Not to be confused with David Fincher’s 2023 thriller of the same name, the latest film called “The Killer” is cut from a different clothe. It comes from the legendary filmmaker John Woo which automatically makes it a movie worth talking about. “The Killer” is a remake of Woo’s own seminal 1989 Hong Kong action classic which has been heralded as one of the most influential action films ever made and paved the way for Woo’s eventual move to Hollywood.

This new version of “The Killer” features a reimagined story written by Oscar-winner Brian Helgeland, Josh Campbell, and Matt Stuecken. They take the general framework of the 1989 film and add their own spin. They move the location to Paris, rework key characters, and add several new layers to the narrative. Woo handles the rest, directing the film with his usual verve while including all of his signatures: slow-motion, split-screens, religious imagery, duel-wielding pistols, white doves. It’s all here.

A well-cast Nathalie Emmanuel plays Zee, a beautiful yet lethal Paris-based assassin who works under her mentor and handler, Finn (Sam Worthington). Zee is a proficient contract killer, and like most assassins she operates by a strict code. Hers is quite simple – no civilian targets. That code is put to the test after Finn gives Zee her next assignment. She’s to slip into an upstairs office at a popular night club and kill a group of gangsters. “No one leaves that room alive,” Finn instructs her. Sounds easy enough. What could go wrong?

As it turns out, a lot. Zee disposes of her targets in glorious John Woo fashion but spares the life of one person in the room – an unarmed American singer named Jenn (Diana Silvers) who loses her eyesight during the clash. As you can probably guess, that one act of mercy doesn’t sit well with Finn who knows that his client, a crime lord named Jules Gobert (Eric Cantona), won’t be happy. He immediately encourages Zee to track down Jenn and finish the job.

Meanwhile a street savvy but frustrated Paris police detective named Sey (Omar Sy) is assigned to the night club case. His investigation leads him to a pampered Saudi Prince (Saïd Taghmaoui), $350 million in stolen heroin, and a hospitalized Jenn who suddenly finds herself targeted by some mysterious men she doesn’t know. In an unexpected turn of events, it’s Zee who comes to Jenn’s rescue which immediately puts her on Sey’s radar.

The script doesn’t bring much new to the assassin movie formula, but it throws us some fun twists and creates characters who keep us locked into the story. Chief among them is a really good Nathalie Emmanuel who brings a certain charm as well as an illusive innocence to Zee. But she also shows off the kind of physicality that a John Woo film demands. Meanwhile the always sturdy Sy is a strong complement, both to Emmanuel and to Woo’s style.

But as with any John Woo film, the action is the centerpiece. He treats us to several good chase sequences, a thrilling hospital shootout, and an electric final showdown in and around a decommissioned church. They are all fiercely shot and choreographed while being laced with most of Woo’s easy to recognize trademarks. And that’s exactly what we fans expect.

Interestingly, while “The Killer” has clear similarities to the 1989 film, Woo doesn’t attempt to recreate what many consider to be his masterpiece. Instead, the changes to characters, setting, and even tone allow him to explore his previous work in a new light. It also adds enough freshness to keep this from being a retread. And it provides Woo with new inspiration to do what he does best – create proudly violent and stylishly over-the-top action that leaves fans like me giddy. “The Killer” is streaming on Peacock.