Remakes are a common trend in cinema, especially for popular international films. It’s worth considering allowing more filmmakers to adapt their own works for American audiences, just as Michael Haneke’s Funny Games and Dick Maas’ Down have been adapted.
The latest example of this trend is John Woo’s The Killer. Unfortunately, this remake is missing Woo’s original script, and it shows. The Peacock version of The Killer falls short of capturing the magic of the original Hong Kong film, even though Woo’s history of action films starring icons like Chow Yun-fat is well-regarded.
What Is ‘The Killer’ About?
In this 2024 remake, Nathalie Emmanuel takes on the role of Zee, a skilled contract killer with the nickname “Queen of the Dead.” Zee is known for her efficiency in eliminating targets for her handler, Finn (Sam Worthington).
However, her latest job goes awry when she accidentally blinds a lounge singer named Jenn (Diana Silvers). Struggling with guilt, Zee decides not to kill Jenn as instructed but instead takes on the role of her bodyguard.
This decision puts her at odds with dangerous criminals and even the law, represented by Paris’ most astute investigator, Sey (Omar Sy). The shift from being a ruthless assassin to a protective bodyguard brings new challenges for Zee, who finds dealing with her conscience far more complicated than her previous line of work.
Comparisons Between Versions
When comparing the 2024 remake of The Killer to the 1989 original, the updated version does not hold up well. Screenwriters Brian Helgeland, Josh Campbell, and Matt Stuecken have streamlined Woo’s classic, removing much of its original complexity and leaving behind a more sanitized action-thriller.
While Woo’s trademark acrobatic fight choreography is still present, it does not command the same level of attention and excitement as it did in the original.
The new setting in France lacks the distinctive style of the Hong Kong underworld, and the storytelling feels generic. The remake appears to cater to casual streaming viewers rather than offering a fresh and engaging experience.
Action and Choreography
John Woo’s talent for directing action scenes is evident in the new The Killer, though it does not reach the heights of his previous work. The film features impressive choreography, with Zee performing daring feats such as running across church pews and executing high-flying kicks while firing submachine guns.
Woo’s direction includes slow-motion effects that emphasize the impact of the action. While Nathalie Emmanuel and Omar Sy may not match Chow Yun-fat’s iconic status, their performances are commendable, and Woo’s ability to create visually striking and exciting action scenes remains clear.
Emmanuel and Sy’s On-Screen Chemistry
Nathalie Emmanuel’s portrayal of a top hitwoman is a highlight of the film, as she handles action sequences with confidence and skill. Her on-screen chemistry with Omar Sy’s character is one of the film’s strong points, evolving from a competitive rivalry to a more respectful partnership.
Despite their character arcs being relatively conventional, their interactions are more engaging than the less compelling performances by Sam Worthington and Diana Silvers. While Woo’s original film featured more inventive action scenes and vibrant characters, the remake keeps the story straightforward and predictable.
Nostalgia and Disappointment
References to Woo’s 1980s masterpiece in the 2024 remake seem to lack impact. The film adheres to a safe formula, avoiding the risks Woo took in his earlier work. Marco Beltrami’s score attempts to inject energy with jazzy woodwind rhythms, but the visual execution fails to match the musical vibrancy.
Some of Emmanuel’s aerial stunts appear artificially enhanced, and the chase scenes do not achieve their full potential. The remake feels like a missed opportunity, failing to offer anything exceptional or worthwhile beyond its change of subtitles.
The new The Killer represents yet another underwhelming entry in the American remake trend. It struggles to impress both as a remake and as a standalone film. With its predictable storyline and longer runtime, it fails to make a significant impact. The film is now available for streaming on Peacock in the U.S.
