The Killer

John Woo's new adaptation of his own 1989 masterpiece, The Killer, is an intriguing but ultimately flawed attempt to bring one of the most influential action films of all time into the modern era. With the original The Killer, John Woo revolutionized action cinema with his signature gun-fu style, a blend of highly choreographed shootouts and intense emotional storytelling that has become the absolute model for the genre. The 1989 film remains a seminal work, revered for its operatic violence, deep moral conflicts and Chow Yun-fat's magnetic performance as the tragic hitman Ah Jong.

Thirty-five years later, John Woo returns to the director's chair to reimagine his own The Killer for a contemporary audience. This time, the action shifts from the neon-lit streets of Hong Kong to the romantic but gritty backdrop of Paris. The protagonist is no longer the male assassin played by Chow Yun-fat, but a hitwoman named Zee, gracefully played by Nathalie Emmanuel. This gender change is one of the most notable updates, aimed at bringing a new perspective to the story. However, despite these changes, the film really struggles to recapture the magic that made the original so memorable.

The plot of 2024 The Killer is very similar to that of the original, albeit with a few differences. In this version, Zee is a highly skilled assassin working under Finn (Sam Worthington), a cold, calculating Irish gangster who acts as his go-between. The story begins when Zee is assigned to eliminate a group of criminals in a Paris nightclub. During the operation, she accidentally blinds an innocent bystander, Jenn (Diana Silvers), a singer who finds herself caught in the crossfire. Overcome with guilt, Zee spares Jenn's life, a decision that triggers a series of events leading to betrayal, moral questioning and a series of bloody confrontations.

One of the most significant differences from the original film is the nature of the relationships between the characters. In the 1989 film, the relationship between hitman Ah Jong and blind singer Jennie was a memorable, complex and emotionally charged romance that added depth and stakes to the story. In the remake, the romantic tension is unfortunately removed entirely, giving way to a more straightforward dynamic where Zee's actions are motivated by guilt rather than love. While this change could have brought a unique angle to the story, it instead flattens the emotional landscape, reducing what was once a rich, multi-layered relationship to something far more simplistic.

The relationship between Zee and Inspector Sey (Omar Sy), the policeman on his trail, is also much altered. In the original version, the bond between Ah Jong and police officer Li Ying was one of mutual respect and understanding, even though they were on opposing sides. This bromance was one of the highlights of the film, adding a layer of tragedy to their inevitable confrontation. In the 2024 version, while Zee and Sey share a certain camaraderie, their relationship lacks the depth and intensity of the original. It's more of a standard cat-and-mouse game, devoid of the philosophical reflections on honor, duty and the blurred boundaries between right and wrong that made the original so captivating.

John Woo is unquestionably a master of action cinema. His ability to choreograph elaborate shootouts is unsurpassed, and there are moments in 2024 The Killer when his genius shines through once again. The film's action sequences are meticulously crafted, with Woo's trademark use of slow motion, dynamic camera movements and iconic white doves making an appearance (true fans of this great director will love it). The opening nightclub shootout, in which Zee eliminates his targets with ruthless efficiency, is particularly remarkable, demonstrating John Woo's ability to combine style with visceral impact.

However, despite these flashes of genius, the action in this film often seems more restrained than in the original. This is partly due to the modern constraints of digital filmmaking and CGI. The gritty, tactile feel of the original's practical effects, with its spurts and spurts of blood, is sorely lacking. The digital effects in this film, while carefully crafted, lack the same visceral impact and often look too clean and sanitized. The result is a film that, while visually impressive, lacks the emotional power and intensity of its predecessor.

Another area in which this film fails is that of pacing. The first The Killer was an intense emotional experience, with every scene moving the story towards an inevitable and tragic conclusion. This new adaptation, on the other hand, is more uneven. There are moments when the film drags, particularly in the middle of the act, where the story takes detours that feel more like filler than essential plot development. This lack of urgency dilutes the tension and makes the film feel longer than its two-hour running time.

Nathalie Emmanuel throws herself into the daunting role of Zee, and although she delivers a competent performance, it's hard not to feel that she's overshadowed by the memory of Chow Yun-fat's iconic role in Ah Jong. Nathalie Emmanuel brings a cold, detached intensity to the role, befitting a character who has erected walls around her emotions to survive in a violent world. However, the script doesn't leave her much room to explore the more nuanced aspects of Zee's character. As a result, his performance, while solid, lacks the depth and complexity that made Chow Yun-fat's interpretation so memorable.

Omar Sy, as Inspector Sey, fares better, bringing a charismatic presence to the role of the determined cop. His scenes with Emmanuel are imbued with a subtle tension, even if, here again, the script doesn't fully explore the potential of their relationship. Sam Worthington's Finn is fine in the role of antagonist, but his character is more plot device than fully realized individual, lacking the gravitas that might have made him a more convincing villain. It's impossible not to be reminded of one of Luc Besson's best Leon films (The Professional) when discovering this film.

Diana Silvers, as Jenn, is woefully underused. Her character, who should be the emotional heart of the story, has little to do other than act as a catalyst for the plot. This is in stark contrast to the original, where Sally Yeh's Jennie was a fully-realized character whose relationship with Ah Jong was integral to the film's emotional core.
One of the strengths of the original The Killer was its exploration of complex themes such as guilt, redemption and the moral ambiguity of violence. These themes were woven into the fabric of the story, giving the film a depth that elevated it above mere action spectacle. This film, on the other hand, seems more superficial in its approach. Although the themes of guilt and redemption are still present, they are not explored as deeply, nor do they have the same resonance as in the original. The film touches on these ideas, but never delves into them with the same intensity or nuance.

The tone of this film is also very different. Whereas the original was a dark, tragic story with moments of operatic-like melodrama, this one is more direct and less emotionally charged. This change in tone may make the film more accessible to a wider audience, but it also takes away some of what made the original so unique. The killet (1989) was a film that wasn't afraid to wear its heart on its sleeve, embracing its melodramatic elements with sincerity and conviction. This new adaptation, by contrast, seems more calculated and less inclined to take emotional risks.

This film was undeniably going to be compared to its predecessor, and in that comparison, it inevitably fails. Although there are strong moments - particularly in the action sequences and John Woo's always impressive direction - the film as a whole lacks the emotional depth, intensity and thematic richness of the original. Nathalie Emmanuel and Omar Sy deliver solid performances, but they seem let down by a script that doesn't fully explore the potential of their characters or their relationships.

For fans of the original, this film may seem like a pale imitation, one that captures the superficial elements of what made The Killer great, but lacks the soul. For newcomers, it may serve as an introduction to John Woo's work, but it's unlikely to leave the same lasting impact as the 1989 classic. All in all, The Killer (2024) is a well-made, entertaining action film that benefits from John Woo's undeniable talent and experience. However, it's also a film that reminds us just how special the original was. While it's far from a disaster, it's also far from the masterpiece that its predecessor remains in the hearts of true cinephiles, leaving it in the shadow of one of the greatest action films ever made.

The Killer
Directed by John Woo
Written by Brian Helgeland, Josh Campbell, Matt Stuecken
Based on The Killer by John Woo
Produced by Charles Roven, Alex Gartner, John Woo,; Lori Tilkin deFelice
Starring Nathalie Emmanuel, Omar Sy, Sam Worthington, Diana Silvers, Saïd Taghmaoui, Hugo Diego Garcia
Cinematography : Mauro Fiore
Edited by Zach Staenberg
Music by Marco Beltrami
Production companies: Universal Pictures, A Better Tomorrow Films, Atlas Entertainment
Distributed by Peacock (United States), Universal Pictures International France (France)
Release date : August 23, 2024 (United States), October 23 2024 (France)
Running time : 126 minutes

Viewed on August 23, 2024 (Peacock)

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