{"id":953159,"date":"2026-01-01T17:47:19","date_gmt":"2026-01-01T17:47:19","guid":{"rendered":"https:\/\/www.polygon.com\/?p=446226"},"modified":"2026-01-01T17:47:19","modified_gmt":"2026-01-01T17:47:19","slug":"with-a-fresh-reinterpretation-of-the-killer-john-woo-mints-another-action-star","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/with-a-fresh-reinterpretation-of-the-killer-john-woo-mints-another-action-star\/","title":{"rendered":"With a fresh reinterpretation of The Killer, John Woo mints another action star"},"content":{"rendered":"
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<\/figcaption><\/figure>\n

It\u2019s not unheard of for a director to remake one of their most significant works. But it\u2019s rare for it to work out as well as John Woo\u2019s<\/a> remake of his classic hitman action movie<\/a> The Killer<\/em>.<\/p>\n

Michael Haneke famously gave it a go with his shot-for-shot English-language remake of his disturbing 1997 meta slasher Funny Games<\/em>. Olivier Assayas recently remade his 1996 masterpiece Irma Vep <\/em>into an intriguing but largely less successful HBO show. But with Woo\u2019s new version of The Killer<\/em>, released on Peacock in late August, the godfather of the heroic bloodshed genre shows he\u2019s still got it, both as a technical master of the genre and as a minter of new action stars.<\/p>\n

Woo returned to Hollywood<\/a> for the first time in 20 years with his 2023 revenge thriller Silent Night<\/em>, which pits a mute protagonist against a violent gang. While the silent gimmick and the relentless bleakness of the narrative held that movie back from being an all-out success, Woo\u2019s control of action sequences \u2014 how they look, sound, and feel \u2014 remained unparalleled. Even as a die-hard fan of the original The Killer<\/em>, I was excited by the prospect of returning to a more familiar Woo setting with promising new actors in the iconic roles.<\/p>\n

\"John<\/p>\n

As reviewers have been quick to point out, The Killer <\/em>(2024) doesn\u2019t match the Everest-like heights of The Killer <\/em>(1989) \u2014 the original is one of the slickest, most atmospheric movies of all time, and was one of a group of excellent collaborations between Woo and action star Chow Yun-fat that helped elevate both to global stardom. Trying to match the original Killer<\/em> beat for beat like Haneke did with Funny Games <\/em>would be a mistake, even for a master like Woo. Instead, Woo uses the bare bones of the narrative and characters to make a new experience, one that feels like a throwback to his dual-wielding, dove-flapping days of yore \u2014 but with a fresh new spin on the action.<\/p>\n

It\u2019s also nearly <\/em>impossible to watch the original movie. 1989\u2019s The Killer <\/em>isn\u2019t available to digitally rent or stream anywhere; the Criterion Collection\u2019s version is out of print; the last physical copy released in the States was a 2010 DVD on The Weinstein Company\u2019s Dragon Dynasty label. Woo has wanted to release 4K restorations of some of his Hong Kong classics, including The Killer<\/em>, but says he can\u2019t<\/a> because he doesn\u2019t own the licensing rights.<\/p>\n

\"Nathalie<\/p>\n

Like the original movie, this version of The Killer <\/em>follows a contract killer who\u2019s dissatisfied with life. When they accidentally blind a young nightclub singer during a shootout, the chance encounter forges a protective relationship between the killer and the singer, leading to an unlikely alliance between the killer and a police detective. All those notes are the same, but with a new setting in Paris and new faces \u2014 Nathalie Emmanuel (Game of Thrones<\/em>\u2019 Missandei) is the contract killer, now named Zee. Omar Sy (Lupin<\/em>) is the detective, Sey. And Diana Silvers (Space Force<\/em><\/a>) is the young singer, Jenn.<\/p>\n

As you might expect from a John Woo movie, the action sequences are excellent: car chases, shootouts in hospitals, sword fights, hard stunt falls, the whole Woo experience. They feel appropriately dangerous, big in scope for a streaming movie, and like a breath of fresh air after the green-screen-heavy action sequences of many modern blockbusters. In one sequence, a car flips on its side after making contact with another car, then rolls into a motorcyclist who has fallen off their ride in anticipation of the impact. The impact between rolling car and stunt performer is real enough that it made me wonder whether it was a planned part of the shot or a fortuitous roll of the car. But ultimately, it doesn\u2019t matter \u2014 the effect is heart-racing and visceral, and I immediately rewound to watch the stunt again.<\/p>\n

\"Omar<\/p>\n

The shootouts are tense and balletic, with terrific sound design punctuations of gunfire, something that was also a strength in Silent Night<\/em>. The loud bangs play well off the dramatic, moody score from composer Marco Beltrami, which, like the movie, balances romance and excitement with shades of classical orchestration and jazz. And the movie just looks<\/em> great, even though it\u2019s a straight-to-streaming production: The colors pop, the city of Paris buzzes with life, and the way Woo moves his camera to follow and augment the action is unparalleled.<\/p>\n

But perhaps the biggest gift of the new Killer <\/em>is the minting of an action star. Emmanuel shines in previous supporting roles in action-centric universes: Game of Thrones<\/em>, the Fast and Furious movies<\/a>, Army of Thieves<\/em><\/a> \u2014 but with The Killer<\/em>, she finally has the chance to be a full-on action hero. And she makes the most of it.<\/p>\n

The fight choreography employs Emmanuel\u2019s dance background with great success \u2014 Woo has aptly described her movements as \u201celegant<\/a>.\u201d She does a lot of her own stunts in the movie. As she told EW, \u201cThe way that John Woo likes to shoot lends to us doing as much of it as possible because of the way his camera moves. It\u2019s often picking up a lot of things and switching between lots of things, so it has to be quite practical. [\u2026] I love using my body in this way in storytelling.\u201d Seeing Emmanuel perform intense jumps and flips mid-combat, only for the camera to hold on her face so you know she actually did that<\/em> is the kind of exhilarating stuff great action movies are made of.<\/p>\n

\"Nathalie<\/p>\n

The movie\u2019s first extended action sequence involves both gunplay and hand-to-hand combat, as Zee uses swords and pistols to eliminate a group of thugs in a nightclub. She arrives at the club in a chic black get-up \u2014 scarf, fedora, and a long black coat \u2014 feeling more than a bit like a modern version of original The Killer <\/em>influence Alain Delon in Jean-Pierre Melville\u2019s classic Le Samoura\u00ef.<\/em> Zee is immediately drawn by Jenn\u2019s mournful ballad about \u201cliving for today,\u201d which Emmanuel subtly communicates with the slightest movement of her eyes. It\u2019s a brief respite for a character who otherwise constantly scans rooms to plan for intense violence.<\/p>\n

One standout moment in a later sequence sees Emmanuel floating gracefully in the air, dispatching foes with dual-wielded pistols in a deconsecrated church as pigeons and doves fly around her. If that\u2019s not John Woo, I don\u2019t know what is. But Woo isn\u2019t content to just rely on his old staples \u2014 The Killer <\/em>implements judo into the gunplay in a way that feels indebted to the John Wick franchise<\/a>, and the action doesn\u2019t just feel like a rehash of Woo\u2019s greatest hits.<\/p>\n

\"\" \"\" \"\" \"\"<\/figure>\n

Emmanuel excels as Zee beyond the action. The part tasks her with playing many different versions of Zee in her relationships to other characters, and she delivers with layers of expression and emotional subtlety. With her manipulative handler Finn (Sam Worthington), she\u2019s completely closed off and robotic \u2014 a tool to be used for violence. With the singer Jenn, she\u2019s tender and protective, like a gentle lover or a big sister. With Sy\u2019s charming detective, she\u2019s a playful flirt and rival. It\u2019s not an imitation of Chow\u2019s ultra-cool performance in the 1989 movie, but her own spin on the conflicted killer archetype, and the result is a delight. There can never be another Chow Yun-Fat, or another The Killer <\/em>(1989). But The Killer <\/em>(2024) has made it clear: There will also never be another Nathalie Emmanuel.<\/p>\n

Bizarrely, The Killer <\/em>(2024) now makes it three years in a row where a movie called \u201cThe Killer\u201d is one of my favorites of the year, following David Fincher\u2019s offbeat 2023 thriller<\/a> and Choi Jae-hoon\u2019s 2022 action romp. While none of them can hold a candle to John Woo\u2019s original The Killer<\/em>, one of the greatest and coolest films of all time, they\u2019re all still worthy additions to the genre and the title.<\/p>\n

\n

John Woo\u2019s 2024 The Killer<\/em> is now streaming on Peacock.<\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s not unheard of for a director to remake one of their most significant works. But it\u2019s rare for it to work out as well as John Woo\u2019s remake of his classic hitman action movie The Killer. Michael Haneke famously gave it a go with his shot-for-shot English-language remake of his disturbing 1997 meta slasher Funny Games. Olivier Assayas recently remade his 1996 masterpiece Irma Vep into an intriguing but largely less successful HBO show. But with Woo\u2019s new version of The Killer, released on Peacock in late August, the godfather of the heroic bloodshed genre shows he\u2019s still got it, both as a technical master of the genre and as a minter of new action stars. Woo returned to Hollywood for the first time…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":953160,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-953159","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nWith a fresh reinterpretation of The Killer, John Woo mints another action star | Arcader News<\/title>\n<meta name=\"description\" content=\"It\u2019s not unheard of for a director to remake one of their most significant works. 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