The Replacement Killers starring
Yun-Fat Chow, Mira Sorvino, Michael
Rooker, Kenneth Tsang, J?rgen
Prochnow
The Replacement Killers Blu Ray
Usually, the title of a work is the subject--but not always. "The
Replacement Killers" is not a film about replacement killers, but about
moral ambiguity, gray area. John Lee (Chow Yun-Fat) is drawn into a
moral morass by a Chinese Mafia hold over his family. He must become
an assassin to prevent his mother and sister from being killed.
John Lee is brought to the West Coast to kill people, enemies of Mr. Wei, a
very powerful drug lord based in the United States with tendrils wrapping in
China as well. John's father was an honorable military man before the
Cultural Revolution and friend of Mr. Wei. Connections.
When John backs down from his third kill for moral reasons, he has
committed "treason" against Mr. Wei and must return to China to protect
his family. That's where Meg Coburn (Mira Sorvino) comes in. She is one
of the best forgers around. He needs a new passport. When they meet,
Wei's hired thugs are right behind. Violence breaks out. That's the back
story.
Meanwhile, two real hit men are hired as John's replacement killers.
Another reviewer so amusingly describes these men as hit men who
actually look like hit men: black leather jackets, black pants, big and
muscular bodies and fierce faces, and weapons cases.
Perhaps this will seem strange, but "The Replacement Killers" is an
elegant and glamorous film noir. Most of the cinematography is filmed in
dark or semi-dark places: her office/apartment area, the car wash, the
movie theater, the Buddhist temple, Mr. Wei's business office, alleys and
staircases. John's impeccable dress (a suit and tie) and Meg's hip attire
speak glamor. Her youthful face, his mid-30's look, hers Caucasian with
deep red lipstick and his handsome Asian face make a striking balance for
elegance. The background music throughout the film is romantic, laced
with Asian mysticism.
Every scene with Wei and the head of his henchmen, Jurgen Prochnow,
adds to the striking miasma of corrupted moral values. Just ugliness and
sordidness.
Michael Rooker represents a police department that is actually straight and
committed to their actual pledges to pursue evil and protec t society. As the
third party of participants, the police do not back down from the use of
arms. Not at any time do all three parties come together for a significant
shoot-out. The police always arrive just as the shooting is over. The last
big shoot-out between John and Meg and the Chinese Mafia is a battle
which stirs the gray area into moral certitude. It's a great scene.
Mira Sorvino is absolutely an essential part of how well this film works. She
is no timid woman to be protected. Her part in each sce ne of violence is
crucial. Then gears are whirred and her parting scene with John is
dignified yet tender. Amazing.
Most other reviewers love this film. I find the film sophisticated, glamorous,
and elegant, not because it is violent, but despite the violence, which is not
made glamorous or elegant, just present and sometimes necessary. Moral
ambivalence.
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