Streaming Sleepers: In THE KILLER, John Woo’s Revival Delivers With An Acquired Taste
3 min. read
John Woo’s latest iteration of The Killer is now streaming on Peacock. The film is Woo’s own reimagining of his 1989 Hong Kong action classic with Chow Yun-Fat, Danny Lee and Sally Yeh.
I haven’t seen the OG film in ages to draw a comparison for this write-up, but I’m still drawn to speak on its behalf given some of the hate its gotten. Indeed, the film isn’t meant for everyone, like with most films of its kind, but there’s no question that Woo draws from his own strengths to dish out a fascinating take with a lead in Nathalie Emmanuel, who proves through and through here that she can take a lead action role to task.
Emmanuel is a covert hitwoman named Zee, who works for shadowy handler Finn, played by Sam Worthington. When she’s assigned to take out a target, innocent bystander and songstress Jenn (Diana Silvers) is rendered blind from the crossfire after a nasty spill.
Actor Omar Sy plays dauntless detective Sey, whose investigation into the incident following the fatal footchase of a suspect earlier in the film, brings him closer to the elusive Zee amid her quest for the truth. Meanwhile, Jenn lays hospitalized as Zee is forcibly tasked to complete the job she failed by letting her live.
As Jenn’s life hangs in the balance and a missing van loaded with millions in drugs draws Zee and Sey face-to-face with criminals on both sides of the law, it will be up to the legendary killer herself to decide what it means to truly take control of her own fate.
Woo’s work has definitely transitioned quite a bit over the years. He long remains one of the most celebrated auteurs of Hong Kong action cinema for the balletic and poetic aesthetics and tone he so famously mingles with explosive, gun battles and sharply coordinated violence and stunts. For what it’s worth though, he does maintain these plusses in many of his works since his heyday, even though his efforts might fall on deaf, more antiquated ears.
Emmanuel and Sy are a lovely and active pair on screen as the face of a concept invariably fresh in its legacy execution, topped off with feasible performances by Worthington, and co-stars Saïd Taghmaoui and Eric Cantona as more of the film’s antagonists. I was especially surprised to see Tchéky Karyo in this one as well, mainly considering one of the most memorable roles he’s played in my life time is the last film he did with Jet Li. Karyo is as cunning and versatile an artist and performer as you would expect, and here in an albeit smaller and supporting capacity, you can’t not love the guy.
There are some slow spots in-between the dialogue in Woo’s reboot, although the plot is easy to follow along with select flashback moments to help drive the story, and bring necessary context going forward. It helps that the film’s leads were formidable in their delivey, with Emmanuel carrying on with an impressive outing of her own to pay tribute to one of cinema’s most memorable roles.
The action is fun as well, and grows a little more enjoyable along the way as Zee and Sey find common ground against their respective enemies. The finale is a bullet-riddled and fight-filled overture that should serve action fans aplenty, even if Woo’s career of late doesn’t necessary check all the boxes. Not everyone needs to be a fan if they’ve outgrown the director these days, but for those still enjoying the party, the love is far from lost.
Native New Yorker. Been writing for a long time now, and I enjoy what I do. Be nice to me!
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