The Killer (2024) is an audacious remake of John Woo's cult film, directed by the Hong Kong master of the genre. In this new version, the cast is marked by the presence ofOmar Sy, who plays an obstinate policeman in pursuit of a hitwoman, played with intensity by Nathalie Emmanuel. The film is set in a stylized Paris, offering superb panoramas of the city, while depicting a complex relationship between the two protagonists, without any romantic touches - a judicious choice in keeping with contemporary sensibilities.
The Killer will open in cinemas on October 23, 2024.
Synopsis: During the execution of his last contract, a hitman causes the blindness of a young singer. To raise the money needed for her operation, he accepts a new contract.
It has to be said that this film, while seeking to follow in the footsteps of the original, takes a different approach. The decision to place a female hitwoman at the center of the story is a refreshing choice, giving the plot a topical touch and developing an emotional dynamic around the figure of the lost sister. One of the film's successes lies in this narrative subtlety, which avoids the trap of forced romance and focuses instead on the fragility and humanity of its characters.
Omar Sy stands out in this role of inspector, delivering a physically intense performance that anchors the action in brutal reality. Although his character may lack psychological depth at times, he manages to breathe authenticity into the most dynamic scenes. The film particularly shines in its action scenes, which, though more classic than those in the 1989 film, remain spectacular and well orchestrated. John Woo, famous for his choreographed gunfights, offers here clean, technically solid shootouts, even if they don't reach the original's level of visual virtuosity.
Where the film struggles, however, is in its ability to stand out as a work in its own right. Comparisons with the original are inevitable, and for viewers with an attachment to 1989's The Killer, this remake may seem to lack the same symbolic power. The absence of the romantic and emotional tension that characterized the first film makes for a colder, more detached work, despite a few flashes of humanity. The relationships between the main characters, though effectively interpreted, fail to generate the real chemistry that could take the film to the next level.
Paradoxically, in 2024, we appreciate all the more that there is no romance, even in the form of LGBT subtext, between the main characters. This choice reinforces the deeper, fraternal relationship between the hitwoman and the innocent young singer she's trying to protect, as the latter reminds her of her own sister, who tragically disappeared. In a cinematic landscape where directors often seem intent on inserting elements of sexuality or romance where they're not needed, it's refreshing to see a film that focuses on sincere emotional bonds without resorting to such artifice. This reflects a desire to get back to basics: a plot centered on human dynamics, without forcing a romantic dimension that audiences don't necessarily expect. This narrative sobriety is all the more appreciable as it allows the viewer to focus on the characters' personal issues, making the story more touching and authentic.
Visually, Paris is beautifully staged. The film uses its iconic locations to add a strong visual cachet, as a tribute to the City of Light. Sequences in iconic locations provide a sublime backdrop for chases and shootouts, reinforcing an urban atmosphere that's both familiar and cinematic. But despite this sumptuous backdrop, the film's direction lacks a certain daring. John Woo, who once defined the genre, seems content here to settle for efficiency without rediscovering the inventiveness that was his signature.
The Killer version 2024 is a solid action film that fits in well with the current cinematic landscape, but struggles to match the impact of its predecessor. Blockbuster fans will appreciate its breathless sequences and fast pace, while purists may regret the lack of depth and originality. Omar Sy and Nathalie Emmanuel deliver strong performances that, without transcending the work, bring it to a satisfying conclusion. As for the modern touch of a female hitwoman and the absence of romance, it lends the film a certain freshness that, for some, will make it more attractive than its model.
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