As a seasoned gamer of action cinema, I have witnessed the evolution of the genre from its humble beginnings to its current state of adrenaline-fueled spectacle. The Killer, directed by the legendary John Woo, was a pivotal moment in my cinematic journey, a game-changer that redefined what action could be.
Upon its debut in the U.S. in 1990, John Woo’s action movie The Killer struck the film industry like multiple gunshots. The action sequences were orchestrated with the elegance of firework displays, and its unique blend of passionate romance and violent imagery, which employed slow motion, transitions, and an abundance of soaring doves, significantly influenced the genre in the ensuing years. This fresh perspective on the action genre would go on to shape it over the next decade, leaving a mark not only in big-budget productions but also in the work of admirers such as Quentin Tarantino.
Reflecting on the trajectory of his career, both in Hollywood and my beloved Hong Kong, it’s been a rollercoaster ride – from peak performances like “Hard Boiled” and “Face/Off,” to less successful ventures such as “Paycheck.” Yet, any director daring to tread the path of action movies after him should feel indebted. His masterpieces were not just stylish explosions of flair over content; they elevated the often dismissed B-level genre into a testament of high art, seamlessly blending aesthetics with the raw power of guns and graphic violence.
The initial film titled “The Killer,” featuring Chow Yun-Fat as a hitman struggling with cold feet, was both excessively dramatic and uniquely brilliant. However, one might wonder why Woo chose to reimagine this movie in English (with a touch of French) over three decades after its original release?
One reason, going by this well-executed but rather bland Peacock original, may have been the desire to reset the story in Paris — and Woo definitely exploits the City of Lights to the max here. Not since Tom Cruise pummeled the French capital in Mission Impossible: Fallout have we seen so many chases, fights and shootouts staged against so many breathtaking Parisian backdrops, from the banks of the Seine to all the rooftops offering perfect vantage points for scenes of gunplay and mayhem.
For those well-versed in cinema and admirers of Woo’s work, it’s worth noting that the city was also the backdrop for Jean-Pierre Melville’s 1967 masterwork, “Le Samouraï,” a hitman film starring the late Alain Delon. This movie served as a significant influence on the first “The Killer.” In both films, the protagonists – played by Delon and Chow-Yun Fat – portray meticulously dressed assassins named Jeff (with one ‘f’ in the French version). These characters are more eloquent with bullets than words and find themselves evading not only local law enforcement but also those who employed them.
Working alongside writer Brian Helgeland and scriptwriters Josh Campbell and Matt Stuecken from “10 Cloverfield Lane,” this adaptation retains the fundamental structure, though with some intriguing modifications. The protagonist, previously Jeff, is now named Zee (portrayed by Nathalie Emmanuel), a deadly femme fatale who excels in gunfights and katana battles, rescued from poverty to serve as a professional assassin under Finn’s (Sam Worthington, showcasing his Irish brogue) guidance. The character pursuing her, previously a fellow badass, is now Sey (Omar Sy), a charismatic tough guy who harbors feelings for Zee, contrasting the original’s setup which leaned more towards a bromance between the two lead characters.
In this story, Emmanuel and Sy’s relationship is central and significantly impacts the plot, while other elements such as a botched drug heist, a corrupt police department, and a controlling Saudi prince (Saïd Taghmaoui) seem quite common. Notably, To Woo creatively incorporates Eric Cantona, formerly a Manchester United soccer player, into the storyline as an art-loving mob boss.
In its initial release, the storyline was straightforward and intense, focusing predominantly on action. However, in this latest installment, there’s a lot more dialogue and emotional scenes between the protagonist, Woo, and Jenn (Diana Silvers), whom he saves early on during a violent sequence. This results in a shift from primarily action-oriented storytelling to one that includes more character development and bonding moments.
As a gamer, I’ve gotta say, this movie doesn’t disappoint when it comes to action sequences. The director really gets to strut his stuff, and let me tell you, it’s a sight to behold. Take the hospital scene, for instance – the tension is so thick you could cut it with a knife. And the fight choreography by Jérôme Gaspard? Absolutely top-notch.
To be honest, the recent influx of sleek action movies akin to the John Wick series has set a high bar. However, when it comes to the modern reimagining of The Killer, I can’t help but feel like it’s stepping back into an era that’s starting to seem outdated. Mentioning David Fincher’s The Killer, another Paris-set assassin story where meticulous craftsmanship takes precedence over plot, seems relevant here too.
In the late ’80s and early ’90s, Woo initiated the momentum for something significant, but over time, that initial spark has grown into a dynamic force – faster, more aggressive, and technically superior. It seems like it’s moving past him now. If his latest film appears to be 25 years behind the times, it serves as a nostalgic reminder of what made the original so unique. Those who find The Killer through this remake would do well to revisit the original masterpiece instead.
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2024-08-23 10:25