The Killer

It's a decent movie. Great shooting & action scenes. The story/plot could have improvements and could include few more climaxes & twists but still feels ok. Decent acting from lead actors. You can give it a go.

Let me begin by saying that I approached the 2024 remake of "The Killer" With an open mind despite not having seen the 1989 original. I chose to do so to avoid any preconceived comparisons, and I found that this decision enhanced my viewing experience, making it more enjoyable."The Killer" 2024 isn't terrible, but isn't great. The script is highly inconsistent in tone and narrative. At times, it wants to be a revenge thriller and a film noir all blended, but both subjects sadly never come together in the end. The action is decent but feels hollow compared to films like "John Wick," "Sisu," and "Nobody" to name a few. Nathalie Emmanuel tries her best to elevate the material given (and she's excellent); her character, however, is inconsistent in her motivations - especially when she makes a life-changing decision later in the film. This decision feels weird, and the sacrifice she makes feels unearned. Omar Sy is fun and charming, Diana Silvers and Sam Worthington are fine, but their roles are so underdeveloped any actor could have played them. Not to mention, Sam Worthington has a terrible Irish accent that breaks consistently. Earlier this year, he also had a British accent in the Kevin Hart ensemble "Lift" - another movie dud. Ultimately, I would recommend this film to those who appreciate the work of John Woo. If you like his unique style and want to complete your collection, this 2024 version of "The Killer" is a decent addition.

John Woo is inextricably connected to my teenager years where he directed his action masterpiece Face/Off, probably making him the hottest Hollywood-director at the time. His fame arguably lasted until about 2002 with Windtalkers; then I lost track. Until now with his new film The Killer. The story doesn't break any new ground: a hitman (woman in this case) grows a conscience and the local mob boss doesn't like it. Furthermore, the thin storyline is not being helped by the mediocre acting of the French actors. It's an interesting blend though: American and French in Paris, but the marriage could have worked a lot better if more effort went into it. What follows is a very predictable course of (quite unrealistic) events that does not deviate for the slightest bit from the genre formula. Strange as it may sound, I still enjoyed the film because Woo still does what he does best: choreographing action sequences. They are such a joy to watch, and I say that as someone who does not like action sequences at all: I usually find them boring as hell. But boy, how Woo does them, it's still great, even if it's basically a repetition of the sequences in Face/Off and Mission Impossible II (which he also directed). I was surprised to see he still uses doves, which made me both eyeroll - is he really still doing that? - ánd smile: what a great nostalgic flashback! Worthington is probably the best as hard-boiled Irish right hand of a mob boss. Again, nothing new, but he's a top actor and does what is needed. I'm less convinced about Nathalie Emmanuel, not that she's bad but she seems like a strange cast for the role as killer. Omar Sy as cop however is a major let-down: at times he seems to fall out of his role completely, as if the director forgot to shout 'Cut!'. All in all this is not a great movie, but if you like John Woo's style and you're a fan of his earlier work, you might enjoy it just for that reason. I know I did.

O "The Killer" do Fincher dá a um o protagonismo e a independência necessários para tocar o roteiro sem questionar o protagonismo de seu personagem. Aqui, as mulheres parecem estar a todo hora sob olhar vigilante masculino, como outsiders pelo gênero. Sem qualquer trato com o personagem, o resultado é muito frio, ainda que o roteiro dê tiros e derrame muito sangue de forma bem crua.

Just watch his original "The Killer' Masterpiece... it's has timeless brilliance