As a result, there’s no one to care about, not even Sawa herself, and as the plot staggers towards the inevitable “twist” (that can be seen coming before the movie even starts), the sense of despair rises accordingly. The characters are bland and/or one-dimensional, and nothing the cast does elevates the material in any way (not even Jackson, not exactly a stranger to crass or unconvincing dialogue, can do anything with lines that include “I can’t do this anymore”). In the end, it’s all about the action, but despite some well choreographed moments of mayhem, including a bathroom shootout that’s reminiscent of the one in True Lies (1994), there’s nothing here that has any real impact. We’ve seen this kind of movie so often now that it’s hard to get any kind of enjoyment out of it the viewer can only sit back and watch as Kite ticks the boxes it so resolutely refuses to think outside of. Sadly for the makers of this version, the gap in time isn’t an advantage, and the decision to “go live” has led to yet another dystopian vision of the future where street gangs dominate, crime appears to be the only growth industry, and the police are so jaded as to be little more than bystanders. And when she finally comes face to face with the Emir, the encounter leaves her with more questions than answers.Ī live action version of Yasuomi Umetsu’s A kaito (1998), Kite was probably hoping that arriving so long after the original might mean any comparisons would be kept to a minimum. When a hit sees her being chased by some of the Emir’s people, Oburi helps her escape and, with no access to Amp, her withdrawal symptoms begin to help her remember exactly what happened when her parents were killed. He says he knows her from before her parents’ death, and that they were friends, but thanks to Amp, Sawa’s memories of him are hazy and indistinct (along with most of her past). While Aker covers up any evidence she leaves behind, Sawa is also helped by a young man named Oburi (McAuliffe). As she kills the Emir’s people, she gets closer and closer to him, but her dependency on a drug called Amp causes her to begin making mistakes, and soon her identity is in danger of being revealed. Sawa is helped by Karl Aker (Jackson), a detective who was her father’s partner. Some time after the death of her parents, Sawa (Eisley) starts killing members of the criminal organisation headed by the Emir (Meas), the man held responsible for her parents’ deaths. Jackson, Callan McAuliffe, Carl Beukes, Deon Lotz, Zane Meas He received a Golden Globe nomination and won the BAFTA Award for Best Supporting Role.Cast: India Eisley, Samuel L. Pulp Fiction was Jackson's thirtieth film and made him an internationally recognizable star. Jackson was shocked to learn that Tarantino wrote the part with him in mind. Jackson also worked with the director S teven Spielberg in 1993's Jurassic Park.Īfter playing criminal Big Don in 1993's True Romance, written by Quentin Tarantino and directed by Tony Scott, Tarantino asked Jackson to play Jules Winnfield in Pulp Fiction (1994). Following this role, Jackson was cast in more movies including dramas such as Juice and Patriot Games. His performance received critical acclaim, so much so the jury of 1991 Cannes Film Festival added a special "Supporting Actor" award just for him. After he completed rehabilitation, he appeared in Jungle Fever as a crack cocaine addict. His family entered him into a New York rehabilitation clinic. Related: The Amazing Story About How The FBI Helped Samuel L.
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