Netflix’s Kate wasted a legit action star, ‘Mary Elizabeth Winstead’
2021’s run of “lady-killers” action movies continues with yet another female assassin.
Mary Elizabeth Winstead and stunt coordinator Jonathan Eusebio, who previously worked together on Birds of Prey, deserve better. You could at least just watch Kate for the fight scenes and be reasonably satisfied.
On Birds of Prey, Gemini Man, and 10 Cloverfield Lane, Winstead has developed physical confidence as a performer that girdles her work as Kate’s title killer. She is confident when aiming a sniper rifle and controls when she hits someone in the face with a gun after running out of bullets. With a dagger or a bottle of broken glass, its movements are quick to beat practically as it explains it again and again. And Eusebio is skilled in the coordination of the action scene for Fluid Olegainstmany, which have been their favorite style in John Wick Franchise projects about the fate of Furious, Haywire, and Nikita.
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Which approaches Kate, who is his protagonist as a woman positioning against the waves and waves of Yakuza members. Kate pushes the faces of the people in the Hibachi Grill, raises and holds between the buildings, so that he can shoot his pursuers and slices of fingers. Before stabbed men in the mouth. The Lyle Vincent Cameraman gives the camera the audience with subordination scenes disorientation. It coincides with the blood dotted at the blood on the shoals and enjoys Winstead in slow motion to turn his way through the Neonggreen rifle laser light. Scopes. The violence isn’t exactly ultra, but at least it adds some excitement to the otherwise mediocre script.
Winstead plays a murderer who “hasn’t even failed in 12 years”. She murders people at the behest of Varrick (Woody Harrelson), her manager/boss/father figure. Varrick tells her whom to kill and she does it with no questions asked. (It’s unclear if Varrick works for a major government agency or runs an entire homicide operation himself.) This unbalanced relationship has worked since Varrick adopted her as a child. (This may sound remarkably similar to The Protégé’s setup because it is: Maggie Q and Samuel L. Jackson have the same dynamic in this movie.) Something at work doesn’t feel right. First, he is ordered to kill someone there with his teenage daughter, a serious violation of protocol. Then, 10 months later, he is asked to kill the big boss Kijima (Jun Kunimura). and his body seems to be rebelling against his actions. Composer Nathan Barr publishes cacophonic and bouncing electronic music to indicate that Kate’s body is not working properly, while editors Sandra Montiel and Elísabet Ronaldsdóttir break Kate’s view with crooked angles and harrowing flashbacks. Kate missed the shot, and when she went to see a doctor about the problem, she was diagnosed with Acute Radiation Syndrome that will kill her in a day (Miku Patricia Martineau) as a lever.
Everywhere Kate goes Netflix’s Gunpowder Shake went too. However, a cold-blooded assassin who turns out to be a woman receives a tragic backstory, carries a boy whom she sees as the younger version of herself, and faces a multitude of male characters who primarily see female characters as their subordinates, what to be must be ironic as they will be killed by a women
