The Killer

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Zee is a feared contract killer known as “the Queen of the Dead,” but when she refuses to murder a young blind woman, she finds herself hunted both by criminal colleagues and a determined police detective.

Credits: TheMovieDb.

Zee: Nathalie Emmanuel
Sey: Omar Sy
Finn: Sam Worthington
Jenn: Diana Silvers
Prince Majeb Bin Faheem: Saïd Taghmaoui
Chi Mai: Angeles Woo
Gobert: Éric Cantona
Tessier: Tchéky Karyo
Jax: Grégory Montel
Coco: Hugo Diego Garcia
Serge: Michaël Erpelding
Juliet: Aurélia Agel
Alves: Guillaume Kerbusch
Inspector General: Fabrice Scott
The Breton: Kelian Maréchaux
Avi: Elie Haddad
Jenn’s Mother: Lydie Muller
Hallway Policeman: Etienne Guillou-Kervern
Magistrate: Vincent Winterhalter
Russian Mobster “L’orange”: Igor Skreblin
Hostage Boy: Octave Delepaule
Hostage Boy: Marius Delepaule
Private Room Dj: Kévin Table
Carl Staley: David Clark
Sidney: Jaz Deol
Givenchy Model: Anissa Bakhti
IA Cop: Grégory Loffredo
IA Cop: Jamel Blissat
Young Zee: Intissar Kitsaïs-Rotsen
Zee’s Sister: Eesha El Hadj
Alain: Yann Brouet
Belmont: Gary Cothenet
JM: Maxime Coulon
Guy: Ahmed Chouikhi
Private Room Bartender: Nicolas-Kisito Bata
Belanger: Laurent Coin
Civil Court Man: Michaël Troude
Men’s Room Gangster: Arthur Aspaturian
Thug Seedy Bar: Clément Huet
Gobert Bodyguard: Vincent Bersoulle
Riverbank Pedestrian: Michel Nguyen
Heavy: Trevor Morgan
Heavy: Quentin D’Hainaut
Hallway Policeman: Hugo Bariller
Minder: Ben Milord
Minder: Iliés Moujane
Henchman: Robert ‘Rock’ Galotti
Henchman: Staiv Gentis
Romeo: Justin Howell
Male Café Patron: Renaud Marc
Female Café Patron: Lauren Coda
Hostage Woman: Clémence Schreiber
Nurse: Monia Moula
Nurse: Morgane Bujoli
Security Guard: Navathipan Rajakumar
Detective Dropping Papers: Christophe Dupuis
Detective Zee Escape: Rachid Boulaïd
Detective Zee Escape: Bryan Vigier
Longcoat: Jérémy Margallé
Longcoat: Alexandre Lopoka
Longcoat: Frédéric Dessains
Longcoat: Jonathan Bernard
Longcoat: Daren Nop
Longcoat: David Nop
Longcoat: Eric Cullet
Longcoat: Arthur Delapierre
Longcoat: Anis Messabis
Longcoat: Maurice Chan
Longcoat: Amadéo Cazzela
Longcoat: Marvin Berrembou
Longcoat: Thibault Gassmann
Longcoat: Olivier Sa
Longcoat: Ibrahima Keita
Longcoat: Lucas Dollfus
Longcoat: Alexandre Yde

Crew:

Original Film Writer: John Woo
Producer: Charles Roven
Producer: Alex Gartner
Second Assistant Director: Michael Pontvert
Storyboard Artist: Pierre-Emmanuel Chatiliez
Stunts: Alice Naigeon
Executive Producer: Luc Etienne
Stunts: Yann Brouet
Focus Puller: David Foquin
Video Assist Operator: Mathilde Nicollet
Assistant Set Decoration: Rose Polvé
Property Master: François Borgeaud
Boom Operator: Leslie Gaborieau
Assistant Art Director: Nicolas Brisset
Stunt Coordinator: Vincent Bouillon
Casting Assistant: Caroline Wormser
Editor: Zach Staenberg
Second Unit Director: Gregg Smrz
Camera Operator: Steve de Rocco
Casting Assistant: Steph Tataryn
Second Assistant Director: Samuel Payen
Stunts: Olivier Fornara
First Assistant Director: Bonnie Pirès
Stunts: Rosa-Bélinda Sette
Stunt Coordinator: Brett Smrz
Digital Imaging Technician: Nejib Boubaker
Second Assistant “B” Camera: Hugo Ctiborsky
Third Assistant Director: Maud Ducre
Stunt Double: Jade-Eleena Dregorius
Still Photographer: Christine Tamalet
Assistant Director: Julien Dara
Stunts: Jean Huynh
“B” Camera Operator: Eric Bornes
Camera Trainee: Kevin Kaiser
Visual Effects Production Manager: Marja Maccotta
Stunts: Oscar Casellas
Stunts: Ahmed Chouikhi
Stunts: David Grolleau
Stunts: Astou Vedel
Stunts: Alexandre Vu
Second Assistant “C” Camera: Geoffrey Menardo
Executive Producer: Terence Chang
Boom Operator: Adèle Le Goff
Data Wrangler: Quentin Verbruggen
Focus Puller: François Vigon
Second Assistant Director: David Biet
Boom Operator: Vincent Rochette
Key Grip: Pascal Delaunay
Costumer: Julian Moeglin
Production Executive: Sara Scott
Graphic Designer: Jeremie Solomon
Props: Roland Toupet
Third Assistant Director: Eva Claverie
Gaffer: Stéphane Bourgoin
Sound Mixer: Vincent Piponnier
Utility Stunts: Richard Epper
Stunts: Teddy Ponceau
Stunts: Florine Silva
Weapons Master: Robert ‘Rock’ Galotti
Stunts: Alexandra Boisseau
Stunt Double: Lucile Perez
Costumer: Mathilde Perrussel
Producer: Lori Tilkin
Assistant Director: Mathis Dujardin
Additional Hairstylist: Marion Di Domizio
Makeup Artist: Kelly Marazzi
Hairstylist: Audrey Tavares
Location Production Assistant: Thomas Le Govic
Location Production Assistant: Marie-Jeanne Raoux
Assistant Makeup Artist: Sarah Daoud
Makeup Artist: Aurélie Leupe
Assistant Location Manager: Kevin Boubli
Production Supervisor: Michèle Maurer
Location Production Assistant: Maxence Ravel
Assistant Location Manager: Camille Relier
Hair Department Head: Shannon Bakeman
Production Manager: Arnaud Kaiser
Location Production Assistant: Jérôme Beche
Location Production Assistant: Hugo Marquetty
Assistant Location Manager: Sophie Ohayon
Executive Producer: Robin Mulcahy Fisichella
Hairstylist: Misiri Patricia Patou
Sound Re-Recording Mixer: Paul Massey
Makeup Artist: Michaela Daroussi
Makeup Artist: Cynthia Scigliuto
Makeup Artist: Sandrine Denis
Executive In Charge Of Production: Cristen Carr Strubbe
Sound Editor: Gael Nicolas
Makeup Artist: Brahim Aouchiche
Location Production Assistant: Hugo Richard
Dialogue Editor: Sean Massey
Key Hair Stylist: Ludivine Jahan
Additional Hairstylist: Mathilde Oliviero
Assistant Location Manager: Édouard Decker
Location Manager: Sébastien Quérité
Makeup Artist: Margherita Laserpe
Stunts: Mélissa Humler
Screenplay: Josh Campbell
Screenplay: Brian Helgeland
Executive Producer: Matt Jackson
Storyboard Artist: James Doh
Screenplay: Matthew Stuecken
Executive Producer: Mark Gordon
Associate Producer: Angeles Woo
Music: Marco Beltrami
Director of Photography: Mauro Fiore
Production Design: Aline Bonetto

Catogories:
Action,Thriller,Crime
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Language:
Français,English
Production:
Canada,United States of America
Company:
Universal Pictures,Atlas Entertainment,A Better Tomorrow Films,Entertainment One
Popularity:
155.387
Date:
2024-08-22
Year:
2024

Sejian: This movie is laughably bad. Oh my goodness.
It’s nice to see Nathalie Emmanuel outside of the Furiously Fast series and it’s nice seeing Omar Sy and Sam Worthington again but this movie just steadily gets more campy and more cringe and more stupid as it progresses. The best scene is probably the club hit early on, and it gives you a false sense that the movie is going to be better than the poster – it isn’t. In that respect, The Killer (2024) reminds me of Smile (2022). Folks went crazy for Smile. Smile went downhill after the opening scene and never recovered.

I watched Silent Night (2023). It wasn’t horrible, but maybe John Woo should’ve stopped with that.

I don’t care that the story isn’t original, I care that the script is poorly written and the direction is lackluster. Zee is poorly written, Sey is poorly written, Jenn is poorly written, and Finn says “Kushala Daora” one-two many times. Jax is probably the best written character and he’s on-screen for like 5 minutes total.

I got the impression early on that they were going for a Killing Eve (2018-2022) vibe, but yeah, no. It’s just sad.

Can someone competent take this cast, this concept – this “Queen of the Dead” idea, and do it properly?

If you’re looking for some female-led assassin action, check out The Protégé (2021) which wasn’t a masterpiece but it was more entertaining than this, Anna (2019), Salt (2010), Red Sparrow (2018), or Atomic Blonde (2017).
MovieGuys: Yes, we all needed another “girl boss” flick to spark our inner woke, didn’t we?
What’s that you say, “hell no”, well then, read on. The Killer starts off with a main character, an assassin no less, who comes across as being about as tough and intimidating, as a bowl of warm mashed potato. But hey, she has a punch bag in her bohemian bedsit. Not to mention a handler who looks like he can, in fact, handle himself.

Indeed, the underlying strategy seems to be to use visually gritty characters and cues, to drown out the entirely non-threatening nature of the lead character. Its a bit like sitting a potted rose down with pots of cacti, in the hope people will inexplicably mistake one, for the other.

As you might expect, the results another absurdly unconvincing, predominantly exposition driven, affair, that would, I feel have only worked if re-imagined as a satirical comedy.

That’s not to say this is the fault of the actors. Its a decent cast, who have found themselves mis-cast, no doubt, I’m guessing, so the script can play gender politics. Suffice to say, the quality acting, is one of the limited upsides, of this flick.

In summary, no amount of suspension of disbelief, will make this work.I personally wonder why they persist, when everything I see, seems to suggest the viewing public have thoroughly rejected, the DEI agenda, in favour of a return to traditional, sensible, entertainment.