Sam (Martin Kemp) is the top Secret Service hitman, always hitting his
target, always getting away unnoticed, no matter where in the world ...
but then he slips up in Spain, even if it wasn't entirely his fault, and
his squadron is suspended.
Back in the UK, Sam receives a mysterious
phonecall threatening him to do whoever's on the other end of the line's
bidding, or ... and Sam witnesses his girlfriend shot dead across the
street. So yup, it's serious, but to bring his point acrosseven better,
whoever-it-is shows Sam he holds Sam's daughter (Dani Dyer) hostage. Sam
has six hours to save her, murdering one person on whoever-it-is's hitlist
every hour, otherwise the daughter will be a goner. Now Sam is a
professional hitman, but no killing machine, so killing innocent persons
without any reason goes totally against everything he believes in - but
then again, what can he do? But he does leave innocent witnesses alive,
which soon gets the police on his tail, led by D.I. Siddiq (Anouska Mond),
who is pretty good at connecting the dots and linking it all to the
protest march of a Roy Dixon's (Nick Moran) extremist right wing party -
but then the Secret Service led by agent Dalton (Sebastian Street) takes
over, and it doesn't take long for D.I. Siddiq to find out Secret Service
tries to cover up rather than help with the investigations, and she also
finds out that all of Sam's victims were actually undercover agents that
infiltrated Dixon's ranks ...
On the run, Sam is saved by prostitute
Lexi (April Pearson), who is also forced by whoever-it-is to do his
bidding, as he wants to play the two against one another - but somehow the
two find common ground and decide to go after their tormentor rather than
do one last job for him - which would be for Sam to blow himself up amidst
the extremists' rally ...
Age of Kill is quite simply an
extremely tight film: It's full of action and the plot moves forward at a
very steady pace - but that said it's anything but a one-dimensional
action flick, its plot is complex and multi-layered, twists and turns and
is full of surprises, it leads us into a grey area rather than presenting
us with the typical good vs evil dychotomy, and it features a bunch of
interesting, colourful characters. All of this is carried by a very fluid
directorial effort and a strong key cast, led by an impressive Martin
Kemp, who really gets the driven nature of his character right.