John Woo's remake of his 1989 film of the same name is a surprising, and oft enjoyable watch. It is a film of earnest simplicity, the simplicity of amusement in campy one-liners, charismatic character dynamics and of course hyperbolic action, the kind only John Woo can create. You are likely to forget it quickly, but The Killer's sense of fun, silliness and rapidity will perhaps, to some degree, leave one satisfied and content by its close.
Centred around a Parisian assassin who refuses to murder a young woman, Zee (Nathalie Emmanuel) must navigate the consequences of her actions, with assassin alliances and police forces alike caught up in her decision to spare this one life. There seems at first glance a serious dilemma here, a conceit where moral ambiguity and human choice are ripe for exploration. The Killer is not interested in these ideas, at least not primarily, but rather the fun ways in which Zee interacts and involves with the various forces around her and how she must traverse their dangerous pursuits in a whirlwind of John Woo action. It is pure, unadulterated fun.
It is of course wholly unremarkable, but one cannot deny its charm. Nathalie Emmanuel begins the film rather plainly, but as the film picks up she becomes playful and seductive, almost iconic from her gleefully inane one-liners and her calm superiority. Alongside her is police investigator Sey (Omar Sy), played amusingly by the wonderful Omar Sy who marries Nathalie Emmanuel's playful and charming performance. They form a persuasive dynamic, foiling one another to reach fulfilling and fun ends, a buddy cop of sorts. They are in fact the film's greatest strength, endlessly satisfying and amusing to watch in action together as their paths cross in ridiculously fun ways.
It is a film that doesn't take itself seriously, and neither should its audience. Abounding with conventional assassination antics, it fails to offer any real artistic or visual flair found in other modern assassin films such as John Wick, that one is reminded of when consuming films of this genre. The action is John Woo to a fault - kinetic, frenzied and outlandish, replete with slow motion, bullet mayhem and flying individuals. Here it is artless, but still purposeful in that John Woo manner; what it lacks in sophisticated artful action it makes up for in heaps of signature John Woo mayhem, and one cannot claim his style here as unaffecting. It is not altogether unwieldy, of course John Woo is at the helm, offering up his signature bonkers action that is equal parts absurd but electrifying.
There are gripes to be found in The Killer, in motivations, in lack of visual splendour, in minimal emotional investment and in its ultimately useless existence that shares nothing profound nor encourages any new relationship with its original. It is utterly unworthy of your time, and yet its breezy pace, silly antics and charming leads will not leave you in a state of total disappointment. Embrace the camp, enjoy the twists and endure the plainness -The Killer may prove to be a surprisingly fun time.
Rating: 5.5/10
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