![]() It’s the movie equivalent of copying someone else’s homework and forgetting to change the name on top. Nevertheless, she gives herself a trim, and fluffs it while studying herself in the mirror, because the self-administered haircut is cinematic shorthand for a woman taking charge of her own life, and that’s what Kate hopes to convey Kate is doing - never mind that the scene makes no sense in context. She doesn’t even look that different afterward. She’s not especially vain, as far as we know, and she’s definitely short on time. (“Death is a beginning,” he remarks sagely.) It’s the instant when she pauses in the middle of an urgent mission to cut her own hair over a bathroom sink. If the film has a defining moment, it’s not any of the cool parts where Kate shoots bad guys, or the sentimental parts where she’s bonding with her young charge, or the wannabe-meaningful parts where she’s receiving wisdom from an old Japanese gangster. (Even Ani, a local, is set apart from her Japanese crime family by virtue of being half-white.)īut such superficiality is par for the course for Kate. When a Japanese character complains that Westerners “gorge on cultures they don’t understand,” it’s hard not to wonder what movie he thinks he’s in, seeing as Kate ends up being yet another movie that sees the country as little more than an exotic backdrop for its white characters. Without him, Kate is largely an endless onslaught of mostly interchangeable yakuza goons hurtling through stereotypically Japanese settings: a bathhouse, a kabuki performance, an outdoor market awash in neon. First introduced in a silk Versace robe enjoying an at-home fish pedicure, Jojima makes Kate feel, for a moment, exactly as stylish and silly as it should be.Īlas, Jojima doesn’t stick around long. ![]() But she’s handily upstaged the moment a character with an actual personality shows up - Jojima, a yakuza hitman played with rock star élan by real-life rock star Miyavi. A late scene in which she struts into a lobby, sneering behind enormous sunglasses, a dangling cigarette and layers upon layers of blood and bruises, feels like ideal GIF fodder. And she certainly looks the part of the badass heroine, at least in slo-mo. Winstead’s no-nonsense aura serves her well as Kate, a strong, silent type whose only concession to whimsy is an obsession with a particular brand of soft drink. (No points for guessing whether they’ll form an unconvincing emotional bond over their respective tragic backstories.) She has roughly one day left to live, which she chooses to spend hunting down and enacting revenge on her killers - with unexpected assistance in the form of Ani (Miku Martineau), the teen daughter of one of Kate’s recent targets. The spoiler-free version is this: Kate is an elite American assassin operating in Tokyo, who wakes up after a botched job to discover she’s been poisoned. Umair Aleem’s script is so predictable that it’s possible to map out the entire final act based on the first two minutes of the movie and the plot synopsis. But Kate wears its influences like borrowed clothes, never quite managing to develop a style or voice that feels wholly its own. If its car chase feels too obviously CG even by the standards of a Fast & Furious movie, well, the vrooms and screeches still scratch a certain lizard-brain itch. ![]() If its bloody fistfights feel sluggish in comparison to the balletic grace of John Wick, well, there are worse action movies to crib from than John Wick. Don’t worry - Chalamet will be playing a famous literary character known for having great hair very soon: Laurie from Little Women.Cast: Mary Elizabeth Winstead, Miku Martineau, Woody HarrelsonĪll these familiar elements come together to form a movie that’s fitfully entertaining. Y8HDA4gfM7- Kate Halliwell July 25, 2019įor those of you still mourning the Ti-mo-tay and who aren’t ready yet the towl. Rather annoyingly, it also looks pretty good on him. And as Twitter pointed out, it also resembles the “pencil” haircut that Claire gets on Fleabag. In the new Netflix Shakespearean drama The King, in which Chalamet plays King Henry V, he’s sporting a new style that looks like a bowl cut, plus terf bangs (can we call it…the towl?) It seems at least somewhat historically accurate. It became so popular that women started asking for the “Ti-mo-tay” in salons.īut new pictures show that the cut has met an untimely end. First seen in Ladybird and Call Me by Your Name, the artfully disheveled chin-angled was dubbed “once-in-a-generation hair” by GQ. Pour one out and turn up some Sarah McLachlan for Chalamet’s beloved, perfect waves. ![]() I’m sorry, the old Timothée Chalamet hair can’t come to the phone right now.
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