![]() Mary Elizabeth Winstead as the title character in KATE. In a way, the sloppiness feels deliberate since it taps into Kate’s struggle to stay alive until her mission is complete, but it’s also massively difficult to ignore how ugly and unentertaining most of Kate is because of its amateurish action choreography. While the combat obviously wasn’t going to be as fluid as something found in a martial arts film, some of the punches and kicks don’t connect and it’s extremely noticeable especially in the fight sequence in Renji’s (Tadanobu Asano) penthouse where Kate fights Renji’s partner Jojima (played by MIYAVI). Kate is poisoned and falling apart the entire film, so even as a trained assassin her moves aren’t as lethal or swift as they would be if she was healthy, a condition which leads all of the action in Kate to have a ‘sloppy’ form to it. The fighting in Kate is a bit complicated, as well. Yet, his performance in the film is lifeless, as he does nothing besides wear a blue three-piece suit, sit in chairs, and get his head chopped off. Tadanobu Asano, a Japanese actor mostly known in America for his role as Hogun in the Thor films and Raiden in the new Mortal Kombat, has a career of starring in bizarre, colorful, and totally messed up Japanese films like Ichi the Killer, Shark Skin Man and Peach Hip Girl, and Electric Dragon 80.000 V. You can predict what the ending of the film is going to be as soon as you look at the cast and realize who’s in the film. Winstead puts everything she has into her performance, but it just isn’t enough to make Kate worthwhile. The film is largely forgettable after that. Mary Elizabeth Winstead and Miku Patricia Martineau as the title character and Ani in KATE. The camera technique isn’t nearly as effective as those camera techniques in the other films mentioned, but does deserve some credit for trying something different. It also spins 360 degrees as she clutches onto two yakuza goons mid-fight. ![]() Kate does something similar with its perspective, but also flips it along with the film’s lead as she is thrown head over heels onto the ground. Then, Leigh Whannell’s Upgrade utilized those familiar tilting camera techniques in a way that factored into its sci-fi storyline while adding a bit of depth to its miraculous-but-deadly-implant concept. Gareth Evans’ The Raid 2 seemed to introduce the technique of the camera tilting with someone as their face was smashed into a table, wall, or floor. ![]() However, the sequence lasts a total of maybe 90 seconds and then you never see the car again. The loud Japanese pop rock blasting from the speakers and the neon pink lighting exploding from the car’s interior already make the visuals of this particular sequence incredibly eye-catching, while Kate’s accelerated pace as she attempts to weave around cars in amidst her deteriorating condition – as well as the sequence’s low-to-the-ground camera placement – makes the viewer feel like they’re along for the ride. Your information will not be shared with or sold to 3rd parties. By opting in, you agree to receive emails with the latest in Comic Culture from Bounding Into Comics.
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