Reviewed by: STSH Date: 10/30/2010 Summary: Inferior to City On Fire Reviewer Score: 7

Reviewed by: Chungking_Cash Date: 06/05/2008 John Woo's "The Killer" is a white hot culmination of the action auteur's patent mechanics, debonair served below room temperature by lead actor Chow Yun-fat with Jean-Pierre Melville's "Le Samourai" (1967) serving as the film's template. The Mexican standoff between an amoral detective (Danny Lee Sau-yin) and a moral hit man (Chow) in an apartment of a blind songstress (Sally Yeh) is a brilliantly choreographed impasse that has yet to be rivaled. Though rejected by domestic audiences (who made Woo's "A Better Tomorrow" the largest grossing film in Hong Kong history three years earlier) for being too visceral "The Killer" is nevertheless one of the former colony's most refined action pictures and a great piece of cinema. Kenneth Tsang Kong, Paul Chu Kong, and Shing Fui-on co-star. Following the film's release John Woo ended his personal and professional relationship with producer Tsui Hark. Reviewer Score: 10

Reviewed by: j.crawford Date: 09/22/2007 Summary: truly remarkable Quick Cuts: Many movie fans/web surfers visiting Happy Fortune Screening Room have e-mailed me about my feelings on a number of the more popular titles of Hong Kong Cinema that, until now, have been excluded in the programming sections. There are only so many ways to praise a film, and many of the more popular titles have been covered quite well in a good number of places. O.K., here we go. Director John Woo is Hong Kong's greatest export of the 1980's. His film, A Better Tomorrow, is his best film and is one of the seminal works of the decade. It's my favorite "Woo", one of my most favorite movies of all-time. His film, The Killer, is his best film and is one of the seminal works of the decade. It's my favorite "Woo", one of my most favorite movies of all-time. I'm repeating myself, I know. The two films are truly remarkable works of art. If you hold a gun to my head [in the purest action movie sense of the phrase], I'd have to rate A Better Tomorrow over The Killer. [En español] Director John Woo de Hong Kong es la mayor exportación de la década de 1980. Su película, "A Better Tomorrow", es su mejor película y es una de las obras seminales de la década. Es mi favorito "Woo", una de mis películas favoritas de la mayoría de todos los tiempos. Su película, "The Killer", es su mejor película y es una de las obras seminales de la década. Es mi favorito "Woo", una de mis películas favoritas de la mayoría de todos los tiempos. Estoy repitiendo a mí mismo, lo sé. Las dos películas son realmente notables obras de arte. Si tiene una pistola en mi cabeza [en la película de acción más puro sentido de la frase], me vería obligado a la tasa "A Better Tomorrow" encima de "The Killer". [En français] Director John Woo à Hong Kong est la plus grande exportation de 1980. Son film, A Better Tomorrow, est son meilleur film et est l'une des oeuvres de la décennie. C'est mon préféré "Woo", l'un de mes films préférés de tous les temps. Son film, The Killer, est son meilleur film et est l'une des oeuvres de la décennie. C'est mon préféré "Woo", l'un de mes films préférés de tous les temps. Je me répéter, je le sais. Les deux films sont vraiment remarquables oeuvres d'art. Si vous êtes en possession d'une arme à feu à la tête [dans le film d'action pur sens de la phrase], j'aurais au taux A Better Tomorrow sur The Killer. more at happyfortune.org Reviewer Score: 9

Reviewed by: dandan Date: 06/21/2007 Summary: easy to pick up, hard to put down... i remember picking up the 'made in hong kong' vhs of this back in '94; it was my first john woo film and my first chow yun fat film. i'd watched a few hong kong films before this, as well as a bunch of other asian films, but this was the one that really kicked off my passion for hong kong cinema. ah jong (chow yun-fat) is a professional killer, who performs hits for the triads via middle-man fung (paul chu). during a hit at a restaurant, ah jong accidentally damages the eyes of a young singer, jennie (sally yeh). wracked with guilt, ah jong befriends jennie and they plan to travel abroad so that she can have surgey that will save her eyesight; ah jong just needs to complete one more hit, which will give them enough money to do this. unfortunately, after carrying out the hit, ah jong's employers decide that they want him dead, severing any links between themselves and the assassination. ah jong's friendship is tested as he is pusued by the triads and inspector li (danny lee), a cop who seems to have a lot in common with ah jong... it is quite difficult to watch 'the killer' objectively these days; in the past eighteen years it has inspired, been rippped-off and parodied, by so many other films that it seems to be riddled with cliche. still, for myself and many others, for whom this film served as introduction to the 'bullet ballet' / 'heroic bloodshed' of hong kong cinema, it will always have a special place. looking at the film, it is a simple story about characters who try to remain true to a defined set of ethics; be it the rules of the triads or the law of the land. using this simplicity to his advantage, john woo manages to explore the relationships between characters, whilst examining the way that their world changes around them. a changing world that they live in seems to be creating complex grey areas that lead them to become outsiders; "you're an unusual cop." "well, you're an unusual killer." then, there's the action. from the opening exchange in the nightclub to the final showdown in the (dove filled) church, woo and ching siu-tung combine to produce some of the most innovative and exciting sequences of the genre; even watching it last night, i was still blown away by them. chow yun-fat going all out with a gun in each hand is still a sight to behold; he and danny lee put in performances which can be considered amongst their best, with more than adequate support from paul chu and kenneth tsang. an iconic piece of cinema.

Reviewed by: cal42 Date: 10/08/2006 Summary: I'm not convinced. Killer-with-a-conscience Chow Yun-Fat accidentally blinds a nightclub singer (Sally Yeh) while carrying out a hit. He surreptitiously looks after her while evading the Hong Kong police, led by Inspector Li (Danny Lee). On his final assassination of a seedy, Triad-friendly businessman, the two become inexorably linked – even forming an unlikely type of friendship when they discover they have so much in common. THE KILLER remains for me one of those films that people rave about that I just don’t really GET. I have to admit that the Sally Yeh character bores me. It’s not her fault, exactly, but like Chang Cheh, John Woo doesn’t seem to be able to write women very well. Things are much better on the male side, with Chow Yun-Fat and Danny Lee kind of reversing their roles from the Ringo Lam film CITY ON FIRE (Hollywood would never allow that sort of thing!). Their relationship certainly makes for interesting viewing, and there are plenty of Gung-Ho action sequences thrown in, but for me this is actually one of the weaker John Woo/Chow Yun-Fat collaborations. It’s heresy, but there you go. Reviewer Score: 6

Reviewed by: ewaffle Date: 03/09/2006 “The Killer” is John Woo’s emblematic Heroic Bloodshed movie, full of images and devices that were pilfered, plagiarized and parodied by other filmmakers for years after its release. Bodies pile up everywhere, bullets fly by the hundreds and individuals not only survive being beaten and shot but are stronger after their ordeal. Chow Yun-Fat is the stoic hero at his most implacable. Jeff has a code—it is a way of life that may as well be part of his DNA. He is a throwback to the time when outlaws still had standards of behavior that didn’t change. Shoot him, stab him, boil him in oil, he won’t betray his comrades, including his employer. He takes full responsibility for his actions and expects others to do the same. Unfortunately he is the only one of his kind left and there is no Endangered Species Act to protect noble hitmen. It isn’t surprising that, even though he is unaware that he fired the shot that blinded the hard luck singer Jennie, he feels he must make sure she recovers and must raise the money for her operation. Danny Lee is another familiar character—his Inspector Li Ying is a cop who recognizes a kindred spirit, even if that person is on the other side of the law. Inspector Li has his own code of conduct and so as he begins to understand Jeff he also begins to respect him. Both Inspector Li and Jeff have sidekicks. Kenneth Tsang is Sergeant Tsang who works for Li and Paul Chu is Sidney Fung, formerly Jeff’s comrade in arms and now his agent. Shing Fui-On rounds things out as Hay Wong Hoi an extremely repellant bad guy. Sidney Fong is the real key to the movie. He is the only character who changes and he serves as the connection between Jeff and Hay. Sidney was once a killer—he may be just a bit too old, not quite quick enough, perhaps has lost his edge. Whatever the case he is still completely involved in the murder for hire business. He knows everyone, is trusted by everyone and has himself lived by the code of the honorable hitman. But there is something a bit soft about Sidney—as brilliantly played by Chu he is depressed, guilt ridden and unable to function very well anymore. When he betrays Jeff it isn’t that much of a surprise—it almost seems inevitable—but when he decides that he will risk his life to get Jeff’s payment from Hay Wong Hoi there is a surprise in store for the audience. One assumes either that Sidney will manage to steal the money or get it by some subterfuge—Hay isn’t all that smart, just vicious—or die in the attempt, thereby valorizing his life with a noble (for a criminal) death and showing even more how ghastly Hay Wong Hoi is. Instead Sidney is able to meet with Hay and actually gets the drop on him twice. He also decimates Hoy’s gang while being pummeled half to death. The beating that Sidney takes is extremely brutal and unmerciful and is obviously in expiation for his betrayal of Jeff. Sidney is a very buttoned-down, uptight type of person—he keeps his collar buttoned and his tie tightly tied even when his shirt is soaked in blood. He is doing his best to survive and return to Jeff with the money he is owed. That he accidentally leads both Hay and Inspector Li to Jeff is fitting—as Jeff’s agent his job is to put people together. Sally Yeh had a thankless role. Most of it, of course, was as a plot device to give Jeff a reason to stay in the business and do one more hit. When she was blinded her flailing and thrashing around was very realistic and a bit scary—it was one of her only chances to really act in the movie and she made the most of it. That Jeff and Inspector Li will end up on the same side, fighting against Hay and his inexhaustible supply of henchmen, is a given but it is well motivated and makes complete sense within the context of the movie. It is made more credible by Jeff’s initial reluctance to join forces with the law. Ultimately having Inspector Li Ying on your tail or having Jeff get a contract on your life means the same thing—your days as a free (or living) person are limited. Highly recommended. Reviewer Score: 9

Reviewed by: PAUL MARTINEZ Date: 02/15/2006 Summary: Heroic Bloodshed Masterpiece The Killer marks the 3rd of 5 pairings of director John Woo and leading man Chow Yun Fat. This was perhaps the most well-known of them and with good reason. While not as well written as A Better Tomorrow and while Hard Boiled may have slightly better action sequences, The Killer is the most complete film in all aspects. A ballistic ballet that will stand the test of time. On the surface, the plot is of the professional killer with a heart of gold. However, Mr. Woo goes way beyond that here. Showing the characters in a different light than you expect. While the friendship of John and Inspector Li is hi-lighted, I felt it was the relationship between the title character and his agent Sidney which really stood out. the scenes with them were intense. The Jenny sub-plot was well done also. She wasn't put in as a love interest for our hero just for the sake of doing it. Her story made sense and added to the storyline splendidly. It's in the acting where I feel this movie stands out from the other Woo-Chow collaborations. Chow Yun Fat is great and that's nothing new. Danny Lee, who I've never been a great fan of gives his best performance here. It's in the performances of Sally Yeh, Paul Fong Chu and Shing Fu-On that really impressed me. The action scenes are of course now legendary. An absolute artistry of violence that to this day along with Hard Boiled have been the most copied work not just in Asian cinema but Hollywood as well. I would be remiss however if I did not mention how Brian De Palma's Scarface was an obvious influence on John Woo in making this film. I'm not calling it an outright stealing from the film as many like to do of Tarrantino.But there are definatlely some elements as well as some scenes which lended itself from Scarface. Not to mention the score is extremely similar. To sum it up, if you're reading this and you have never seen this film you should immediately sign off your pc and go get it. I don't care where you're from what kind of movies you like,. This is a must-see! Reviewer Score: 9

Reviewed by: MrBooth Date: 05/13/2003 Summary: 9/10 The Killer is widely regarded as John Woo's best all round film, and makes an appearance on an extraordinary number of people's Top 10 lists. This may be because it was the first Hong Kong movie a lot of people saw, as it was one of the first to get any kind of widespread attention in the US. It doesn't feature in my own Top 10, but that's not because it isn't good Chow Yun Fat plays the titular killer, an assassin who begins to regret his life of violence after accidentally blinding singer Sally Yeh during an assassination. Danny Lee plays the cop on his case, who begins to find he can relate to the killer more than he can to many of his colleagues. Both men are shown to be men whose values of loyalty and honour are increasingly being forgotten by the society in which they live. THE KILLER pretty much defines the "Heroic Bloodshed" genre, taking the code of chivalry from the old swordplay films and bringing it into the world of guns and bullets. Woo basically started the whole genre with the seminal A BETTER TOMORROW, but THE KILLER is the most distilled vision of the concept he or anybody else in Hong Kong produced. It's a very romanticised film - even though the main characters earn their livings from violence, they're painted as very noble characters and starkly contrasted with the real villains (led by Shing Fui On in his best role ever) who kill without honour. There's a broad message of peace and restraint from violence there too, though it's somewhat conflicted with the romanticisation of some of the bloodshed. John Woo and Chow Yun Fat were serious box office gold when THE KILLER was made - apart from another Jackie/Sammo/Biao collaboration there was probably no more anticipated collaboration than this one. As such, THE KILLER was afforded a budget and shooting schedule that most Hong Kong productions could never dream of (though still no doubt miniscule compared to any Hollywood film of the time). This is evident in the quality of the production on pretty much ever level. The film has as high production values as any Hong Kong film ever made, and is surely one of the most technically accomplished. Credit for this must be shared between cinematographer Peter Pau, producer Tsui Hark and of course director John Woo. I've always suspected that the real talent behind the film was probably Tsui Hark - it's rumoured that Tsui & Woo fell out heavily because Tsui felt THE KILLER should be "A Tsui Hark Film" and not "A John Woo" film. Evidence for this is that Woo's earlier and later films have been largely lacking the substance and depth of THE KILLER (especially his Hollywood films, but everybody gets that in Hollywood). However, the interviews on the Hong Kong Legends DVD clearly show that Woo had a vision and pursuit of excellence that was the driving force in the project. He's spoken of very highly by his cast and DOP, who give him the full credit for the film's success. I'd like to hear Tsui Hark's side of the story though The attention to detail in the film is most obvious in the cinematography. This was Peter Pau's first big film, and the one that established him as one of Hong Kong's top cinematographers. He gives Woo most of the credit for the film's visual style though, describing how much thought Woo would give to the way the camera should be positioned and move to bring out the emotional quality of the scene. I don't have the knowledge/education to be able to perceive how the camerawork in the film does contribute to the emotional depth, but I can acknowledge that it's effective. Woo is often regarded by Western film makers as the best director of action in the world. I think Tsui Hark probably deserves that credit more, but Woo certainly redefined the way gunplay was choreographed and filmed. HARD BOILED is his finest work in this respect, but THE KILLER certainly comes second. The action was choreographed by Ching Siu Tung, who was evidently a little uncomfortable with choreographing gunplay when he worked on A BETTER TOMORROW 2 (sorry, but most of the shoot outs in that are just people running round randomly waving their guns at stuntmen). He'd obviously improved his skills a *lot* by the time of THE KILLER though, as the action scenes are exciting and violently beautiful. The grand finale in a church is surely one of the best gunplay sequences ever filmed, topped only by the finale of HARD BOILED. Some Western audiences find THE KILLER too melodramatic, and for an audience not raised on the swordplay and kung fu films that influenced Woo the romanticised notions of loyalty, honour and integrity may seem rather alien and strange. It's a theme that has long been found in Hong Kong Cinema though, so perhaps it reflects a more Chinese set of values than the average American or European is used to experiencing. It would be especially rare to find such emotional scenes in a Hollywood action movie, where the action genre is usually considered to be wholly distinct from drama. Perhaps it's this that makes THE KILLER such a wide hit whenever it is screened in the US. So, although I won't put THE KILLER in my Top 10 list, I definitely won't dispute the fact that it's one of the best realised films Hong Kong has produced. John Woo is unlikely to produce a film of this calibre again, and unfortunately it's unlikely Chow Yun Fat will do either. As for Danny Lee, this was undoubtedly the highlight of his career - Psychadelic Cop anyone? Sally Yeh also gives her most memorable performance, and a surprisingly convincing blind character for somebody that had no real acting training. Shing Fui On and Kenneth Tsang have never looked better either. In fact, for almost everybody involved this was probably the high point of their career. 9/10 Reviewer Score: 9

Reviewed by: pjshimmer Date: 11/14/2002 Summary: Danny Lee at his best Updated 11/14/2002 I don't know what I was thinking the first time I saw The Killer. In my original review dated 4/24/2001, I said that The Killer isn't a movie for me. Perhaps I was too young (a whole 17 months younger) to appreciate John Woo's most acclaimed masterpiece. I have watched it 5 times in the last week, and I can't get enough of it: a movie that is so involving and beautiful. John Woo sure knows how to make a good film. "The Killer" is well-known as one of the best movies in HK cinema, and it is not overrated. "The Killer"'s superb delivery of emotion and symbolism (John Woo is the master of evoking emotions) truly makes it an unforgettable cinematic experience. 'Nuff said. The only HK movie I consider better than The Killer would be Once Upon a Time in China. Both still have some flaws, but each is the best of the period and the modern genre. [10/10] for The Killer. Reviewer Score: 10

Reviewed by: Kyashan Date: 08/14/2002 Summary: Great Movie I watched more times this movie and I found it really a good movie, a great director for a beautiful story and great actors for a great movie. If you never seen this movie, I advise you to do because it's too beautiful and deserve to be watched once surely. My own vote: 10/10 Reviewer Score: 10

Reviewed by: balstino Date: 07/23/2002 Summary: Very good. Woos pinacle? This film has probably the best story of any action film, and the first half is outstanding. The earlier action scenes are pure class. Some cheesy lines and dodgy music do fail it later on but all in all, this is regarded as one of the finest modern additions of world cinema. Buy.

Reviewed by: Inner Strength Date: 01/12/2002 Summary: Good Not bad at all for a movie like this. A bit slow paced, but it works, this is not an action movie. Although the action in it is intense. Once again Danny Lee and Chow Yun Fat team up together, although against each other here. People always say this is supposed to be John WOos and Chow Yun Fats best movie, but I wouldn't agree with that. I find it much better than Hard Boiled, but for John Woo I prefer Bullet In The Head, and Chow Yun Fat with Danny Lee are better in City On Fire. Rating: 4/5 (This rating is based on the year & genre, so don't think it's based as a comparison on new releases etc.) Reviewer Score: 8

Reviewed by: Ryoga Date: 12/23/2001 Stars Chow Yun Fat, Danny Lee and Sally Yeh. Very sad film, just watch it yourself and you will see. The acting is very well done.

Reviewed by: Sydneyguy Date: 05/08/2001 Summary: Pretty good I think this movie needs to be seen a few times to appreciate it more!! There is a LOT of violence in this but i am SO sure i saw a more violent additition when i was younger...........but of well!! If you like lots of action and gunplay, come here!! 7.5/10 Reviewer Score: 7

Reviewed by: Fatty Date: 03/06/2001 Summary: One kick ass movie!!!!! Simply put, one of the greatest action movies off all time!!!! Ever since I bought this I haven't stopped watched it...I've watched it 3 times now, lol 2 busy with Hard Boiled and stuff, lol neways onto the review It's about a Hitman(Chow Yun Fat) has a hit gone wrong and blinds some singer at a night club. Then he begins to feel happy and help her, but some cop(Danny Lee) wants to bring him down...Booya! Ofcourse this is one of my fav movies off all time, it's got the plot, the acting and ofcourse the bloody gunbattles!!! Now let's start with the acting Chow Yun Fat kicked ass in this film, as the cool hitman he made me happy, blowing people away and having courage to fight a huge load of baddies in a church(Brutal and best part). But I sorta like Mark from ABT but NOT ALOT. Danny Lee did a great job as the cop, I hated the prick at the beginning but when he joined up with Fat in the end, he got my respects :D. Great jod Lee!! Sally Yeh was pretty good as the blind woman. I really did feel sorry for her and I was hoping she could see who really was helping her. But why did Fat die in the end...He was supposed to be a kick ass Hitman....WHY GOD TELL ME WHY!!!!! The Plot was really good aswell, I wasn't bored that much but hell, I could care less. Woo did a another great job with this film, ofcourse this movie game him fame but it was ABT they got him started. Ahh yes...The action, some of the greatest gunbattles I've ever seen, the beginning and the End were the best parts of the film. The middle had great action aswell but not amazingly great. But seeing Fat bloodied and still kicking ass made my night easily. If I was him I would be crying my ass off cause of being shot and probably running away scared while Lee can take care of the rest :) One more thing, the music was great, I'm not sure if Chow was really playing the Harmonica but it did made me cry at the end when we saw Fat die(Brutal if I might add) it's hard for action movies to make me cry but It did, yes I do confess now The Killer made me cry...and Hard Boiled made me go psycho :D So in all, a Outstanding film was a great plot, acting and ofcourse the action makes the movie a good home for action fans like myself, you will not be disgusted about having this film, you will be very very happy! Oh yeah the music rocked aswell :D 5/5 This review is brought to you by Fatty Reviewer Score: 10

Reviewed by: toto63 Date: 07/23/2000 Summary: alone in the dark love destiny friendship and redemption. I haven't never loved religiuos movies but this is one of two (the second is Bad lieutenant by abel Ferrara) that I love and I have to see more and more.

Reviewed by: TequilaYuen Date: 06/11/2000 Summary: The Single Best Action Film Ever Made. What can i say about the killer that hasn't already been said. It's the perfect blend of action and story, done with such love for the genre, and a real feel for characterization above the beautifully staged scenes of balletic violence. BAsed on Jean Pierre Melville's Le Samourai. Chow yun Fat/John Woo/Danny Lee/Tsui harks finest jobs on a single film. This film is beautiful, 'nuff said. If your able to pick up the Criterion collection version, Do so! I found it in a local record shop which stocks DVD's. The title is currently out of production due to a liscencing problem. Features deleted scenes, which I had to own.

Reviewed by: SUPERCOP Date: 12/27/1999 Summary: HK Cinema at it's very best..... Perhaps the most acclaimed Cantonese language production in the west, The Killer is generally considered by critics to be John Woo's greatest achievement. Chow Yun-fat delivers, yet again, another memorable performance as the moral induced killer, while Danny Lee shines as the cop who unexpectedly develops a bond with the man he's hunting down. John Woo is at the top of his game, balancing out blistering hyperviolent action sequences (by Ching Siu-tung) along with strong melodrama and numerous instances which displays his patented themes (Christianity, morality etc). A perfect introduction to the world of Hong Kong Cinema.

Reviewed by: hkcinema Date: 12/21/1999 An excellent John Woo picture admired by Scorsese, James Cameron, Tarantino etc.... very good spoilt only by the annoying soundtrack. (10/10) [Reviewed by Andrej Blazeka]

Reviewed by: hokazak Date: 12/09/1999 Amazing! Some of the slickest gunplay you can see on film. Breakthrough movie for John Woo's US reception - 1st to be picked up by mainstrean US distributor.

Reviewed by: hkcinema Date: 12/08/1999 Chow Yun Fat stars in this shoot 'em up, which some say is John Woo's best work. I think it's a good movie, but the ending was really badly executed (no pun intended) in my opinion. He'll throw the gun he's holding away without shooting at the bad guy he's had a bead on for awhile in order to shoot with the gun tucked in the back of his partner's pants while dropping to the ground. I know, I know, that's not the major point of the movie, but it bugs me to no end when total strategic common sense is thrown out the window in order to make the movie more "exciting" or "moving." A good film, but not great in my books. (7.75/10) [Reviewed by Dale Whitehouse]

Reviewed by: hkcinema Date: 12/08/1999 A masterpiece of thematic film-making. Wong Wing Hang shows that he is as good a cinematographer as anyone in the world, not only technically, but with his understanding of communication through the image. Gloriously exagerrated slow'mo sequences although I think that Woo will never better the revenge sequence from "A Better Tomorrow" - with Chow Yun Fat in the restraunt. The r is the force with which Woo asserts his usual themes, we cried out in disgust when Sidney tries to beg for Jeffs money. Great film, great concept ending. I heard a rumour that it was actually a parody ... well, we all like to think we're smart. [Reviewed by Andrew Best]

Reviewed by: spinali Date: 12/08/1999 Chow Yun-Fat accidentally blinds a pretty nightclub singer(Sally Yeh) in a gunfight, and thereafter vows to scam the money for her operation. By the end of the movie, just about everyone ends up dead. While some claim John Woo intended a send-up of crime movie cliches, it's more likely that he simply uses the same old arsenal of HK cliches more stylishly than his competition. (3/4) [Reviewed by Steve Spinali] Reviewer Score: 7