The Killer: A Beautiful Bore with Wasted Potential

This is the kind of movie that sounds exciting on paper, directed by John Woo, starring charismatic leads, and promising a stylish action thriller. Unfortunately, the final product ends up being a forgettable misfire. Despite the pedigree, it never quite finds its footing, and most of its potential is left unrealized.

The only consistent bright spots are Nathalie Emmanuel and Omar Sy, who manage to breathe life into an otherwise flat script. Emmanuel carries the emotional weight with grace and determination, while Sy adds warmth and gravitas to his role. Their chemistry is undeniable, and it's the main reason this film holds together at all. When the two share the screen, there’s genuine charm and tension, and their dynamic hints at a much better movie that could have been.

The score is another standout, adding a sense of elegance and moodiness that the visuals and action fail to match. It elevates certain scenes, giving them more emotional punch than they probably deserve.

Unfortunately, everything else falls into mediocrity. The supporting characters are paper-thin, offering little in the way of intrigue or depth. You can almost predict every beat before it happens, and the writing does nothing to subvert expectations. It becomes painfully clear early on that this is going to be a by-the-numbers affair with little innovation.

This would be forgivable in a John Woo film if the action delivered, but it doesn’t. The fight choreography is surprisingly lackluster, with slow and awkward exchanges that lack the punch and grace you’d expect from a master of the genre. The chase scenes are similarly flat, lacking urgency or inventiveness. There’s none of the stylish mayhem or operatic violence that made Woo’s previous work iconic.

By the time the credits roll, you’re left with the feeling that this film will disappear from your memory as quickly as it came. It’s a bland, flavorless experience saved only by its two leads and a lovely musical backdrop.

The Killer isn’t offensively bad; it’s just forgettable. And from a filmmaker like John Woo, that might be the most disappointing thing of all.