‘The Killer’ Review: John Woo’s Remake Delivers Low-Stakes Fun

After years of Hollywood borrowing from Hong Kong filmmaker John Woo’s action-movie style, it seems only fair that Woo gets a chance to showcase his talent once again in an English-language remake of his seminal 1989 film, The Killer. The idea has been circulating Hollywood for years, and now, it finally comes to life as a cross-cultural experiment. American writers Josh Campbell, Matt Stuecken, and Brian Helgeland have adapted Woo’s original screenplay, shifting its setting to Paris and featuring a diverse cast of characters from various backgrounds such as English, Irish, French, and American. The project is handed back to Woo for his reinterpretation, though it’s released exclusively on streaming platforms, lacking the big-screen grandeur of Woo’s earlier works.

In the original The Killer, Chow Yun-fat portrays a highly skilled assassin who protects a young singer blinded by crossfire during one of his jobs. The assassin subsequently bonds with a local cop while evading other underworld figures. The remake retains this basic setup but with significant alterations. Nathalie Emmanuel plays Zee, who protects Jenn, a blinded singer portrayed by Diana Silvers. Eventually, Zee teams up with local cop Sey, played by Omar Sy. While the plot remains similar, Jenn is now a more direct target due to drug trade conflicts, and the gender of the assassin has been switched from male to female, inevitably sparking debates among some fans.

Despite the hype, the gender flip is handled cautiously, ultimately sidestepping any potential romantic tension between Zee and Jenn. In Woo’s original film, the assassin and the singer share a romantic connection, and many viewers have interpreted there to be a homoerotic bond between the assassin and the cop. However, the new movie mostly overlooks these dynamics. Instead, it opts for a less romantic and operatic approach, shifting its focus more towards the vibrant aesthetics of Parisian destruction. It feels like Woo is reclaiming his style, akin to the late-2000s EuropaCorp era dominated by Luc Besson.

On these terms, the 2024 version of The Killer works well. It’s not going to replace the 1989 film in anyone’s memory, except perhaps for the families of the cast members. Emmanuel, likely familiar to audiences from the later Fast & Furious movies, makes a striking impression and delivers a nuanced performance as a killer with a moral code. Silvers brings a sweet and unaffected screen presence, while Omar Sy is charming as the adversary-turned-ally.

However, the real star is undoubtedly John Woo. Even after years, Woo’s ability to stage inventive mayhem is unparalleled. His previous English-language endeavor, Silent Night (2023), also marked his return to Hollywood after a long hiatus. Silent Night, with its dialogue-free, holiday-themed revenge plot, had plenty of classic Woo melodrama, although it was weighed down by thin character development. In contrast, The Killer feels lighter and more experimental, exploring scenarios like assassinations using a samurai sword or incorporating numerous motorcycle stunts. It’s laden with familiar Woo trademarks like slow motion sequences and symbolic doves.

Indeed, the film leans into the idea of Woo’s movies as action ballets, accentuated by playful elements such as colorful Post-its flying through the air during a hospital hallway shootout. Zee’s decision to protect Jenn, arguably resulting in more casualties than if she had ignored the situation, embodies classic action-movie conundrums. This iteration lacks the existential angst of the original, and Woo seems to be self-imitating in ways reminiscent of contemporary sources like the John Wick series and other neon-drenched, gun-toting adventures available on streaming services. There’s no urgent need for a new version of The Killer, but it offers a delightful spectacle of John Woo enjoying his craft once more.