WFG RATING: B

Universal Pictures presents a Better Tomorrow Films/Taewon Films production in association with eOne. Directed by John Woo. Produced by John Woo, Lori Tilkin deFelice, Charles Roven, and Alex Gartner. Written by Brian Helgeland, Josh Campbell, and Matt Steucken; based on the 1989 film written and directed by John Woo. Cinematography by Mauro Fiore. Edited by Zach Staenberg.

Stars Nathalie Emmanuel, Omar Sy, Sam Worthington, Diana Silvers, Eric Cantona, Tcheky Karyo, Angeles Woo, and Aurelia Agel. 

John Woo’s reimagining of his classic 1989 film may not live up to it, but it is actually good in its own way thanks to the performances of its two leads. 

Zee is a woman in Paris who has a reputation for her career as an assassin. She is known in some circles as the “Queen of the Dead”. When her handler Finn gives her a major assignment to take down a major crime figure but is given strict orders. No one is to leave the room alive. Using a sword, Zee wipes out the entire crew. However, when she discovers a local singer, Jenn, is in the crossfire and hits her head, Zee learns Jenn has been blinded and she decides to let her live. 

Meanwhile, the aftermath has attracted the attention of local detective Sey, who had taken down a local drug dealer, Coco, who is connected to Zee’s hit. When Sey learns that Zee has taken  Jenn as a means to help her, he is convinced she is not all she seems to be. However, when a cache of 350 million dollars worth of heroin arrives, it is seen missing and Sey is framed by dirty cops working for local crime boss Gobert, Zee’s boss. When Zee and Sey find themselves with a common enemy, they find themselves working together to protect Jenn and put an end to the terror. 

Upon hearing the news that John Woo would be remaking his own classic film, people were up in arms, asking why. Reactions mainly involved a cash grab. The truth is that Woo likes to do reimaginings of his films when he has a chance. He did it with Once a Thief, remaking his original 1991 film into a 1997 U.S. made-for-TV film and adding a few twists and turns. For this reimagining of one of his greatest modern day classics, he gender reverses the titular “killer” and shows his love and inspiration in Jean-Pierre Melville while showing some of his trademarks.

Originally to have been played by Lupita Nyogo’o, the role ultimately is played by Fast and Furious franchise star Nathalie Emmanuel, who actually does a pretty good job as Zee. She has a knack for attempting to do crosswords in between jobs and makes an occasional visit to a local dressmaker, Tessier, played by Kiss of the Dragon villain Tcheky Karyo. Tessier serves as a spiritual mentor to Zee where Sam Worthington is excellent as Finn, Zee’s handler, who at times seems more creepier than Kenneth Tsang’s role in the original. 

Omar Sy is also pretty good as Sey, the detective who is introduced going after a local drug dealer and forced to shoot him when he takes a little kid hostage after a chase. In terms of some of his fellow policemen, when he is reamed out for doing his job, it’s clear that there is corruption involved and he intends to put an end to it. One thing that is dragged out is his meeting Zee for the first time, which comes over an hour into its 125-minute runtime. However, their interrogation scene shows the eventual chemistry that may not match that of Chow Yun-Fat and Danny Lee. However, this scene does show they have a good chemistry of their own.

Diana Silvers’ performance as blind singer Jenn is a bit mixed. There are times when she shows good emotion but other times, she seems a bit stiff like a board. Former soccer legend turned actor Eric Cantona is aces as Gobert, the crime boss who Zee works for as he brings charm to the role when it comes to his interactions with Finn and Sey. However, there are two standouts who must be mentioned. They come in the form of Angeles Woo (the director’s daughter) and Aurelia Agel as two highly trained assassins hired to take out our duo. 

The action scenes are what one would expect of Woo. There are shades of slow-motion impact and even Woo’s trademark brand of visuals including doves stand out here. The finale pays homage not only to the 1989 classic but adds elements of one of Woo’s other instant classics, Hard Boiled that all culminates in one of the most beautiful and symbolic shots Woo may have used in any of his films. 

The Killer 2024 will not live up to the 1989 classic, but that’s okay as Woo reimagines it as a meshing of his trademark Hong Kong balletic style with the likes of Melville. Nathalie Emmanuel and Omar Sy have a different style of chemistry than Chow and Lee, but stands holds up well with some pretty good action meshing bullet ballet and martial arts. 

You can see the film now on Peacock.