Action icon John Woo interprets The Killerhis seminal 1989 masterpiece for modern audiences, with decidedly mixed results. The action shifts the setting from Hong Kong to Paris, with Nathalie Emmanuel playing the role that immortalized Chow Yun-fat as a genre legend. That in itself shouldn’t be controversial, except for the legion of misogynistic haters who throw a tantrum every time a woman follows in the footsteps of something a man has done before. Emmanuel is good here, and is not the film’s main problem. The fault lies in the lack of creativity in the plot. The Killer meets all the stylistic requirements of die-hard enthusiasts, but offers nothing we haven’t seen before.

Breaking Good: The murderer and her conscience

Zee (Emmanuel) meets her handler in an abandoned church. Woo’s obligatory pigeons circle the dusty stained glass windows while Finn (Sam Worthington) gives his deadliest assassin her latest assignment. Finn stresses that no one in the room can be left alive. Zee asks urgently if they deserve to die. Finn calms her doubts with a simple answer. There is no innocent victim to be executed.

That night, a disguised Zee enters the exclusive VIP room of a nightclub. She is thoroughly searched, but no weapons are found. The sleazy gangsters eye her hungrily while an equally beautiful young woman (Diana Silvers) sings on stage. The villains change their minds when Zee pulls a sword from her dress. She rips apart anyone who gets in her way in a mesmerizing ballet of carnage.

Watch our interview with “The Killer” stars Omar Sy and Nathalie Emmanuel:

The terrified singer screams as she falls back against the stage. Zee hovers over her to deliver the coup de grace, but stops in a rare act of mercy. The impact has left the singer blind, unable to see the infamous “Queen of the Dead.”

Fans of the original will recognize this critical moment. It changes Zee’s fate in a way she could never have predicted. She has no idea of ​​the hell that will break loose when she spares the frightened girl. Finn and his powerful master cannot afford to leave any loose ends. The singer’s cheating of death has wider consequences. Zee must decide whether to finish the job or risk becoming the most wanted woman in Paris. Police inspector Sey (Omar Sy) and his partner (Grégory Montel) are already searching for the “killer” who destroyed the club.

The cool Nathalie Emmanuel and Omar Sy have great chemistry

Let’s start with the good things that work. Emmanuel does well in a very physical role. She’s not just the badass two-gunner who turns her enemies into bullet-riddled corpses. Zee is an expert in hand-to-hand combat and anything that can be used as a weapon. She can cut out your kidney with a spoon if necessary. Law enforcement knows the “Queen of the Dead” exists, but has no concrete evidence of her identity. She’s a master of disguise, able to effortlessly sneak into any situation incognito.

Sey is a capable first opponent who tries to unmask the legendary murderer. Their cat-and-mouse game has a lot of humor and an almost playful chemistry. Sey realizes that the murders in the club are just the tip of the iceberg. The real masterminds must also be found. The blind singer is the only viable lead, but what does she really know? Why did the killer let her live? That must mean she’s not entirely ruthless. The relationship between Zee and Sey captures a similar dynamic to that in the 1989 film between Chow and Danny Lee’s Detective Ying.

The pace falls apart and the villain is generic

The Killer goes down the drain with a “been there, done that” approach. Woo’s trademark action is all there. It’s just too familiar, despite the shiny new setting and characters. To be clear, There is no shortage of action. The morgue is full of corpses created by Zee and Sey. But this is not different in any other film with a similar plot. There is not a single action scene that does something new, exciting and different. Woo sticks to his guns even when audiences expect something bigger and bolder. This is a pretty big disappointment and should not be underestimated.

The Killer slows to a crawl in a laborious second act with a completely unnecessary flashback. Hit snooze here. The pacing is further compromised by scenes where she builds camaraderie with the singer. This worked better in the source material because Chow and Sally Yeh’s Jennie fall in love while on the run. Their romance is essential to that film’s success. That route is not taken in the reboot, and a crucial part of the story is missing.

Sam Worthington is a great actor. He has done a great job in the greatest films of all time. That is definitely not the case with Finn, an obvious and common villain that feels as menacing as a butterfly. What is believable in Zee and Sey is completely lacking in Finn. Even his nickname for her, with a strained Irish accent, seems silly and contrived. Finn is a weak antagonist who should have been dramatically tougher.

The killer is good enough (if you forget the context)

The Killer will disappoint if you compare it line for line with one of the best action films of all time. John Woo is also one of the best action directors, and this film does not deserve his name. So no, Woo does not hit the jackpot again, nor does he hit the jackpot completely. Skepticism and comparisons spoil the experience. It’s difficult, but this film must be viewed through an objective and dispassionate lens. Then you can enjoy it as a pretty good action film with charming leading actors.

The Killer is a production of Universal Pictures, A Better Tomorrow Films and Atlas Entertainment. It premieres exclusively on Peacock on August 23. You can watch the film via the link below.

Watch The Killer