John Woo rewrote the rules of mayhem during the ’80s and ’90s and the goodwill his fans have for him carry this half-successful remake across the finish line.
After years in the wilderness, director John Woo has been back at target practice, and if his aim isn’t what it once was, it’s worth remembering that, onscreen at least, marksmanship was never the point. Rather, it was the pose, the look, the scowl, while running, leaping, somersaulting, sliding and staring. In Woo’s world, guns kill people, but gunplay slays audiences.
But it puts Zee in the sights of a dedicated cop who’s investigating a missing drug shipment and believes there’s more to the story. Sounds like a certain conscience-stricken assassin with a protective side and a buck-the-rules lawman searching for the truth should find a friendly middle ground, which, in Woo’s trademarked visual signaling, means weapons drawn face to face but firing past each other’s heads to kill the real threat. The old-school Woo isn’t hiding. There are pigeons.
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