5/17/2023 0 Comments Guns in kate netflix![]() And Eusebio is skillful at coordinating the fluid one-against-many action scenes that have become his preferred style over the course of projects from the John Wick franchise to The Fate of the Furious, Haywire, and Nikita. With a dagger or a broken glass bottle, her movements are quick, practically churning, as she stabs again and again and again. She is poised when she’s aiming a sniper rifle, and controlled when she’s smashing a gun into someone’s face after running out of bullets. Over Birds of Prey, Gemini Man, and 10 Cloverfield Lane, Winstead has developed a physical confidence as a performer that girds her work as Kate’s titular assassin. ![]() You could at least watch Kate for the fight scenes alone and be somewhat satisfied. Winstead and stunt coordinator Jonathan Eusebio, who previously worked together on Birds of Prey, deserve better than this. And Western fetishization of the yakuza as businessmen with samurai swords is getting pretty uninspired as well. The film’s depiction of Japanese culture as insularly obsessed with “honor” and dismissive of outsiders isn’t particularly fresh, either. It isn’t - not for Netflix, immediately following Gunpowder Milkshake, and not for other studios, with The Protégé and Jolt piling up on each other’s stiletto-clad footsteps over the past few months. Maybe taking on that kind of iconic role could keep Winstead from tiresome fare like Netflix’s action movie Kate.Īnother unimaginative woman-led action flick written and directed by men who telegraph their twists and lean on flashbacks instead of bothering to write character development, Kate mistakes “women can kill just as well as men!” for some sort of new idea. Whether she plays Amanda Ripley, Ellen’s canonical daughter, or a clone of Ellen herself (a narrative possibility imagined by 1997’s Joss Whedon-written Alien Resurrection), Winstead should be unleashed against the Weyland-Yutani Corporation so everyone can watch the sparks fly. the World, Winstead has grown into a self-assured actress whose physical confidence, sardonic line deliveries, and shaggy chopped ’do evoke Weaver’s sci-fi icon. Since her breakthrough in Scott Pilgrim vs. It’s rated R.Whoever makes the next Alien sequel or spinoff should consider casting Mary Elizabeth Winstead as the successor of Sigourney Weaver’s character, Ellen Ripley. Still, in terms of any sort of inspiration or originality, “Kate,” the movie, is every bit as D.O.A. Look, we get it, people are looking for new stuff to watch, mindless escapism included. Netflix’s emphasis on providing original movies has of late included a steady diet of forgettable thrillers with high-profile leads, including “Sweet Girl” and “Beckett,” starring Jason Momoa and John David Washington, respectively. The movie thus becomes one long bout of violence for its own sake, with the inevitability of Kate’s fate only further detracting from any suspense about where the story is heading. Still, there’s not much mystery in the “why” of it all, and nary a beat that doesn’t feel almost wholly predictable. ![]() Kate absorbs an enormous amount of punishment and dishes out far more, using guns, knives, fists and when pressed common kitchen appliances. Under the stewardship of French director Cedric Nicolas-Troyan (“The Huntsman: Winter’s War”), a movie like this ultimately boils down to the quality of the action, and it’s both plentiful and particularly bloody. ![]() There’s a pinch of “The Professional” and more recently Netflix’s considerably better “Gunpowder Milkshake” in their killer-kid bonding, which doesn’t have much time to develop with so much damage to be done before Kate’s condition becomes unmanageable. Kate’s search for those behind her demise brings her into contact with a teenage girl (newcomer Miku Martineau) who is the granddaughter of a mob boss, and as written proves annoying even by the standards of teenagers in these kind of movies. She delivers the bad news to the boss who raised her, played by Woody Harrelson, who can play this sort of appealing hitman in his sleep. In similar fashion, Kate – a Tokyo-based killer for hire – ingests a slow-acting poison, giving her a day to track down who was responsible, slashing and shooting her way through much of Japan. Mary Elizabeth Winstead plays the movie’s eponymous female assassin, in a mash-up loaded with old-movie ammunition that still comes away firing blanks.Īside from Winstead’s recent role as Huntress in the “Harley Quinn” movie, the most obvious point of reference would be “D.O.A.,” the 1950 film noir starring Edmond O’Brien (subsequently remade with Dennis Quaid) in which a fatally poisoned man spends his remaining hours trying to unravel the mystery of who killed him. ![]() Someone must be watching Netflix’s parade of mindless thrillers like “Kate” (never mind why), but even allowing for that, it’s hard to imagine a more bare-boned plot as excuses for stylized violence go. ![]()
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