"The Replacement Killers" Almost Gets the Job Done by Homer Yen (c) 1998
When I was in 2nd grade, I always looked forward to Fridays. That was the day that started off with Show and Tell. I and my fellow classmates would bring in our new pet frog, or new yo-yo, or a fast-looking Hot Wheels car or some other shiny, new toy to impress the others. We said little to describe what we had because the items were the show and nobody really listened to what we had to say anyway. But we knew by the response of the classroom that we had to bring something even better the next time. It is now Hong Kong's turn to play, and they have brought to America's film classroom something shiny and slick called "The Replacement Killers" which is decidedly more 'show' than 'tell'.
The central part of this 'show' is a cool and suave Asian-action star by the name of Chow Yun-Fat. Having filmed dozens of movies in Hong Kong, America now gets its first peek at Asia's Clint Eastwood. As John Lee, he is a reluctant assassin who handles guns in the same way Monet handles a paint brush. He is a deadly marksman, but he is also an indentured servant of ruthless crime lord, Terence Wei. If he fails to perform, Wei will not hesitate to kill Lee's family. But in his latest assignment, his conscience prevents him from squeezing the trigger. He knows that there will be consequences, and he must use his killer instincts to not only survive but to find a way to flee to China to rescue his family.
Needing a fake passport, he meets up with Meg (Mira Sorvino), a professional forger, but before she even has time to develop his photo, Wei's henchmen arrive to kill him. After a furious gun battle, Lee manages to escape, and as the film progresses, the brooding hitman finally begins to internalize the ruthlessness and evilness of Wei. He slowly begins to realize that he needs to do more than just save his family. He must also save Meg as well as the person that he was ordered to assassinate.
For a film where the guns do most of the talking, it isn't just a one-dimensional shoot-em up. The tone of the film is quickly established early on, and its level of combustibility never diminishes. Elements of Hong Kong movie making add a certain aura of style to the look of the film. Shot in dark alleyways and small buildings throughout LA's Chinatown, we feel the stress of his claustrophobic situation. Many dramatic scenes are shown in poetic slow motion. Gunplay dominates the movie, but the shootouts are well-choreographed and gives Chow Yun-Fat ample opportunity to show off his skills as he spins, leaps and pirouettes while gunning down his enemies. He is cool under fire; never cracks a joke; and dispatches his enemies in an icy-cold, professional, no-nonsense manner. This characterization is the essence of Chow, and this is his show.
As a result, the movie has a difficult time developing the chemistry between Lee and Meg. Also adept at handling a gun, it seemed painfully obvious that the writers didn't want her to compete with Chow's presence. Although she's a prominant character, Meg doesn't really leave any kind of mark, and presumably, Sorvino's inclusion may have been just a casting decision to put someone familiar to American audiences to improve its marketability. Also, Lee's character is a quiet man, so there isn't too much by way of dialogue.
There is no doubt that Chow is likable and that this is a competent action film for those who like their stories peppered with an industrial soundtrack, sunglass-wearing thugs; and scenes where the heroes are running for their lives amid a hail of bullets. At 90 minutes, the movie takes you where you want to go without any annoying detours. It probably could have done a lot more, but manages to be a nice show piece. I know that the Hong Kong movie makers will bring something even better next time.
Grade: B-
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