CRITIQUE – John Woo himself signs the remake of his Hong Kong thriller, transposed into a postcard Paris with Omar Sy who fights like hell.
Others before John Woo have tried their hand at self-remake. Alfred Hitchcock (The Man Who Knew Too Much), Michael Haneke (Funny Games) or Jean-Marie Poiré (Visitors) For example. These foreign filmmakers, European in this case, then take the opportunity to film in the United States, the country of the dream factory which sometimes turns into nightmares.
Woo, him, transpose The Killer from Hong Kong to Paris. He already knows Hollywood. His Chinese thrillers (The Crime Syndicate, The Killer, A bullet in the head, Foolproof) served as his passport to America in the early 1990s, when action cinema was looking for a second wind. Manhunt, Broken Arrow, Times/Faceand later the second part of Mission Impossible (2002), establish Woo as a director who matters.
The Killer was not distributed in France until 1995, well after its release in Hong Kong. We discover him a little late but his mastery of space, his nervous, operatic, baroque style, made of tracking shots…
This article is reserved for subscribers. You have 66% left to discover.
Do you want to read more?
Unlock all items immediately. No commitment.
Already subscribed? Log in
France
