if vague), but it's the calculatingly dark, risky and lean tone which I fancied. ![]() Norris' brother Aaron (who directed Chuck in some other flicks) was in the director's chair and this would be his most accomplished piece. It's definitively my favourite of those mainstream humdingers that he was chalking up through the measly 90s. His beard is in full flight, but he also sports a gratuitous mullet and dangerous looking trench coat. It passes the time, but this Norris actioner provides a solidly calm performance, which is maybe his best or actually most suited. ![]() However there's something about "The Hit-man" that makes me think much more highly of it than I probably should. They were mainly cheap, but quite violent and senseless entertainment. Is that a bad thing? No not really, as long it delivered on the goods that we expected. Nearly every film that Norris starred in from the mid 80s through to the 90s was under the production company 'Cannon'. ![]()
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