Action icon John Woo reimagines The Killer, his seminal 1989 masterpiece for modern audiences, with decidedly mixed results. The plot updates the setting from Hong Kong to Paris with Nathalie Emmanuel playing the role that immortalized Chow Yun-fat as a genre legend. That in itself shouldn’t be controversial except to the legion of misogynistic haters who become apoplectic every time a woman steps in the shoes of something previously done by a man. Emmanuel is good here and not the film’s primary problem. The lack of creativity in the action is where the fault lies. The Killer ticks every stylistic box for die-hard enthusiasts, but doesn’t do anything we haven’t seen before.
Breaking Good: The Killer and Her Conscience
Zee (Emmanuel) meets her handler at an abandoned church. Woo’s requisite pigeons circle the dusty stained-glass windows as Finn (Sam Worthington) gives his deadliest assassin her latest assignment. Finn emphasizes that no one in the room can be left alive. Zee pointedly asks if they deserve their deaths. Finn quiets her doubts with a simple response. There’s no innocent mark to be executed.
That night, a disguised Zee enters a nightclub’s exclusive VIP room. She’s searched thoroughly, but no weapons are found. The lowlife goons eye her hungrily as an equally beautiful young woman (Diana Silvers) sings on stage. The baddies change their tune when Zee pulls a sword out of her dress. She shreds everyone in her path in a mesmerizing ballet of carnage.
Watch Our Interview with The Killer Stars Omar Sy & Nathalie Emmanuel:
The terrified singer screams as she falls back against the stage. Zee hovers above for the coup de grâce but halts her advance in a rare show of mercy. The impact has taken the singer’s eyesight. She cannot see the infamous “Queen of the Dead.”
Fans of the original will recognize this critical moment. It changes Zee’s fate in a way she could never have predicted. She has no inkling of the hell that’s unleashed when she spares the frightened girl. Finn, and his powerful master, cannot afford to leave any loose ends. The singer cheating death has larger consequences. Zee must choose to finish the job, or risk becoming the most wanted woman in Paris. Police inspector Sey (Omar Sy) and his partner (Grégory Montel) are already searching for the “hitman” who decimated the club.
The Cool Nathalie Emmanuel & Omar Sy Have Great Chemistry
Let’s start with the good that works. Emmanuel does well in a highly physical role. She’s not just the badass two-gun-slinger who turns enemies into bullet-ridden corpses. Zee is an expert in hand-to-hand combat and anything that can be used for a weapon. She can carve your kidney out with a spoon if needed. Law enforcement knows the “Queen of the Dead” exists but don’t have any concrete evidence of her identity. She’s a master of disguise who can effortlessly blend incognito into any situation.
Sey is an able initial adversary trying to unmask the fabled killer. Their cat-and-mouse game has levels of humor and an almost playful chemistry. Sey realizes that the club’s murders are just the tip of the iceberg. The real puppet masters pulling the strings must also be found. The blind singer is the only viable lead, but what does she actually know? Why did the killer let her live? It must mean that she’s not entirely ruthless. The relationship between Zee and Sey captures a similar dynamic from the 1989 film between Chow and Danny Lee’s Detective Ying.
The Pacing Falls Apart and the Villain’s Generic
The Killer goes south with a been there, done that approach. Woo’s action hallmarks are all present. It’s just too familiar despite the shiny new setting and characters. To be clear, there’s no lack of action. Bodies fill the morgue with Zee and Sey’s handiwork. But that’s really no different from any film with a similar narrative. There isn’t a single action scene that does something new, exciting, and different. Woo sticks to his guns when the audience is expecting bigger and bolder. That’s a pretty big letdown and shouldn’t be understated.
The Killer slows to a crawl in a labored second act with a totally unnecessary flashback. Press snooze here. The pacing is further compromised by scenes of her establishing camaraderie with the singer. That worked better in the source material because Chow and Sally Yeh’s Jennie fall in love while on the run. Their romance is integral to that film’s success. That path isn’t taken in the reboot, and it misses a critical piece of the story.
Sam Worthington is a fine actor. He’s done great work in the biggest movies of all time. That’s definitely not the case for Finn, an obvious and generic villain that feels as threatening as a butterfly. What’s believable between Zee and Sey is completely lacking with Finn. Even his pet name for her in a strained Irish accent seems foolish and contrived. Finn is a weak antagonist that had to be dramatically tougher.
The Killer Is Good Enough (If You Forget the Context)
The Killer will disappoint if compared line by line to one of the greatest action films ever made. John Woo is also one of the best action directors, and this film doesn’t deserve his name. So no, Woo doesn’t strike gold again, nor does he strike out completely. Skepticism and comparisons ruin the experience. It’s difficult to do, but this film has to be viewed through an objective and dispassionate lens. Then it can be enjoyed as a decent enough actioner with charming leads.
The Killer is a production of Universal Pictures, A Better Tomorrow Films, and Atlas Entertainment. It premieres exclusively August 23rd on Peacock. You can watch through the link below.
Watch The Killer
