The Killer

a must watch movie

hb

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The film attempts to pay homage to its 1989 predecessor, yet it strips away the very essence that made the original so captivating. Gone is the balletic choreography of violence, replaced by pedestrian action sequences that could have been lifted from any generic Hollywood production. The once-poetic slow-motion, a Woo trademark, is now deployed with all the subtlety of a sledgehammer, losing any of the emotional resonance it once had. Worse still, the film is bogged down by a ponderous script that feels compelled to spell out every emotion, every motivation, with the kind of insecurity that betrays a lack of confidence in the material. This is a talky, plodding affair, weighed down by plot detritus and unnecessary busywork, where every character feels more like a tired archetype than a fully realized person. The decision to cast a female lead as the assassin could have been an interesting twist, but instead, it only serves to dilute the original's core melodrama. The homosocial bonding that was so crucial to the original's emotional impact is lost, replaced by a bland, heterosexual rivalry that lacks any real stakes or depth. And then there's the climactic church scene, a moment that in the original was bathed in the flickering light of a hundred candles, a symbol of tragic romanticism and tortured Catholicism. In the 2024 version, it's staged in the harsh, unforgiving daylight, devoid of any mood or atmosphere. The appearance of pigeons instead of doves is just the final insult, a pathetic reminder of the film's inability to recapture the magic of the past. "The Killer" (2024) is a film that feels like it was made by someone who has forgotten what made their work special in the first place. It's a tragic, joyless affair, a shallow, lifeless remake that does nothing but tarnish the legacy of its creator. I once considered John Woo a favorite director, but now I'm left wondering if he's become an anonymous, generic shadow of his former self. It's a painful realization, and one that leaves me questioning not just this film, but the entire trajectory of his career since the late '90s. I wish him well, but I also wish he wasn't wasting his talent on Europacorp-lite junk for streamers.

I imagine this is a teenage boy's wet dream. That's all I thought as I watched women in clothes poured on them. (Jealous? ABSOLUTELY!!) Nathalie Emmanuel is a 10 all the way around!! Absolutely beautiful women fighting one another, car chases and gun fights. The men left a lot to be desired!! That said, while Omar Sy is no Idris Elba, he is a delightful man! Too bad there weren't more men like him in this movie. There was the obligatory shot of the Eiffel Tower from her bedroom window. And pigeons flying all over the church. You'll have to find out why that happened. This movie is a romp. Not much of a story, but it keeps up a strong pace for over 2 hours. Enjoy the ride!!

Great movie! If you want an action flick with a bit of grit and soul, this is for you. John Woo is still making great movies. To respond to some of the previous (ignorant) reviews that mention "cliches"... There is a difference between cliches vs directors' artistic signatures and symbolism. John Woo movies are action movies. Anyone who has seen any John Woo films knows that he uses symbolism and has some distinct signature elements he places in his movies for a reason. For examples, John Woo uses the birds as symbolism of the spiritual/unseen, with light colored birds (doves) representing the unseen spirit of God or goodness/purity, while darker birds (pigeons) showing the spirit of darkness/evil. Another example: One of the times Z was in the church, she was wearing black clothes with a white overcoat, strongly symbolic of her internal battle between darkness and light - a major theme of the movie. The next time in the church, she is wearing all black, both her clothes and overcoat. There are other themes and symbolism in the movie, but I won't spoil it for you. To those reviewers who complain about "cliches": You have to rate a movie according to it's genre...so if you don't like the movie elements that you mislabeling as "cliches", then just don't watch action movies. (Better yet don't watch any movies or TV, ever!) This movie has a very specific style, so if you don't like that particular style, that's perfectly fine...just go watch something else, but don't call it cliche. There is a lot of gorgeous cinematography in this movie. The story is well paced...it keeps flowing quickly and keeps your interest. Overall, definitely recommended.

It's not the worst thing you can watch. It has its moments. Every once in a while it wakes up and remembers it's an action movie. The rest of the time it's down wallowing in a rut of character moments that try too hard to convince us that we should care about these characters. Sam Worthington does a terrible Irish accent despite his character having no reason to be Irish. The action is fun, everything else is boring because despite the effort it's hard to care about these characters and what they're going through. It's Jon Woo without the charm. It can't shake off the wrapper of NBC TV production despite desperately trying.

"The Killer" retains the cat-and-mouse chase between the killer and the cop... The earlier scenes are the best, proving that Woo still has what it takes to put together a well-staged action movie. He's going to hit 77 year yet, his signature visual prowess remains sharp. He does a better job this time Nathalie Emmanuel does a good job playing the titular killer in her physically demanding role while Omar Sy equally delivers as a no-nonsense cop, Sey...The least effective one, however, goes to Diana Silvers, whose role as Jenn is given less to do here with her largely thankless performance... And Sam worthington is simole enough in a role where every actor can do at ease... Visually, "The Killer" is nothing short of a spectacle. From the first pulse-pounding shootout to the climactic, emotionally charged finale, His trademark use of slow-motion, doves and kinetic action scenes feel just as thrilling in this modern rendition, showing that Woo remains a master of his craft. Every gunfight is choreographed with an almost poetic precision, transforming violent confrontations into cinematic ballet... while "The Killer" excels in action and emotional depth, it occasionally stumbles in its pacing. The film's second act drags slightly as it attempts to delve deeper into the protagonist's inner turmoil. Some of the narrative elements feel familiar, particularly to those well-versed in Woo's body of work, and the plot doesn't always break new ground. But these minor flaws do little to detract from the overall impact of the film... Overall its happy to see that the man who have us memorable action flicks is back with a bang and do not miss his signature art of film-making...

I don't know how many action clichés John Woo made and then piled up during his carrier, but I guess a lot. This picture is really like mocking himself. Probably, rather than maybe, he is. Well, it is a remake of his own film, once considered pioneer of modern action movies, but it does nothing original at all. Rather, it delivers basically the same but with much less intensity, commitment and flair. The soul of the original is absent. There is no fire in it, just ember - to say the least. The characters are good but apparently most of them are restricted, blocked even, to show raw emotions (with the exception of Cantona). It is a weak remake, as they usually are.