Generally, finding the guilty party to your fatal poisoning is reason enough to go on a butchering spree through half of Tokyo but neither Kate’s writing or Winstead’s performance convinces you she’s all that fussed about it. No accusations of plagiarism here – Kate and Gunpowder Milkshake went into production within months of each other, it’s just interesting we often get symmetrical set-ups at the same time. Mary Elizabeth Winstead with Miku Martineau.Īlong the way, she picks up Ani (Miku Martineau) the brash and pained teenage daughter of the man she killed in Osaka – much like another recent female assassin thriller, Gunpowder Milkshake, which relies on a similar killer-and-daughter-of-man-she-killed pairing. Its tired story and flat characterisations mean you’re just counting minutes until the next shoot-out or sword fight. It gets close on the first two counts but misses widely on the last one.ĭirected with some visual panache by French filmmaker Cedric Nicolas-Troyan ( The Hunstman: Winter’s War), from a lifeless and overly earnest script by Umair Aleem, Kate borrows heavily from its predecessors in the genre but never gives us a reason to care about it. Kate, streaming from today on Netflix, is aiming for all of these elements. How about some pathos and emotional grounding so you can be invested in the lead character’s fate even if the story stretches the bounds of logic? Definitely, otherwise there’s no real reason to stick it out for 110 minutes. Splashes of blood and stylised violence for a visceral reaction? Yes, of course. To be astounded by fight choreography so inventive it’s balletic? Sure, that would be swell. When gritty action thrillers are a dime a dozen – especially with the influx of them on streaming services – what do you want out of one?
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