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John Woo’s The Killer (2024) Is No John Woo’s The Killer (1989)
The director’s American remake of his own film skips the florid romanticism and mythmaking, opting instead for a breezy modesty. It’s enormous fun.
This new, half-gender-flipped version of The Killer, set in France and starring Nathalie Emmanuel as the expert assassin and Omar Sy as the cop obsessively pursuing her, has roughly the same plot outline as the original but a totally different mood. When she offs an entire nightclub full of goons, she does so with a carbon-fiber samurai sword hidden in pieces inside her skin-tight black dress, which she assembles while gyrating seductively on the dance floor with a man she’s about to split open. He films Sy from low angles to maximize the six-foot-three actor’s size, but he also captures the slightly bemused expression on the performer’s face, as if Sey is enjoying Zee’s ability to constantly get away from him.
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