Nearly three decades after The Killer’s release, Hollywood studios finally circled back to tackle a remake of John Woo’s 1989 action classic. After numerous directors and stars were considered for the project, it turns out that Woo himself was the only one able to bring the vision to life. However, despite his track record, Woo’s recent cinematic efforts have not been as well-received as his earlier works. His latest Hollywood endeavor, Silent Night, failed to impress audiences with its dialogue-free action gimmick, and now his second take on The Killer is facing similar criticism for lacking panache and heart.
The revamped version of The Killer follows the story of Zee, a skilled assassin portrayed by Nathalie Emmanuel, and Sey, a rule-bending Paris detective played by Omar Sy. While the remake retains some key elements from the original, such as the accidental blinding of a club singer, the new script fails to deliver the same emotional depth and complexity as Woo’s original masterpiece. Zee’s internal struggles and moral dilemmas are glossed over, leaving Emmanuel to do her best with a character lacking a strong backstory or motivation.
While several gender-bent versions of The Killer were considered during development, Emmanuel and Sy ultimately take on the lead roles. Emmanuel shines as Zee, bringing a sense of loneliness and style to the character, while Sy injects charm into Sey’s fiery detective persona. However, the lack of meaningful relationships and dynamics between the characters detracts from the overall impact of the film.
Without the homoerotic tension between the original characters, Emmanuel and Sy struggle to establish a compelling dynamic on screen. The lack of chemistry and tension undermines the potential for a gripping narrative, reducing the film to a series of empty exchanges and action sequences. Despite some smooth exposition through split-screen flashbacks, The Killer fails to capture the energy and momentum of its predecessor.
Even without comparing it to the original, this remake falls short as a streaming action flick. The odd visual choices, including a murky Parisian filter, detract from the stylized moments in the film, while the action sequences lack the intensity and excitement needed to engage the audience. Emmanuel’s slick choreography is overshadowed by a lackluster execution that fails to deliver the expected thrill.
John Woo’s attempt to revive The Killer falls short of its potential, lacking the depth and impact of his earlier works. While his past films like Face/Off and Mission: Impossible 2 pushed the boundaries of American action cinema, this latest remake feels like a hollow imitation of Woo’s former self. The iconic elements that once defined Woo’s style, such as the church setting with doves, now come across as mere visual tropes without the underlying thematic weight.