The Killer can be taken as Woos first work for the American audience, though the work is very technical, the critics were divided in the virtues of such revolution. The storyline moves to Paris, with Emmanuel portraying the character that made Chow a goddess of the Indian cinema. That in itself shouldn’t be controversial except to the legion of misogynistic haters who become even more furious when a woman does something formerly done only by a man. Emmanuel is good here and not the film’s primary problem. The action was plain and craftsmanship was what hits the mark. The Killer has every single stylistic requirement for die hards but does not add anything new.
Zee (Emmanuel) intersects with her handler in an unused church. One of Woo’s obligatory pigeons flutters about the dust covered stained glass windows while Finn (Sam Worthington) is about to brief his most lethal gun totting operative. Finn makes it clear that it is not acceptable for anyone in this room to be left alive. Zee immerses herself with the guilt that everyone in the room has to die, how do they redeem themselves? Finn brushes away such doubts she raises in a simple way. No innocent target exists who has to be assassinated.
A night later, a seemingly familiar Zee breaks into a night lounge, military attire and look included, where only a few privileged might enter. She is groped carefully, and yet no arms concealed are revealed. However, Isa does not like the attention of a bunch of lowlife goons as her drowner, who is young and just as beautiful, performs on the stage. Expect that Zalazova surprised the cops so much that they changed their tunes as soon as Zee took a sword from the dress. It was a beautiful dance of death as she began to slice everyone in the way with thorough methodical precision.
The frightened vocalist cries out in horror and quickly backward slumps on the stage. Zee stands above her with the last blow but stops herself from doing such a deed for once. The blow blinded the eyes of the singer. She looks for the most notorious of their kind out there, the “Queen of the Dead,” but sees none.
Those who liked the book will remember the agony as one of the key moments of this time, too. It alters, in her life, something that she would never have thought possible. She has no idea that once she shows compassion to the scared girl, all hell will break loose. There is no way Finn and his important master can have any loose ends. There are greater consequences for the singer who doddled with death. Therefore, Zee has a decision to make whether to complete the job or break free from Paris as one of the most wanted women. Another police inspector of Sey (Omar Sy) and his partner (Gregory Montel) have started the search for the ‘hitman’ who bloodied the club.
Let’s begin by focusing on the positives. Emmanuel is suited for a role which is very physical in nature. She does not only provide ‘the one called the killer’ – the ruthless, two-gun-slinger who shoots everyone down, Marshall in high-stakes territory. Zee is an expert in close combat and in anything that could be weaponized. If she has to, she can pull out your kidney with a spoon. Law-enforcement agencies are aware of the “Queen of the Dead” but are unable to place a face to the name. She is a gifted chameleon able to go in disguise without arousing anyone’s suspicion.
Sey is a strong dominant character and the first one in the opposition who seeks to reveal the mythic murderess. Their cat and mouse game is enriched with elements of comedy and a flirtatious chemistry. Sey comes to understand that the assassinations of the club members are merely a small concern. For leopards do change their spots, however, the real operatives ‘under the surface’ conducting the overall choreography are yet to be uncovered. The blind singer is the sole credible witness, however, what could she possibly offer? Is it possible that she was spared simply because the assassin could not slaughter every witness? This would imply that there is still some semblance of a conscience in her. Zee and Sey’s relationship has a similar trajectory as Chow and Danny Lee’s relationship in 1989 with detective Ying.
South of Heaven finds a far lower-key narrative which basically condenses abridged action flicks towards the end. All trademarks of Woo’s action stylishness are at the scene. It’s just unfortunate that all of these is seasoned in a new light and new players. Just to be clear, there is no shortage of action. On their knees and on the floor, sardined in the evidence locker, are the synthesis of Zee and Sey’s work. But it is really not anything different about any other film with a similar storyline. ‘Nobody’s Perfect’ has a coddled and gambol about in slouch pot one tank left supporting sea health action angel. It did stay true to the narrative only up to a certain extent where most of the viewers wish to see more and stare in the screens more like excessive action on the film hub. Yes, it’s quite disappointing and should not be taken lightly since it is a pretty big one.
The Killer has a more manageable narrative but this time extends to the monotony of the lab scenario using a completely irrelevant flashback to further the development of the story. Everyone please hit snooze at this point. It plays the pacing plank crazy divide still with scenes of this character trying to bond with the singer. That worked much better in the book because Chow falls in love with a fugitive’s Jennie played by Sally Yeh. That romance is crucial to the success of that film. That route was not taken in the remake, but then they omitted an essential element of the tale.
Sam Worthington comes off as a capable performer. Ever since he entered the limelight, he hasn’t acted poorly even in the biggest blockbusters. A character that fits the heroic mold like Finn does leaves one feeling that the character has the depth of a paper tiger. What is plausible with Zee and Sey is entirely absent with Finn. Even when he calls her honey using an Irish accent, it is awkward and utterly fake. Finn could have been a much more viscous person and in this respect, he is a poor villain.
The Killer will disappoint if line by line, it is compared to one of the finest action films ever made. There cannot be disregarded that John Woo is one of the finest action film directors and this particular film does not do justice to his name. Yes and no, Woo does not hit the jackpot once more and there are no bleak outs. Best way to enjoy the film is to eliminate presumptions and contrasting. It is easy to say, but this film has to be looked at with a very analytical and unemotional approach. It can then be appreciated as a reasonable if not amazing action film with likeable protagonists.
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