The Killer(1989)

drqshadow

6/10

Writer / director John Woo essentially invented a sub-genre with the string of hits he released in the late ‘80s and early ‘90s. Later dubbed “heroic bloodshed” films, their plots typically place a conscientious anti-hero in conflict with his superiors, pitting loyalty against a private code of honor. Essentially pure and simple action movies with an added dash of self-reflection and a jaw-dropping capacity for ammunition. This one, sandwiched in the middle of a six-year collaboration with star Chow Yun-Fat, would become the pair’s international breakthrough. In _The Killer_’s setup, Woo pays tribute to a personal influence. Calmly infiltrating a busy night club to fulfill a contract, Yun-Fat slays the manager and fatefully encounters a beautiful lounge singer, just like in Jean-Pierre Melville’s fashion-conscious 1967 gangster film, _Le Samouraï_. The similarities end there. In the ensuing firefight, the girl is inadvertently blinded and the killer has an epiphany, casting aside his career to atone for the collateral damage. At first, he’s tracked by a persistent undercover officer, but the two soon develop a sense of mutual respect and unite against a common enemy. Though the intention may have been for an even split between fierce, kinetic violence and soul-searching contemplation, only the former aspects are worth mentioning. Bad dialogue, ham-fisted delivery and a clunky, low-rate production may spoil the film’s deeper aspirations, but hey, at least the fight scenes are lights out. Easy to see how the title character, and this film, has influenced action cinema for decades to come: he’s John Wick, twenty-five years ahead of the curve. Yun-Fat is perfect in that role, always the coolest guy in the room and a fluid natural with pistols and rifles of all sizes. That said, the constant gunplay can grow tiresome, especially during the jumbo-sized final shootout, and the main characters’ plot armor is outrageously thick. A fun ride, if perhaps a bit shallow. Remember to wear ear protection.

Jordyep

4/10

You can instantly recognize the same spirit as the _John Wick_ movies in this, some very cool use of dramatic lighting and inventive set pieces. I just wish John Woo had a better sense of taste when it comes to acting, dialogue and particularly editing. I'm glad he toned the kitsch factor down just a little bit for _Hard Boiled_, because I couldn't take much of this movie seriously. Just take a look at the extreme cross cutting, sentimental score, excessive slow motion, clumsy drum machines and sound effects; I like some cheesy action movies from around this time (e.g. films by John McTiernan or James Cameron) but this is way too tacky for my liking. The earnest direction doesn't help either; the story is so dumb that it probably would've benefitted from more ironic direction. I honestly don't see what's supposed to separate this from the overly cheesy Hollywood movies people love to shit on, unless we're merely judging this by the set pieces. Let's be honest with ourselves: what's the difference between Michael Bay and John Woo besides the latter being better at staging a shoot out? I understand that it's cool to like relatively obscure Hong Kong cinema, but maybe it's time to reassess some of this stuff. 4/10

NotoriousX

10/10

The Killer ended up in front of me in the early nineties along with a bunch of other Hong Kong action flicks. At the time, I gobbled up just about anything that looked like it had action scenes in it, and the HK movies were a welcome addition. The Killer was the first of them I saw and from then on I was a die hard John Woo fan... The killer is a hardcore action flick, but there is still time for love, grief, friendship, and tragedy. All wrapped in a beautifully shot movie, with music that only enhances every scene. Chow Yun-fat makes one of his greatest performances ever, and both Danny Lee and Kenneth Tsang do their part to make this one of THE greatest action movies of all time. Woo almost make every gunfight look and sound like a symphony. The camera puts you right in the center of the action, and even though I think there are a few too many bullets in every clip, you don't seem to notice. Everything fits together seamlessly. Even the white suits, blouses, and shirts...which probably are there only to make the blood more "visible". Highly recommended!!! Get it, See it, Love it...

Filipe Manuel Neto

0/10

**Action, lots of action, in a slow but elegant film.** It was the first time, to my knowledge, that I saw a film made in Hong Kong. John Woo, its director, gained some international notoriety and would even, long after this film, have some work in western cinema. In general, I liked the movie. I'm not an undefeated fan of action cinema, but I felt that this film manages to balance the explosive action (even better and more intense than in North American films) with a satisfying script. The story revolves around a professional killer who, after accidentally blinding a bar singer, starts to protect her. He will, however, have to kill a mobster and escape from the police, who understand the relationship between the singer and the bandit and start to watch her. Chow Yun-Fat is the film's lead actor, and the only actor I somehow remember seeing, though I can't say where. He is charismatic and intense, and makes his character a tough man but, at the same time, able to capture the audience's sympathy. Danny Lee, in the role of a police inspector, and Sally Yeh, as the singer, also give us a pleasant job. The film's focal point is the intense, explosive action. No means were spared in achieving impressive fight and shootout scenes, and in that respect, both the stuntmen and the special effects team deserve praise. The film has good sets and costumes, and the cinematography has a visual beauty very typical of oriental films, where the color is intense, vivid, something important and always valued. The film is about an hour and a half long, but the pace is quite slow, denoting a certain stretch of the script, and this is the biggest negative criticism I can give it.