The Killer Review: Remakes are an integral part of the film industry, particularly for successful international movies. This raises a thought: why not have more directors recreate their own films for American audiences, similar to how Michael Haneke approached Funny Games or Dick Maas with Down? John Woo’s The Killer is the latest example of this trend, though the screenplay isn’t by Woo, and that’s evident. This remake joins the ranks of U.S. adaptations that fall short of capturing the original international film’s spirit. Peacock’s The Killer struggles to measure up to the celebrated Hong Kong original, even though it doesn’t trivialize Woo’s iconic action scenes made famous by stars like Chow Yun-fat.
The Killer (2024)
Rating: R
Genre: Action
Synopsis: The Killer centers on Zee, a feared Parisian assassin who defies her orders by sparing the life of a blind girl. This act of mercy ignites a deadly conflict with other hitmen and draws the attention of a relentless police investigator.
Release Date: August 23, 2024
Director: John Woo
Cast: Nathalie Emmanuel, Sam Worthington, Omar Sy, Diana Silvers, Saïd Taghmaoui, Hugo Diego Garcia, Aurélia Agel, Grégory Montel
Main Genre: Action
Writers: Josh Campbell, Brian Helgeland, Matt Stuecken
What Is The Killer About?
Nathalie Emmanuel takes the lead in Woo’s gender-swapped remake as Zee, a contract killer notorious as the “Queen of the Dead.” Her flawless record as an assassin working for Finn (Sam Worthington) falters when she accidentally blinds a lounge singer during a mission. Ordered to eliminate this loose end, Zee’s guilt stops her from killing Jenn (Diana Silvers), choosing instead to protect her. Now, instead of being a hunter, Zee becomes Jenn’s guardian, defending her from ruthless criminals and determined law enforcement, including Paris’ top investigator, Sey (Omar Sy). Taking lives for money was straightforward for Zee, but grappling with a conscience is a different challenge altogether.
Comparing the 1989 original The Killer with its 2024 remake does not favor the latter. Screenwriters Brian Helgeland, Josh Campbell, and Matt Stuecken have stripped away much of the original’s complexity, leaving a more sanitized action-thriller. While Woo’s trademark acrobatic fight scenes return, they don’t achieve the same thrilling impact. The portrayal of France’s criminal underworld is elegant on the surface but lacks depth. Peacock’s version of The Killer follows familiar action tropes, with softened storytelling designed to appeal to a broader streaming audience.
Fortunately, Woo’s directorial skills far exceed those of many American action filmmakers, who often struggle with basic shoot-and-point techniques. The choreography in The Killer defies gravity, with Zee sprinting across rounded church pews or locking her legs around an opponent’s neck, preparing to execute a “Hurricanrana,” all while firing submachine guns. Woo choreographs the action with a balletic quality, capturing slow-motion collisions against staircases to emphasize the impact. Although Emmanuel and Sy may not match Chow Yun-fat’s iconic presence, their performances are strong, and Woo’s talent for staging visually compelling action scenes remains evident, complete with doves.
Nathalie Emmanuel and Omar Sy Have Strong Chemistry in The Killer
Nathalie Emmanuel, Omar Sy, and John Woo share a smile and conversation on the set of The Killer. Image via Peacock.
Emmanuel shines as a top-tier assassin, executing her targets with ease. Her on-screen chemistry with Sy, who plays a police officer, adds a playful tension that eventually turns into a more collaborative relationship. This dynamic works well as a professional partnership between two characters from opposing sides. While their character arcs may not break new ground, they are more engaging than the bland mentor-boss portrayed by Worthington or the helpless damsel in distress played by Silvers. Woo’s original film featured more creative confrontations and had a stronger sense of personality, whereas the 2024 version offers flatter character development with little variation. The narrative follows a straight path from beginning to end, with predictable twists visible well in advance.
References to Woo’s 1980s masterpiece come across as mere nostalgia. Where Woo once took risks, this year’s The Killer plays it safe and sticks to the script. Marco Beltrami’s standout score tries to inject energy with jazzy woodwind melodies, but the visuals fail to match the music’s lively spirit. Some of Emmanuel’s aerial stunts look like obvious wire work, and the chase scenes lack the necessary speed to be thrilling. There’s nothing particularly remarkable about Woo’s second attempt, which makes one question the purpose of this diluted remake, especially when subtitles aren’t even a factor (since the Parisian characters still speak French). The film moves forward in a routine manner, far removed from the chaotic brilliance of Woo’s original.
The Killer is another disappointment in the American remake genre. It epitomizes mediocrity, though Emmanuel’s performance is not to blame. The story has been simplified to remove any complexity, yet the 2024 version has a longer runtime—an odd choice. Woo’s previous action film, Silent Night, took more creative risks, while The Killer teeters between “mediocre” and “forgettable.” It’s more than just a failed remake—it’s a disappointment as a standalone film as well.
