Tag Archives: 1989

The Killer (2024). John Woo remakes his own movie.

John Woo in his Hong Kong heyday made the most insane actioners of his time, movies that defied categorisation to the extent that he created a new genre. His pictures were somehow operatic and you could absorb real feeling from them. That and the mayhem, the bullets, the exploding heads, the carnage which seemed to have been concocted by Hannibal (psychiatrist, not conqueror of the Alps).

He ventured into the States and helmed the barking Face/Off (1997) and sadly never topped that, but how could he? 

Now we’ve got a remake, for whatever reason, of one of his indelible HK masterworks. 

It was depressing in its pointlessness, visually as dull as these things come. The scenes are shot and edited just like I would expect from your standard hacks for hire. Not a shred of artistic imprint was on this vacuous yarn. I didn’t think it could get any worse but then Eric Cantona turns up, looking away with the fairies and perplexed, which I found most perplexing. Fabulously talented football player. But he has the acting talent of a Wookie interviewing for the Third Reich.

John Woo, you just disappointed me, pal. 

Shite. 

Watch this instead:

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Good Bye, Lenin! (2003) revisited.

The-rise-of-the-Coca-Cola-advertisement-from-the-Mothers-window

I saw this movie many years ago and thought it rather great, but time distorts things. Goodbye Lenin! (2003) is an occasionally semi-funny insight into global changes impacting on the small scale; here, day-to-day life as experienced by an East German family going to increasingly elaborate lengths in maintaining the illusion of the GDR’s omniscience. The director’s stance as to reunification is a bit too ambiguous for me, the movie more concerned with a broad view of how the personal and political interweave, assessing the extent to which the society we live within affects us.

Why bother with such a contentious subject if you sit on the fence? This happens again and again.

It is at times a nauseating watch, almost an apologia for state tyranny. The film’s premise, pure Ostalgie, is that the economic and social constructs of the GDR, because of its restrictions on private wealth and public expression, harnessed a deep sense of togetherness felt by families. Wow. I won’t be watching it again. And all the Kubrick stylistic homages in it irritated me immensely.

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If Lenin! refrains from showing the horror of life in East Germany in vivid detail by opting to examine why in recent years it has been de-emphasised, it has paved the way for a more meticulous and exacting probing of the Stasi state in contemporary cinema through devastating films such as The Lives of Others (2007), with all the GDR’s greed, hypocrisy, paranoia, and corruption laid bare.

It is 2020 and some folk (I call them “social spastics”) identify as communists.

They are the walking demonstration of why society is forever crumbling.

Anyway, I fucking despised this movie. HATED it. Stay away.

Further reading/viewing:

https://www.theguardian.com/culture/2003/jul/25/artsfeatures.dvdreviews 

https://www.rogerebert.com/reviews/goodbye-lenin-2004

https://www.theguardian.com/film/2007/apr/13/worldcinema.drama

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