Review: ‘The Killer’ brings a Hong Kong action genius back to the site of his own crimes

As a longtime admirer of John Woo’s cinematic masterpieces, I must say that watching “The Killer” reimagined for modern audiences was like reuniting with an old friend who has been through some changes but still retains the charm and essence that made me fall in love with them in the first place.

Following many years away from his craft, filmmaker John Woo has been honing his skills again, although his accuracy may not be as sharp as before. However, it’s important to note that on-screen precision was never the main focus for him. Instead, it was the attitude, the expression, the intense gaze – all while moving, jumping, flipping, sliding, and staring – that truly captivated audiences in Woo’s universe. In Woo’s world, guns are merely tools for taking lives, but gun battles are what leave audiences spellbound.

In the previous year, the wordless version of “Silent Night” attempted to rekindle the Hong Kong legend’s connection with American viewers, but it didn’t quite live up to expectations. Now, he’s returning to one of his iconic action epics, the 1989 film “The Killer,” with a Paris-based remake (co-written by Brian Helgeland, who won an Oscar for “L.A. Confidential”), an international cast featuring French star Omar Sy, and a direct-to-streaming release on Peacock. While nothing can replicate the theater experience of watching John Woo’s iconic action spectacles, this latest production could be seen as another critical moment – in terms of shooting, naturally – for a highly respected filmmaker. It’s a respectable second place. If you watched the Paris Games on Peacock this summer, you might think of it as another decisive round – in shooting, what else? – for a renowned cinematic athlete. It’s a commendable silver medal.

In this version, Sy is not playing the character originally portrayed by Chow Yun-fat. Instead, it’s Nathalie Emmanuel, known for her role in “Game of Thrones,” stepping into the role. This gender swap may not be as novel anymore, but it certainly adds a new perspective to the storyline. Emmanuel brings an endearing charisma to her character without compromising the ruthless aspects of the role. Known as the Queen of the Dead in the Parisian underworld and a crossword enthusiast who cherishes her pet guppy during the day, Emmanuel’s character Zee executes powerful hits for her mentor Finn (portrayed by Sam Worthington with an Irish accent), who works for a formidable gangster played by Eric Cantona.

However, while performing a show at a nightclub, eliminating numerous villains, an emerging American singer (Diana Silvers), finds herself blinded in the process. Filled with regret, Zee spares her life and is met with resistance from his superiors for not completing the job completely.

Undercover at the hospital with ulterior motives, she hesitates and decides instead to rescue the singer. However, this action catches the attention of Detective Sy, a tenacious cop investigating a stolen drug consignment who suspects there’s more to the situation. It seems that our protagonist is an assassin torn between duty and compassion, while Detective Sy is a rule-breaking detective chasing the truth. In Woo’s signature style, they find themselves in a standoff with weapons drawn, yet miraculously avoiding each other’s gunfire to focus on the true enemy. (A temporary case of tinnitus will likely be overlooked later.)

In a modern twist, the classic style of action director Woo isn’t absent; there are birds here. The music, however, lacks contemporary appeal. Yet, recalling that iconic series like “John Wick” and “The Transporter” wouldn’t exist without Woo’s signature chaos adds a gentle, nostalgic hum to this less-than-exceptional remake.

On the downside of the balance sheet, there are two contemporary filmmaking techniques that might be easier to grasp: the flattened appearance of digital cinematography and the transparent, CGI depiction of violent scenes such as bloodletting. These methods can’t compete with the grandiose squib effects from earlier films or the heightened drama created by slow-motion madness when captured on real celluloid film.

On the bright side, Woo hasn’t abandoned his enthusiasm for intricate, absurd stunts or his skill with cinematography and editing that harmonizes with choreography. He may have toned down some of his emotional and dramatic tendencies, but he certainly showcases his skills during the chaotic battle scene in a desecrated church – a scene that’s wonderfully bizarre, yet also subtly expresses his view on how quality action films can foster intimacy.

35 years later, after growing accustomed to the high-octane action of modern superhero films, Woo’s style feels remarkably down-to-earth and authentic to me. As you watch a true master, it’s not about surpassing the classics, but rather delivering a humble yet electrifying encore performance. To be truthful, I do hope he respects “Hard-Boiled” and leaves it untouched as a timeless masterpiece.

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2024-08-23 21:32