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The Replacement Killers

I try not to be too set in my ways, which is a good reason to rewatch a movie years later and see if you respond differently than the first time around. So something told me it was time to revisit something from those heady days when the emerging international popularity of Hong Kong action cinema fired peak John Woo and Chow Yun Fat out of a cannon aimed at the heart of Hollywood. I’m not sure what kind of a cannon shot them so that Woo landed in 1993 and Chow not until 1998, but life is a mystery. Anyway, they exploded and in the case of Chow, we were mostly disappointed and then happy that he didn’t stick around that long, because Hollywood clearly didn’t know what they were doing with him.

THE REPLACEMENT KILLERS was significant not only as Chow’s first Hollywood/English language movie, but the directorial debut of Antoine Fuqua, who became a much bigger deal when 2001’s TRAINING DAY won Denzel Washington an Oscar. That kind of gave him the air of an Important Filmmaker for a little bit, but I think now he’s settled in as the type of director who makes OLYMPUS HAS FALLEN and THE EQUALIZER 1 and 2, which is more like the expected trajectory for the director of this one. He came from directing music videos, most famously “Gangsta’s Paradise” by Coolio, but also “The Most Beautiful Girl in the World” by Prince.

Chow plays “John Lee,” who’s pretty much a remix of his character in THE KILLER. He’s an assassin who owes one more hit to L.A. Triad boss Terence Wei (Kenneth Tsang, A BETTER TOMORROW 1 and 2, THE KILLER, SUPERCOP, RUSH HOUR 2). But he’s sent to the home of LAPD Detective Stan Zedkov (Michael Rooker, CLIFFHANGER) and sees the man’s wife and son through the sniper scope and decides he can’t do it. (In a corny touch, Zedkov doesn’t see him but looks right into the scope as if sensing him.)

So John has to get back to China to protect his family from Wei. His Buddhist monk friend (Randall Duk Kim, THE MATRIX RELOADED, NINJA ASSASSIN, THE LAST AIRBENDER, JOHN WICK 1 and 3) helps with hiding out his mom and sister back home while John tries to find a fake passport, like, today.

That’s what brings him to the apartment of forger-for-hire Meg Coburn (Mira Sorvino, THE STUFF), the co-lead who kind of seems like the lead-lead because she does most of the talking. Two things I like about this scene: One, she’s working on some fake documents when he buzzes her, and she’s smiling, as if she just really enjoys her work. Two, because he’s Chow Yun Fat, he looks totally suave even on a shitty security cam monitor.

She’s suspicious and resistant to this new, demanding client, but takes his money and gets started… and then Triads show up at her door. There is shooting, her computer gets wrecked, John gets away. Meg hates cops and only has a faceless incomplete passport anyway, so she can’t tell Zedkov anything, and he lets her go to use as bait.

The design aesthetics are not one of the things I miss about this period

It’s one of those reluctant partnership stories – John comes back to try to get the passport, Meg wants nothing to do with him, he sort of kidnaps her, he protects her, she starts to understand him more and like him, it’s kinda sweet, but not real deep. The attempt at a Hong Kong style killer/cop relationship between John and Zedkov kinda works too – during a big chase/shootout Zedkov is observant enough to realize that John could’ve shot him and didn’t, and that he needs to re-examine what’s going on here, so he’s later able to recognize that this supposed bad guy is risking himself to protect his son.

Zedkov is a weird cop, though. Wei is after him over the death of his son in a drug bust, and he actually had the audacity to show up at the funeral, “to show my respects,” he says. And the thing is, it seems like that was a sincere answer! It’s the sort of honorable cop thing that would play different in a Hong Kong movie. It’s weird to see it played by Henry: Portrait of a Serial Killer!

There’s either a kind of cool twist or a misunderstanding on my part that made it seem like a kind of cool twist. See, when John’s conscience prevents him from shooting, it seemed to me like it was because he saw Zedkov’s wife and son and thought of his own family, and/or “I can’t kill this man in front of his son.” So it seemed more original when I realized the kid was the target. From the sounds of it he would’ve been totally fine shooting the cop in front of his son, but the job was to shoot the son in front of the cop. That’s cold.

There are some flashes of excitement in the action. Some good car stuff. Many bullets fired (supposedly a record for an American movie). You get to see Chow hang upside down from a fire escape to grab a guy. There’s a cool part where he’s running in a parking garage and an SUV pulls out and he drops down and slides all the way under it. And then the innocent lady inside totally gets shot! The stunt coordinator, Allan Graf, was Walter Hill’s go-to guy for a long time, but probly got the job off of BROKEN ARROW.

Unfortunately just like back then, watching it now I can’t really avoid comparing it to the Woo shit, which it can’t compete with for excitement, poetry, style or volume, partly because nobody does it like Woo, partly because I’m just not as invested in the characters. I’m glad Fuqua tries to put his own spin on it, not really mimicking Woo that much outside of slow motion. But he and cinematographer Peter Lyons Collister (AVENGING ANGEL, GARFIELD: A TAIL OF TWO KITTIES) come up with a slick music video look set to songs by Crystal Method and Tricky and stuff (nothing against Crystal Method and Tricky and stuff), and it doesn’t really have the same power. It feels like a pose instead of passion.

A small observation about that: in THE KILLER, Woo makes the church a very important and meaningful location, because Christianity was important and meaningful to Woo. Fuqua has Chow visit a Buddhist shrine, because Buddhist shrines are more interesting to us.

Wikipedia quotes Fuqua saying he wanted a “TAXI DRIVER for the 1990s.” I’ll tell you this: I would not have guessed that!

Fortunately there’s a strong supporting cast and a couple goofy bits of flavor that prevent it from being too generic. Meg brings John to take his photo in a coin-op photo booth, but she runs into buffoonish gangster Loco (Clifton Gonzalez Gonzalez, a.k.a. Clifton Collins, Jr., FORTRESS, MENACE II SOCIETY, ONE TOUGH BASTARD, DEAD PRESIDENTS), who is a big shot with the Triads but works out of a video game arcade? The ridiculous touch that made me grin the widest is that they have to stop a plan to assassinate Zedkov’s son when he brings him to the “Cartoon Festival,” which is showing Mr. Magoo shorts to a packed theater at night. As totally happened constantly in the late ‘90s, I assure you.

The titular replacement killers – flown in from the big leagues to kill the kid as well as John – are Til Schweiger (also making his American debut) and a leather trenchcoat wearing Danny Trejo. Trejo only has two lines, totaling four words, because he’s there to walk in calmly firing guns and exude menace in all directions, but I want to emphasize that he was a reason I was excited for the movie at the time. Though he had already been in RUNAWAY TRAIN, PENITENTIARY III, DEATH WISH 4, LOCK UP, CAGE, MANIAC COP 2 and MARKED FOR DEATH, I didn’t really pick up on him until a decade into his career when he played Navajas in DESPERADO. Then I would be excited to see “the knife-thrower guy from DESPERADO” show up in HEAT, FROM DUSK TILL DAWN, even CON AIR. It’s very possible that Fuqua also knew him from DESPERADO, since Carlos Gomez is in the movie and Schweiger carries a machine gun briefcase very much like the machine gun guitar case. I bet it was an influence.

Jurgen Prochnow (right after AIR FORCE ONE), Patrick Kilpatrick (ERASER, LAST MAN STANDING) , Leo Lee (MARTIAL LAW II: UNDERCOVER), James Lew (NIGHT OF THE WARRIOR), Bob Minor (ACTION JACKSON) and the great Al Leong are also in it.

This didn’t turn out to be one of the great Chow Yun Fat vehicles, but there’s obviously still an appeal to watching him in it. Though the movie doesn’t give his character enough personality or substance, it is properly worshipful of him. That extended to the marketing – the trailer actually had deep-voice-trailer-narrator-guy say, “In theaters around the world, where action is almost a religion, they worship a hero. And on February 6th, he… arrives.” Then Chow spins around in slow motion and fires his gun a bunch of times before “Chow Yun Fat is John Lee, a deadly assassin in a dangerous world…” etc. The narrator also gets in a “from executive producer John Woo” and an “international action star Chow Yun Fat.” Man, those narrated trailers were so cheesy, and also I miss them dearly.

I wonder what the narration would’ve said if they’d gone with their original choice, Chazz Palminteri? I bet he would’ve toned it down a little.

But honestly I think the best thing about the movie is Sorvino. As the trailer also indicated, she’d won an Oscar three years earlier. She was also coming off of two cool movies that became more appreciated over time, ROMY AND MICHELE’S HIGH SCHOOL REUNION and MIMIC. And her tough girl character is scripted with a sort of silly former-child-criminal-who-doesn’t-trust-the-system bio, but she makes you want to buy it. She definitely seems like she’s into it. She speaks Mandarin, spent some time in Beijing and majored in Asian studies at Harvard, so she had many reasons to be excited to work with Chow. (Chow’s first language is Cantonese, though, so there was still some effort required for communication.)

I watched the extended cut, and don’t remember the theatrical version enough to notice any difference, but it sounds like it’s pretty significant. Apparently Columbia didn’t trust Fuqua and had sort of a studio chaperone for him, pissing him off, until they sent in Debra Hill (!) to mediate. Then test screening chumps objected to any romance between Meg and John (which there’s barely any of even in this version) and apparently other backstory stuff was cut out. Then they brought in editor Richard Francis-Bruce (MAD MAX: BEYOND THUNDERDOME, SE7EN). According to the handy Movie Censorship sight he made lots of little cuts here and there that add up to 8 minutes, and include things like Meg explaining the guilt she has for leaving her brother behind when she ran away from sexual abuse.

Well, I wish I could say I missed the boat on THE REPLACEMENT KILLERS, but it’s about what I remembered. Not bad, but there are still real Chow Yun Fat movies I haven’t seen. Still, it hasn’t killed my interest in this period of flawed cultural outreach, so don’t be surprised if I rent THE CORRUPTOR pretty soon.

This entry was posted on Monday, September 7th, 2020 at 9:48 am and is filed under Action, Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

41 Responses to “The Replacement Killers”

  1. I’m really weird about sound design in movies sometimes and this movie always bothered me with how bad all the gun soud effects are. Like they are shooting lasers and not barettas.

    I also like Chow in The Curruptor more than this. Though I think I’m the only one who enjoyed that one.

  2. Man, I never saw that movie. I have the DVD sitting on my shelf for years, I wanted to rent it back in the VHS days, but always chose other stuff instead, not sure why. Okay, doesn’t seem like one of those must see movies anyway, but still.

    Another thing I don’t miss about that era: The “OMG, A GERMAN SHOWS UP IN A HOLLYWOOD MOVIE!” frenzy of the German press. Of course this movie got a lot of hype for being Schweiger’s Hollywood debut (we were already used to seeing Prochnow in American productions), although I remember one critic noting that pairing him up with Trejo, makes him look even more like a babyface.

    But seriously, if any famous German suddenly appeared in Hollywood, the German press went crazy for it! For example they hyped up the appearances of former teen popstar Jasmin Wagner and TV host Verona Feldbusch in Stallone’s DRIVEN months before the release, as if they had actual starring roles! (They only had short bit parts.) Even Alexandra Kamp showing up for one scene in HALF PAST DEAD was deemed newsworthy! Shit, when a fucking BIG BROTHER contestant played one of the mercenaries in PYTHON 2, it was reported as his big movie stardom break! I think around the time SPEED RACER came out, the “Our Wo*man in Hollywood” excitement died down. Probably because Hollywood movies became way more international and foreign (from an American POV) actors show up all the time now.

  3. Another sort of sideways connection between this film and Woo is that FACE/OFF *also* opens with an assassin sighting down a rifle on a cop playing with his son, though of course in that one Nick Cage is more than happy to actually pull the trigger and kill the kid.

    I remember seeing this one in theaters when it came out, but I don’t think I had a very positive opinion of it at the time. I don’t think I ever realized this was Anton Fuqua, though. It’s got such a generic late ‘90s kinda vibe about it that it’s sort of hard to imagine it didn’t just materialize in an explosion of Surge and trip hop.

  4. I like THE CORRUPTOR quite a bit too, only saw it for the first time a couple of years ago.

    Didn’t think much of this, my opinion of Fuqua is kinda low, although I very much enjoyed BROOKLYN’S FINEST and both EQUALIZERs. The worst films of his I’ve seen (TEARS OF THE SUN, OLYMPUS HAS FALLEN) I found to be downright inept in places. This wasn’t in that category, just dull.

  5. It’s funny to think about how Wahlberg, the #1 movie star for people who jizz in their pants at the mere sight of a man in uniform, would never make THE CORRUPTOR nowadays. Even hinting at the idea that not every single cop is a natural born hero with a footlong dick and a heart of gold would be too much for his audience.

  6. Agree on Sorvino. She was a fav in the ‘90s and I’d love to see the career she could’ve had had Weinstein not sabotaged her.

    Weird how after this and The Corruptor failed at aping Chow’s Hong Kong persona, he did Anna and the King and then back to Hong Kong for Crouching Tiger, which did cross over. Then he came back to Hollywood for… Dragonball Evolution.

    I also mean to revisit Fuqua’d follow up, Bait, which I also didn’t like at the time but wonder if nostagia will elevate it (didn’t work for Swordfish though. Early ‘00s is sort of a dead zone.)

  7. It was actually nice to see Sorvino show up in Stuber just because she’s been so missed from studio movies.

  8. I remember thinking him and Jodie Foster were quite good in Anna and the King.

  9. I looked up Mark Wahlberg movies were he plays a cop and I only see one that shows them in a positive light. And that was like 4 years ago. He doesn’t play a cop that often either.

    Though I still argue most movies portray most cops as terrible at their job.

  10. It’s not just cops. His whole career now is teaming up with fellow uniform-humper Peter Berg and playing allegedly real-life “heroes”—cops, soldiers, um, oil workers? The kind that give Trump supporters huge, sweaty, patriotic boners. He’s become the living personification of that one Lee Greenwood song. I don’t have anything against the guy (he can be very entertaining in the right role) but this is something he gets made fun of for a lot.

  11. I have always thought that the worst thing about the movie is the title. THE REPLACEMENT KILLERS just sounds like it should be the title of a comedy of mistaken identity (Tagline: “The Mob wanted the best. Instead, they got…”). Also, Schweiger and Trejo don’t really leave much of an impression in spite of being the title characters? Wait, am I just describing KEANU? That would’ve been preferable to the movie we got.

  12. But they also made Mile 22 together which everybody in that movie is incompetent. Including the people behind the scenes of the movie as well lol

  13. Thought Sorvino is great here as well. I wish she got a better career.

    Vern, will you be reviewing the new MULAN? I totally understand if you don’t. It’s not worth the $30.99.

  14. How about Bill & Ted Face the Music? I know you don’t usually review comedies but it is a Keanu franchise.

  15. This was my most anticipated flick of 1998 and I remember being disappointed as it felt like typical 90s music video nonsense. (I was also in film school at the time and has a similar idea of professional badasses that I felt this flick was the living embodiment of, and was upset and relieved it wasn’t).

    Haven’t seen it since but I miss movies like this on the big screen. Want to check it out now, thanks!

    Corruptor was much better for Chow and it had a brutal car chase. I had forgotten about it though I til 21 Bridges last fall, which felt like a similar kinda flick that i felt they didn’t make any more.

  16. (Also, having re-read the rogue’s gallery of badass supporting players in this one -Leong, Trejo, Kilpatrick etc.- I have to once again reiterate my (rye-enhanced) opinion that the thing that truly held the original Expendables from being amazing was not having the badass assortment of villains. You have eric Roberts and stone cold steve Austin, with a heel turn from Dolph. If they stacked the baddies with all these dudes, that flick would’ve been unstoppable!

    2 at least had JCVD and Adkins, and 3 was clever enough to include Robert Davi, but not having all the bad guys was a clear mistake.

    That’s all)

  17. This one has some backstory going on. From what I remember at the time…

    *Mira Sorvino was NOT popular with the crew of the film. She evidently thought it was a starring vehicle for her (rather than Chow), and wasn’t particularly happy on-set. They, in turn, weren’t happy with her screaming at the top of her lungs before shooting (to get a raspy voice for the film), nor with her attempt to get the director fired.

    *Chow Yun Fat, on the other hand, was very much liked by the crew. For one thing, he learned everyone’s name. For another, he learned everyone’s birthday, and brought in a cake for them during the shoot. Because Chow Yun Fat is fuckin’ awesome, man. Being a HK actor, he also supported the director 100%, and would not get on board with Sorvino’s attempt at firing him.

    So it was evidently not a happy shoot, Sorvino got a prima donna rep, and Chow didn’t get a big Hollywood hit.

    Unfortunately, The Corruptor didn’t change that. Looking forward to seeing what you think of that one.

  18. Like i mentioned on twitter It was a great time to be a Hong Kong film fan in Hollywood during the mid to late 90’s.

    The Corruptor, The Big Hit, Knock Off, Double Team, Maximum Risk, Warriors Of Virtue and those Woo films brought so much energy to and a shot of adrenaline to Hollywood Action flicks!

    Someone should do a documentary on that whole 90’s Hong Kong influence on Hollywood phase, I adore all the films that were released during that time.

  19. CJ, it’s the same thing here in Portugal. I remember all the hype about Maria de Medeiros being in “Pulp Fiction”, and about Joaquim de Almeida being in, I think, “Clear and Present Danger” (it was a Harrison Ford Jack Ryan movie, I think it was that one but I’m not sure). Weirdly though, there was no hype about Almeida being in “Desperado.”

    But you know what? That shit pales in comparison to the never ending noise around every fucking thing Cristiano Ronaldo does, and I’d very happily trade that four hours spent talking about how hard Harrison Ford punches people in fake fights or some shit.

  20. When this came out I was watching every Yun-Fat Chow movie I could get my hands on. And back then I found it to be just as exciting as THE FLAMING BROTHERS, CITY WAR, RICH AND FAMOUS and a few more of his movies that didn’t get released outside HK. The man made 30 movies between 1987 and 1991, but people talked about his pre-Hollywood output as if they were all like THE KILLER and HARD-BOILED. I guess I have to take another look.

  21. Felix – I’ve honestly been looking forward to MULAN (I don’t like the original version, and like this kind of martial arts epic, plus it’s the director of WHALE RIDER) but yeah, I think if I can’t see it in the theater I’ll wait a few months until it’s free with subscription.

    Fred – FACE THE MUSIC made me laugh and smile, but I don’t have much interesting to write about it right now. Maybe down the line if I rewatch the trilogy.

    Zombo – During my research I didn’t come across any of that, but I did read Sorvino telling the AV Club that Fuqua heard her voice sounding raspy after doing ADR screaming for MIMIC and said, “I like your voice that way. Keep it.” So it doesn’t sound like the yelling was a weird diva choice on her part.

  22. Vern – if I can find the article again, I’ll scan it for you. It might still be in a box in the garage. I was quite the collector of HK-related film articles throughout the ’90s.

    But I don’t think the raspy voice/screaming was a diva move…I think she really was trying to get into her character. There was a real clash of acting styles, but Sorvino had won an Oscar, after all. I think she was looking for a starring role (and deserved one), but the studio was more interested in pushing Chow Yun Fat.

  23. I don’t remember if there’s a narrative reason that Mira Sorvino spends the entire movie in her underwear, but I remember it being kinda weird.

  24. Wasn’t there also a rumour that Chow had slapped her or something during one of her tantrums (which I find very hard to believe, given his reputation for being Mr Nice Guy) and that her then boyfriend Quentin Tarantino had turned against the HK superstar?

  25. I’ve watched THE REPLACEMENT KILLERS a few times and remember finding it, once you discard any kind of expectation that this needs to be the Hollywood HARD BOILED or THE KILLER, perfectly entertaining, a description I’d affix to most of Fuqua’s movies. He’s an efficient journeyman film-maker, cranking out films which I mostly enjoy watching while rapidly forgetting them afterwards. Which makes him, for me at least, today’s John Badham and in his effortless ease at genre-hopping, today’s Roger Donaldson. And that’s not a bad thing. Not every action movie director needs to be a Cameron/Verhoeven/Hill/McTiernan level auteur.

    Didn’t hear or read about Sorvino’s diva behavior but I have a nagging suspicion that if Brother Chow had been white, the script would have made time for him and his leading lady to get jiggy with it.(see also: Jet Li and Bridget Fonda in KISS OF THE DRAGON)

  26. I heard Chow and Sorvino do share a kiss in the Director’s Cut. Maybe i am wrong.

  27. Everybody I know that has seen Mulan says it’s really bad and the action is laughable.

  28. Gee, who’d have thought a giant world-eating corporation cravenly courting the approval of a corrupt authoritarian state through the cynical repackaging of a mediocre animated children’s film from two decades ago with little to no input from the culture depicted wouldn’t be a guaranteed recipe for success?

  29. Kay is 100% right on that…any other (white) lead with this script, he would have had a romance. It’s crazy just how taboo something like that was even almost in the 2000s.

    This is one of those kinda sorta decent movies that is totally forgettable. Probably the most late 90s movie ever made. Wish it had been better, Fuqua’s action wasn’t strong enough. Chow as always is absolutely magnetic and the only good thing about the movie is basically how it’s one giant 90 minute bow to his awesomeness. I remember thinking The Corruptor was so-so but Chow was excellent. I think Woo wanted Chow to be the villain in MI2. I would have LOVED to see that.

    Oh well, this movie isn’t great but it’s still better than a lot of the crap Chow was making in HK at the time that wasn’t directed by Woo.

  30. Majestyk, who says it won’t be a success? Look at all the money making crap The Evil Empire have forced upon us up until now. Bad action scenes won’t scare the families with cable contracts written in blood from recommending it to their friends.

  31. When I mention success, I’m not talking about money. I’m never talking about money.

  32. Fair enough, but all the “not THAT into movies” people I talk to are really looking forward to MULAN. Some of them because of the company producing and some of them because the trailer promises good looking costumes and nice scenery.

  33. I’m sure. I’ve given up trying to figure out what makes the average human plunk down their ticket money. I’ll never forget the summer I tried to convince a friend of mine to go see FURY ROAD and he was like “The only movie I’m seeing this summer is the POLTERGEIST remake because I loved that movie as a kid.”

    I stopped talking about movies with that friend.

  34. If Chow had been the villain in MI2 that would’ve freed up Dougray Scott to be Wolverine and who knows what world we’d be living in now!

  35. And then Jet Li would have starred in CROUCHING TIGER, HIDDEN DRAGON and ROMEO MUST DIE wouldn’t have existed. I somehow doubt that Chow would have gotten the lead in ENIGMA, though.

  36. Replacement Killers feels like the last movie Al Leong was in. That true?

  37. His last theatrical appearance is in Scorpion King. His last thing is Awesome Asian Bad Guys which is less than an hour and looks pretty humorous.

  38. Jet turned down CROUCHING TIGER because he promised his wife he’d take time off if she got pregnant. So that part of the timeline is safe.

  39. So you’re saying that both the pregnancy and the making of ROMEO were quickies?

  40. I wouldn’t have been able to get on board with a movie where Tom Cruise is the good guy and Chow Yun-Fat is the bad guy. Other way around, no problem.

  41. Since Sternshein dropped MULAN into the conversation at some point here, here’s my 2 cents nobody asked for:

    Saw it…and yup, can confirm it’s a certified piece of cinematic dreck.

    Let me set aside complaints about a team of Caucasian writers giving Asian actors largely “Fortune Cookie Wisdom”-style dialogue to mouth, it’s fight and battle scenes having all the excitement and intensity of an afternoon nap or the fact that Jet Li’s a cameo and Donnie Yen and Gong Li are thoroughly wasted and get to the crux of why MULAN 2020 sucks all kinds of balls:

    It’s complete capitulation to Hollywood’s current approach to FEMALE EMPOWERMENT: That all protagonists not having a dick be sprung onto screen as fully formed Ass Kicking Ninja Warriors possessed of equal parts courage, resolve, compassion, intelligence, nobility, honor and loyalty. They will not stumble, fall, fail, make a wrong decision, experience doubt or waver from their core beliefs.

    And so Hua Mulan Ver.2020 displays the kick-assery of Michelle Yeoh and Chang Pei Pei combined, rides a horse like John Wayne, handles a bow and arrow like she graduated from the Legolas School of Archery and is gifted with a shit ton of Chi (yes, it’s official, the Chi is now the fucking FORCE).

    Luke lost an arm in his first fight against Vader. 35 years later, Rey picks up a light saber for the 1st time and carves a chunk out of a trained Jedi. Draw a straight fucking line from that to a 23 year old Charisma Vacuum who in the course of a 2 hour movie, tells Gong Li to fuck off, lectures Donnie Yen on military strategy, single-handedly rescues Jet Li and murders Jason Scott Lee and you’ve witnessed the complete evolution of the Mary Sue.

    Oh yeah..it’s also boring as fuck.

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