A propulsive soundtrack of Japanese rock drives the film from shootout to neck stabbing to significantly more neck stabbing with a rhythmic fluidity, and while this kind of wall-to-wall action could easily grow tiresome, the diverse locations combine with Kate’s progressively deteriorating state to keep the bloody brawls feeling as fresh as they are brutal.
KATE NETFLIX KILL BILL MOVIE
And the real central pillar of any action movie – the action – is with very few exceptions incredible. Even Woody Harrelson – who plays such a completely familiar character as to almost invite phoning in – delivers one of his best performances in recent memory. Miku Martineau switches seamlessly from screaming kidnap victim to bubbly overconfident teenager with ease and aplomb. The cast is consistently excellent, with Mary Elizabeth Winstead serving as a quietly intimidating badass who commands respect and attention every time she steps on screen. The success or failure of an action movie is usually found less in the originality and more in the execution – or executions.īy this measure, Kate manages to succeed on several levels. If you’re walking into a revenge-fueled murder frenzy expecting a nuanced story, you’ll usually find yourself as disappointed as you would if you’d walked into a Woody Allen film expecting the nebbish, sexually frustrated young writer character to spontaneously transform into Optimus Prime. To some degree, all this can be forgiven, since plot isn’t usually the strongest point of an action movie. There are shots of wounds being patched up in public bathroom mirrors, a convenient twenty-four hour timeline framing the story, even a pair of cheap sunglasses that come to stand in for badassness.
There’s the surragte father figure/mentor and the child who “unexpectedly” befriends the assassin.
KATE NETFLIX KILL BILL FULL
The easiest criticism of Kate is that the plot is an overly formulaic rehashing of other movies, chock full of stock characters and genre tropes. In the process, she kindaps Ani, inadvertently turning the girl into a target of the same syndicate that her father belonged to.
Armed with a handful of injectable stimulants, she heads out to wade through the seedy underworld of Japan to locate and execute whoever was behind the plot on her life before it is successful. Surprising no one but Kate herself, the hottie in question turns out to be a plant sent to poison her with a rare and deadly radioactive substance that leaves her with only twenty-four hours to live. That night, she breaks what should probably the second rule of the assassin’s guild and shares a few drinks and a night of passion with a local hottie who she meets in the hotel bar. She tells Varrick that she wants out, and her next mark will be her last. Kate, the consummate professional, goes ahead and pulls the trigger, but doesn’t feel especially good about the decision. One simple rule: no kids.” However, rules were made to be broken, and the voice in Kate’s headset instructs her to take the shot anyway. And as Kate will soon explain to her friend and Mentor, Varrick (Woody Harrelson), “We have one rule. The job is compromised when the target’s daughter, Ani (Miku Martineau), steps out from the car after her father. Mary Elizabeth Winstead starts as Kate, the titular super assassin whose latest assignment has brought her to Osaka, where she is tasked with taking out an important member of a local crime syndicate.
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