Netflix He has not wanted to wait a month since the release of the discreet ‘Sweet Girl’ to show his great interest in action cinema to attract as many audiences as possible to the platform. For this he has opted for ‘Kate’, a thriller headed by Mary Elizabeth Winstead whose premise immediately brings to mind titles such as ‘Crank’ or ‘John Wick’ and which opens this Friday, September 10.
The actress plays here the Kate of the title, a hit man who longs to lead a normal life, but everything changes when she is poisoned, leaving her with just 24 hours to live. That starts a forceful revenge weighed down by a script full of clichés and a less than stimulating treatment of action scenes.
A missed opportunity
That a film is predictable is not necessarily bad, because it is much better to reach an end consistent with what has been seen before trying to get a twist out of the sleeve called to dislodge the viewer. Problems come when a conventional material is approached with reluctance, giving the feeling that you simply want to complete the ballot before moving on to another project that stimulates its participants more.
That is a feeling that hovers almost every moment around ‘Kate’, since Winstead is the only one who seems to take it seriously to be as convincing as possible as a woman of arms to take that will do whatever it takes to achieve her goal. It is a shame that the choreography and the editing work do not allow it to shine more, but the actress embroiders the most lethal side of her character, making it clear that he could kick the butt of anyone who gets in front of him.
So what the script does him a disservice when it comes to approaching his character, since initially we see a slightly more vulnerable and human side wishing to get away from the only life he had known and then little less than to become an invincible robot. It is true that this is nuanced as the minutes pass, largely because the poison begins to take effect, but the character is still too one-dimensional for the delivery shown by the protagonist of ’10 Cloverfield Street’.
It does not exploit its virtues
Unfortunately, that is something that is transferred to the film at all levels, both in terms of its mere plot progression, seeing all the threads that the scriptwriter is going to pull from afar. Umair Aleem |, as when addressing the rest of the characters or the fact that the story takes place in Japan.
It is fair to emphasize that this last point helps the director Cedric Nicolas-Troyan It gives ‘Kate’ some visual flair, but it does so without going beyond the superficial, so it ends up becoming an accessory rather than a truly distinctive element. Perhaps the only exception is the character played by Jun Kunimura, who does reflect that different cultural sensitivity, managing to redirect the energy transmitted by the film in a timely manner.
Beyond that, the film is lost in a revenge that looks very punctual -some physical exhibitions of the protagonist- but tires in general, and the worst thing is that it does not take too long to get it. Nor is it that he expected such a carefree approach as that of ‘Crank’ or a visual energy comparable to that of ‘John Wick’, but he did not feel like one more when approaching a story with enough possibilities to hook the viewer .
Perhaps that is her biggest problem, since ‘Kate’ does seem to want to give some dramatic depth to what she tells, counting on the character played with ease by the young woman. Miku Martineau, but the connection with the protagonist never ends flowing. Be careful, it is much more interesting than the relationship between the characters in Winstead and a very wasted Woody Harrelson.
‘Kate’ is a failed movie in which the impressive display of Mary Elizabeth Winstead is insufficient to raise a proposal routine you never get to take advantage of the most stimulating ingredients at your disposal. Nor would I say that it is bad, but it does not contribute much, not even as a hobby.
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a stunning Mary Elizabeth Winstead makeup a routine action movie for Netflix