He quickly meets one of the most gruesome demises offered up as red meat to a bloodthirsty audience, which is a shame as he’s more interesting than any of the main villains. The camera ogles him like he’s some exotic object before he preens and sways while battling Kate. There’s even a gay adversary who is introduced getting a fish pedicure before unveiling a back covered in letter tattoos. J-Pop blares on the soundtrack while Kate strolls toward the camera flanked by Yakuza hitmen. A major death scene is highlighted by a gigantic, smiling and waving neon kitty cat.
The overdone effect is too hilarious and embarrassing to be offensive, but it is cringe-inducing. “Kate” also wants to be as cool as the Asian action movies it seeks to emulate with a White lead, but the end result fetishizes Asian culture and Japan with the embarrassing fervor of a horny dog humping a leg. There are only so many ways bullets can enter heads and torsos, and while I enjoy the majority of those ways, it gets real tired real fast here. He depicts violence in joyless and monotonous fashion. Mark Lester handled Schwarzenegger mowing down an entire military with a much lighter and more entertaining touch than director Cedric Nicolas-Troyan does here.
#Kate netflix shows movie#
It’s far more superficial than moving.Īni keeps referring to Kate as “a Terminator,” but this movie owes a lot more to Ah-nuld’s '80 classic, “Commando,” especially when Kate has to save her ward from the bad guys. Martineau does her best playing a rebellious teenager whose tough exterior masks a scared kid, but the script gives the two actors the barest minimum of bonds to play. Flashbacks draw parallels between Ani and her kidnapper, and after it appears Ani’s family wants to kill her, Kate drags her along on her quest. Ani is kidnapped by Kate because she’s a relative of Kijima ( Jun Kunimura), the man who may have ordered the poisonous hit. It’s when “Kate” tries for emotional vulnerability that it fails.
#Kate netflix shows crack#
It gives Kate a physical vulnerability that wages war with the genre’s insistence that its protagonists are crack shots while their competition can’t hit the side of a barn. I dug the body horror and how Winstead rolls with it. This adds a healthy dash of “The Fly” to the proceedings (the awesome '80s remake, that is, not the original). Numerous scenes of barfing ensue, as well as some teeth falling out and blood pouring out of unwelcome places unprovoked. In addition to the gruesome external wounds and scars Kate will endure battling countless adversaries, the poison is quickly rotting her from the inside out. So, we’ve got an injection of “D.O.A.” here (the hideous '80s remake, that is, not the original). The only thing that keeps her going is hourly shots of adrenaline. She’ll not only need to find out why she’s been murdered, but she’ll also need to avenge her own death. Guess what her connection is to that prior execution?īefore we get to Ani, Kate engages in rumpy-pumpy with a guy who fatally poisons her with something that will kill her in 24 hours. Fast-forward to Kate’s “last mission,” where she’ll eventually team up with a rambunctious teenager named Ani (Miku Patricia Martineau).
Despite the rules against shooting people with children present, Kate takes a shot that takes out her target in front of his kid. When the film opens, she’s in Osaka, Japan on an assignment that predictably goes awry. Harrison’s Varrick is the handler for Winstead’s titular character, the one person Kate trusts. If you look closely into his eyes, you can see the ATM where he deposited the check from this movie. And I don’t mean that just figuratively-80% of his performance is literally on the phone. Here, the male mentor is phoned in by Woody Harrelson.
The assassin is always a lone wolf, deserted by family before being adopted by a male authority figure who trains and mentors her before ultimately becoming some form of adversary she must deal with against her will. She’s clearly having fun here, but she deserves better than the warmed-over plot details every single female assassin movie must contain. I find her compulsively watchable, which is why I found this dreck so aggravating. There’s something off-kilter and unique about her, something you can’t quite put your finger on, yet you feel its presence. Winstead is not only a very credible agent of violence, she also provides interesting approaches to her scenes. After her superb and memorable turn in “Birds of Prey,” Mary Elizabeth Winstead is handed the reins of her own action movie.
0 kommentar(er)
