The Killer

John Woo’s “The Killer” was a true gamechanger, at least for this critic. The one-two punch of Woo’s 1989 action masterpiece with his equally magnificent “Hard Boiled” changed the way I looked at the genre in my teens, and truly inspired hundreds of imitators. For anyone in my age range who can remember watching “The Killer” (likely on VHS) decades ago, the thought of remaking a flawless film feels cinematically heretical. And yet Hollywood has been circling such a project for decades with Richard Gere and Nicolas Cage once attached in the ‘90s. After years of false starts, a remake finally emerges, limping onto Peacock with almost no fanfare or promotion. Directed by Woo himself, the 2024 version of “The Killer” is obviously competently made–the Hong Kong director still knows how to stage an action sequence, well into his seventies—but the truth is that this version of the film does absolutely nothing better than the original. It’s a movie that’s generally watchable but almost instantly forgettable, which the best of Woo never is.

Nathalie Emmanuel (Ramsey from the later “Fast and the Furious” movies) plays the mysterious Zee, a stealthy assassin for a powerful organization run by the vicious Finn (Sam Worthington). The “Avatar” actor nails a certain kind of slimy power figure, the one who will pretend to have your best interests in mind but only as far as it suits him personally. When Zee gets a job that requires an assassination via samurai sword in a Parisian nightclub, the assignment goes sideways with the blinding of a singer named Jenn (Diana Silvers). Despite the fact that she can’t exactly point the finger at the killer, Finn insists that Zee take out the witness, leading to moral crisis for the murderer for hire. While Zee tries to keep Jenn alive, a Paris cop named Sey (Omar Sy of “Lupin”) gets this incredible case and crosses paths with Zee, giving “The Killer” most of its narrative thrust in that it’s a story of a criminal and a cop who may not be as different as they first believe.

Clearly, a lot of the narrative beats of the original remain, although the gender swap naturally makes a pretty big difference both in the Zee/Jenn relationship and the dynamic between Zee & Sey. The sort of dance between a killer and a cop, which many over the years even read as homoerotic in the original, has been shifted by the change but hardly anything has been done with that shift. Changing race, gender, and location should give “The Killer” a different flavor, but the truth is that there’s just no seasoning. It’s as if the writers (Brian Helgeland, Josh Campbell & Martin Stuecken) figured the swaps alone would be interesting enough that they didn’t have to do anything more. It also just reeks of a script that has been in development for so long that all of the passion has been drained from it with rewrites, producer’s notes, and focus groups. The original hums with energy in not just its ace filmmaking but its narrative structure, and there’s just nothing to care about here in terms of plotting, while additions, like a few flashbacks to Zee’s origin story, feel half-hearted and cheap.

Part of the problem here is that Emmanuel just isn’t an interesting enough performer to sell the strong, silent cipher that Zee needs to be. I’m not usually a critic who likes to judge the movie that isn’t there but knowing that Lupita Nyong’o was once attached to this before COVID shut down production reveals even more flaws in Emmanuel’s work. Nyong’o can do so much with body language and her amazing eyes that it feels “The Killer” needed to work, and Emmanuel simply doesn’t have the same skill set. Sy makes out much better, reminding viewers how charming he can be, but Silvers is a non-character, used almost entirely as a device.

Of course, most people aren’t here for performance, and they just want to know about the Woo of it all. He once again leans into his clichés—there will be churches, candles, birds, and slo-mo—but there are some undeniably nifty stunt sequences in the film, especially in the final act’s graveyard shootout. It’s nice to see real stuntpeople showing off what they do best under the direction of a genre master, even if it does feel like he’s lost a beat in terms of pacing, both in action scenes and overall. There’s huge mid-film sag in this too-long movie in which people banter about how to finish jobs during which it will be hard for Peacock viewers at home to put down their phones.

And that makes me a little sad. John Woo movies used to strap you into your seat, making the rest of the world fall away as you appreciated their action artistry. That’s just not the case here. And my biggest concern comes in the overall sunsetting of physical media and lack of curation on streaming. Want to watch the original “The Killer”? It’s not streaming for rental anywhere and costs about $50 on Blu-ray. And that means that this faded copy is now easily the most accessible, and there will certainly be people who don’t even know about the first film when they watch it. In that sense, it’s not just a remake but a replacement. And that kills me.

from All Content https://ift.tt/Atq9Idg