Actually, it’s Kate (Mary Elizabeth Winstead), which is responsible for the death of others. The hit man has countless on her conscience since she was a child of Varrick (Woody Harrelson) learned the art of killing. But first one mission goes wrong, later she has to find out that someone has poisoned her. Staying just 24 hours to meet the Yakuza boss Kijima (Jun Kunimura) who previously ordered her death and to take revenge on him. For this purpose, she is ready to go to the last. Whoever stands in her way will be mercilessly killed. She is accompanied on the fatal odyssey by the teenage girl Ani (Miku Martineau), with which she has a history in several respects …
I am dying, so I am killing
Even if the genre of the revenge thriller is traditionally reserved for men, there have been a number of examples in recent years that even the supposedly weaker sex can leave a trail of destruction behind, not to mention countless corpses. For example, the protagonists in Jolt or Peppermint – Angel of Vengeance from a very competent side when it comes to eliminating the other person. Well then too Kate. Whereby the Netflix-Film differs from most other revenge thrillers in one point: Where it normally comes to punishing the death of a loved one by appropriate further deaths, there it is the own coming death that triggers the spiral of violence.
The idea that a poisoned person spends the remaining time looking for a murderer is not entirely new. This was already the case in 1988 DOA – Murder on Arrival back to a very similar scenario. The film, in turn, is based on the film noir Victim of the underworldwhich even appeared in 1950. Contrasted with this is Kate not just in color. Lots of colors are even used: the film uses its setting in Tokyo to accommodate as many neon tones as possible. More precisely, there is a sequence of gloomy locations, bright colors and a good portion of red. Ultimately, Kate will bring numerous people around the corner in the course of the film, sometimes in a more brutal way.
Well choreographed action scenes
Director Cedric Nicolas-Troyan (The Huntsman & The Ice Queen) succeeds quite well in putting these killing arias in the limelight. Especially in comparison to the often very uninspired fight scenes of larger US films, this is impressive: Instead of pulling yourself out of the affair cheaply with countless cuts, there are actual choreographies here where you actually thought something. The locations also have their share in the fact that people enjoy watching here. Tokyo becomes a dazzling juggernaut in the action thriller, through which Kate fights her way. A place that is attractive and yet unwelcoming, traditional and futuristic in one.
Has content Kate on the other hand almost nothing to offer. Even if Mary Elizabeth Winstead (Birds of Prey: The Emancipation of Harley Quinn) impressively slaughters through the host, her role itself is completely uninteresting. The isolated attempts to make a tragic figure out of her fail. It doesn’t look any better with Sidekick Ani, she never becomes more than the silly teenage girl you often see in such films. Not to mention the story, which works off one cliché after the other and doesn’t even try to tell something of its own at some point. If you don’t have this claim, but just want to see a not-so-quite-heroine fight her way through bad men and chic locations, that’s exactly what is offered here. It’s not exciting because the end was more or less anticipated. The twists and turns aren’t exactly surprising either. But it’s enough for solid entertainment.
Director: Cedric Nicolas-Troyan
Script: Umair Aleem |
Music: Nathan Barr
Camera: Lyle Vincent
Occupation: Mary Elizabeth Winstead, Miku Martineau, Woody Harrelson, Jun Kunimura, Tadanobu Asano, Miyavi
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