supercygnus

Where the original was a bombastic melodrama of violence and honor, this update is a distinctly European ballet of bloodshed and redemption. It owes as much to Woo's own films as it does those of Luc Besson. This version is elegant with a feminine touch. It's a battle of the sexes, with a parade of brutish men (good and bad) rampaging through Paris and a sleek female assassin killing by a moral code.

This Killer is given more motivation and backstory than her predecessor in the original film and we understand what kind of person she is and what motivates her. Woo's signature style and meticulously choreographed set pieces remain impressive but what both hurts and helps the film is the lack of grit. Woo's characters are near indestructible in his Hong Kong films, riddled with bullet holes before succumbing. Instead of thematic masculine power, there is agility and grace from our heroine. Yet it's all too clean and talky which defuses a the desperation that made the original pulse pounding.

That is not to say it isn't entertaining. There's a banter between the cop and the killer that is a game of chess rather than the borderline testosterone bond of rye original. There's a distinct French style which is fitting considering Woo's original The Killer was heavily influenced by the French classic Le Samourai. The acting is universally strong, there is more story and interesting twists than the original and the action (although there should be more of it) is very good. Finally the conclusion is far more satisfying. The finale is good but no where at the level of Woo's fantastic original film's finale but the final moments of epilogue is less oppressive. Or maybe the two different styles just required different resolutions.

It's a very cool movie but with less urgency than its predecessor. It has new twists and turns and is a very French thriller rather than a Hong Kong one. Don't dismiss it. Woo proves he still has much to offer and even this far into his career is open to attempting new tricks.

Not a single likable character. Gillis's attempt at smarmy charm in the style of Kurt Russell in Used Cars (albeit more low key) or Bill Murray in a lot of his 1980s output, comes off creepy and repellent. There is no real reason to root for any of these people, or even want to spend any time watching them. If you have a fondness for dude bro low bar low brow sarcasm, insisting that some punchlines are funny by simply having people repeatedly yell them, bullies you're supposed to cheer on as they mock thinly manufactured non characters propped up just to be made fun of in very forced and inorganic conversations, then this is the series for you. If you want to see morally questionable characters that charm you into liking them as they pursue dubious quests and goals do yourself a favor and watch Stripes, Meatballs, Caddyshack and Used Cars. Those are still very funny and politically incorrect (without the goal of trying to be politically incorrect) and will continue to be remembered as classic "slob" comedies for a years to come, whereas this is best forgotten or skipped entirely.