While it may have some hiccups as far as character development, "The Killer" is nonetheless an exceptional crime film. Much of that is Woo's tight direction: he does not waste time, giving each moment just enough frames to resonate before moving on. The result is an exciting and emotional film with plenty of action, suspense and some fantastic interplay between Chow Yun-fat and Danny Lee. A remarkable work, indeed.
Aside from 2010's The Man From Nowhere, few films since have acutely synchronized darkly effective, if still clearly, sensationalist emoting with high-octane action. Woo is a master of hyper-stylized, even operatic, action poetry doused in masculinity, with a flippant disregard to hiding boisterous exaggeration and silliness. Melodramatic, ya, but more emotional than most drama, with far greater energy.
Existential angst, melodrama and tragedy. Shootout. Shootout. Foot chase. Sniper attack. Boat Chase. Beach shoot out w/ explosions. Car Chase. Cat and mouse game in hospital. Shootout. Mexican standoff. Foot chase including scaling sides of buildings. Shootout (an arm is completely shot off) and car chase in parking garage. Cat and mouse game in airport. Shootout. Car chase. Shootout. Extended, multi-part shootout.
superbly directed by John Woo, this film had me at the opening scene. the soundtrack, the upper sight of the city, the killer being on his own at a church waiting in the middle of a raining night for his contractor...all those were elements to one of my favorite opening scenes in the history of cinema. a classic action neo-noir of a film and nothing less than that. (also one of the best movies about friendships)
WOO is inspired by MELVILLE's Samourai (Jeff the Killer / Jeff COSTELLO), and uses PECKINPAH and LEONE slow-motion/accelerations. While creating an own kinetic, rhythm & choreography. His art is blossoming === WOO s'inspire du Samourai de MELVILLE (Jeff le Killer / Jeff COSTELLO) et emploie les ralentis/accélérés de PECKINPAH et LEONE. Tout en créant une cinétique, rythme & chorégraphie propre. Son art s'épanouit 3,5
I'm probably alone on this one, but as rich as this film might be in a matter of style and influence, it's so toxically corny I can't even think about it without flinching. The blind singer is the lamest character I've ever seen. I just can't believe that a girl that naive and helpless can exist outside of the puerile mind of a resentful, yet horny manchild.
An absolute masterpiece from John Woo. The greatest synthesis of his preferred themes (outsiders, nobility, redemption, brothers on opposite sides of the law) with that ultra stylish, ultra violent approach to screen action. Drawing on the obvious influences of Peckinpah, Scorsese & Melville, the real innovation was in approaching gun battles with the same stylistic abandon as the sword-fights in old Wuxia films.