Netflix’s ‘Kate’ Review

Apparently, Netflix’s Kate is a brand new movie based on an original idea. It is not a remake or reboot or franchise expansion; it is not based on real events nor is it adapted from existing source documents.

But did you see? Kate earlier in other movies, what skeptics might suspect is exactly the idea: It feels like a title generated by the Netflix algorithm just for the purpose of filling in the Because You Watched row. (It was actually directed by a human, Cedric Nicolas-Troyan.) It’s a bit Exploita little Gunpowder Milkshake. Its Japanophile aesthetic aims for the sophistication of Blade Runner but falls closer to the hollow luster of Ghost in the shell. Even the title character feels like an extension of star Mary Elizabeth Winstead’s other vengeful assassin character. Birds of prey.

Kate

Key point

A lackluster copy of other, better movies.

Release date: Friday, September 10

Cast: Mary Elizabeth Winstead, Miku Martineau, Woody Harrelson

Manager: Cedric Nicolas-Troyan

Writer: Umair Aleem

R-rated, 1 hour 46 minutes

All of these familiar elements come together to form a well-suited entertaining movie. If its bloody skirmishes felt sluggish compared to the grace of John Wickwell, there are worse action movies to cot John Wick. If its car chase feels too obvious to be CG even by a Fast and furious the movie, well, the vrooms and cursing still scratch some lizard brain. But Kate Wearing its influences like borrowed clothes, never managed to develop a style or voice that was entirely her own.

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Umair Aleem’s script is so predictable that it’s possible to map out the entire final act based on the first two minutes of the film and plot summary. The spoiler-free version is this: Kate is an elite American assassin operating in Tokyo who wakes up from a failed job to discover she’s been poisoned. She has about a day left to live, which she chooses to spend hunting and avenging her killers – with unexpected help in the form of Ani (Miku Martineau), the teenage daughter of one of Kate’s recent goals. (There’s no point in guessing whether they’ve formed an unconvincing emotional bond in their tragic past.)

Winstead’s no-nonsense aura served her as well as Kate, a strong-willed, silent person whose only concession to fickle things was an obsession with a particular brand of soft drink. And she definitely looks the part of the badass heroine, at least in slo-mo. A late scene, in which she walks into the lobby, mocking behind giant sunglasses, a cigarette dangling and layers of blood and bruises, feels like ideal GIF fodder . But she easily got past the moment when a character with real personality appeared – Jojima, a yakuza assassin who plays with rock star Miyavi’s rock star élan in real life. Introduced for the first time in a silk Versace gown and enjoying fish nails at home, Jojima does Kate feels, for a moment, exactly as stylish and silly as it should be.

Alas, Jojima did not stick around for long. Without him, Kate largely an endless onslaught of interchangeable yakuza elves through stereotypical Japanese settings: a bathhouse, a kabuki performance, an overflowing open-air market neon lights. When a Japanese character complains that Westerners are “ingrained in cultures they don’t understand,” it’s hard not to wonder what he thinks of the movie. he is in, consider Kate ends up being another film that sees the country as more than just a weird setting for its white characters. (Even Ani, a local, is segregated from her Japanese crime family for being half-white.)

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But such superficiality is on par with the course for Kate. If the movie has a defining moment, it’s not any of the fun parts where Kate shoots the bad guys, or the emotional parts where she sticks to her young responsibilities, or the meaningful parts when She gets wisdom from an old Japanese gangster. (“Death is a beginning,” he remarked thoughtfully.) It was the moment when she paused in the middle of an urgent mission to cut her own hair over the bathroom sink.

Kate wasn’t trying to disguise herself. Her hair is not in order. As far as we know, she’s not particularly fanciful, and she’s definitely running out of time. She didn’t even look that different then. However, she trims and combs her own hair when she looks at herself in the mirror, because a self-managing haircut is cinematic shorthand for a woman who takes care of her own life, and that’s why. do Kate hopefully conveys what Kate is doing – never mind that the scene makes no sense in context. It’s the movie equivalent of copying someone else’s work and forgetting to change the name on top. The film’s imitation can be clever enough to overcome everything here and there. But it doesn’t need an eagle’s eye to notice that Katehas a few ideas of its own.

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Posts “Netflix’s ‘Kate’ Review” posted by on 2022-07-04 23:46:28. Thank you for reading the article at Beallich.com – Latest Entertainment News, Events… in the US

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