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Well, he finally did it.
One of its poster taglines was One Vicious Hitman.
Frankly, that math seemed too conservative.
To make the same movie today, youd probably have to reengineer human civilization.
Luckily, he hasnt.
Its fun, ridiculous, and deliriously violent in its own right.
Theres plenty of blood inThe Killer, but Woo also slips in moments of his patented gruesome poetry.
I know how to find the proper angle to make them look beautiful.
It really is one of his great talents.
He tries something different with Emanuel, first highlighting her reserve and, later, her physicality.
(He doesnt need to expend too much extra energy to make her look gorgeous.)
The back and forth between this huge cop and this slinky, slippery criminal becomes a fun cat-and-mouse game.
But back to the action.
Any Woo film will live or die by how hes engineered the slaughter.
This newKilleris loaded with action scenes, and they never feel phoned in or generic.
But it all feels intuitive, too, not programmed.
There wasnt always a set script; sometimes there was no script at all.
It feels like hes managed to find a path back to that sense of freedom.
