The Thanksgiving Holiday of 2007 brought us the instant classic action film Hitman. From its wild, over-the-top action to the icy, precise, and inhuman portrayal of Agent 47 by Timothy Olyphant, this is a video game adaptation that is bound to go down in history as one of the finest adaptations yet.

Wait, what am I talking about? Hitman was one of the worst films of 2007 and is destined to be forgotten and lost to the sands of time. The source could definitely be adapted to an exciting slice of action cinema with an interesting story to boot. However, that would have required some time and effort be placed into the writing, some work done on building the mythology to draw us to the character, kind of like what they did in the trailer, which seemed to be advertising a different movie.

What we got was a film featuring a lead character that is a bad guy, pure and simple. He was no anti-hero, in fact we would probably be better off without him; let him die. All I can hope is that the failure of the movie to deliver anything worth watching will not prematurely sink the career of composer Geoff Zanelli, who turns in some nice work.

I am not familiar with Zanelli's work, but a quick glance at his filmography on IMDB reveals a few films he worked on that I have seen, including Secret Window and last year's surprise hit Disturbia. So, considering how well the latter was received, any thought of an early exit for Zanelli seems to be a hasty one. This is especially true considering he has three films in the pipeline for this year, including the animated feature Delgo and the Ricky Gervais starring Ghost Town.

Not being a veteran of the Hitman game series, I have to rely on outside sources who inform me that none of the music has been adapted from the game series (composed by Jesper Kyd). So, aside from the arrangement of "Ave Maria," Hitman the movie is filled with original music. Despite the lack of adapted music, there is still a distinct videogame-like feel to the score. It sounds like the videogame got together with John Powell's music for the Bourne series. The music is a mixture of electronic elements and traditional strings. The end result is a pulsing, throbbing score that pushes forward with a strong sense of urgency.