Ghost Killer – An Unexpected Spiritual Successor to Johnnie To

Fresh off the third Baby Assassins film and a Baby Assassins television series, ever-prolific fight/stunt-choreographer and director Kensuke Sonomura returns to the director’s chair with Ghost Killer. As a director, Sonomura has had an interesting career to this point, beginning with the sub-80-minute Hydra (2019), a simple action film about an assassin wanting to stay retired but must fight again following a connection with a young co-worker at his restaurant. He would then follow Hydra with a more conventional yakuza vs cops flick with Bad City (2022). Although both films are solid, the fundamental issue holding back his directorial career thus far, compared to the flourishing Baby Assassins film franchise, comes down to an understanding of pacing and structure. However, Sonomura has never suffered when it comes to action; as he offers one of the more unique and exciting voices in the genre today.

Whether it is the films he has directed or the ones he has simply choreographed, Sonomura’s brand of action is entirely unique, emphasizing feints, jiu-jitsu, and incredibly technical and fast choreography. That being said, it is easy to feel a bit frustrated with just how good his sequences are when audiences are left waiting long periods of time until the next one. His latest film, Ghost Killer, sees the director finally conquer his issue of pacing. Frequent collaborator Yugo Sakamoto, also the director of the Baby Assassins franchise, pens a film akin to a Johnnie To & Wai Ka-Fai collaboration, a fusion of My Left Eye Sees Ghosts, Running on Karma, and Mad Detective, fused with Sonomura’s blisteringly technical and jaw-dropping choreography. This pairing proves to make not only the best action film of the year so far, but also one of the most memorable films of the year. Fans of Johnnie To are in for a treat with this one.

Ghost Killer centres around the soul of murdered hit-man Hideo Kudo (Mimoto), one which possesses the bullet cartridge used to take his life. After a particularly rough go of things, college student and aspiring influencer Fumika Matsuoka (Takaishi) stumbles upon the bullet, taking it home with her and going on with the day, unknowing of the grudge she just took on. After an encounter at her home, the two souls become connected. Fumika attempts to exercise the ghost, learning that the only way past is through; Fumika must secure vengeance for Hideo’s soul, solving the mystery of his death in the process. This character dynamic not only allows for humour and character progression, but it also provides limitations and amplifies the action within the film. Due to the more frail body of a college student, Kudo is unable to operate her body as if it was his own; he cannot take 25 punches and be fine. With this, the film explores more creative choreography and utilises its environment to best suit every situation; these fights are further enhanced by the commitment and incredible execution of Takaishi.

Within the film’s first moments, Sonomura’s style will hit audiences like a punch. A fight sprawls out onto the street with choreography so fast it’s a miracle he keeps all of it in frame. Following this, it does what others have done to this point: it slows down and builds to a fight later on. Ghost Killer, however, does not suffer from the same issues as his previous films; the time spent in between the action here is dedicated to building empathy for these two souls, exploring their situation through humour (the Sakamoto influence is felt) and hinging it all on the incredible performances by Takaishi and Mimoto. The moments spent in between feel ripped right out of a To and Wai Ka-Fai film, especially with its balance of humour and drama shrouding a sincere emotional core.

The marriage of action and narrative reaches a peak here, much like Sakamoto’s Baby Assassins 3, as the collaborators have begun to trust their characters rather than suffocate them with exposition and contrivances. As spectators, audiences don’t just grow to like these characters, but understand and empathise with their position to a degree that his past films have not allowed for. Certainly, the film’s excellent action is at the centre, but the To influence on Ghost Killer profoundly enhances its pacing, structure, and tone rather than bogging it down as his previous films have.

At the end of the day, Ghost Killer features the best fight scenes audiences will see all year, amplified by a sincere heart and emotional core that is more riveting than any of the films Sonomura has made prior. Johnnie To and Wai Ka-Fai have found their successor, and the result is certainly a welcome surprise.

still courtesy of Well Go USA Entertainment

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Brad Simon

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