There is a bit of a misstep with an early car chase sequence that is so heavily cg assisted, Vin Diesel would blush. Played in the film by a surprisingly ruthless and enraged Winstead, Kate is the last person you can imagine crossing. The fight scenes owe a lot to John Wick (in a good way), and are very slickly choreographed, with an effectively used neon drenched backdrop. Hell, she even rocks some Asics Onitsuka Tiger sneakers, mirroring 'The Bride's' stylish footwear. Given it's Japanese setting, and frequent close combat setpieces, Winstead has shades of a Beatrix Kiddo like rampage. Woody Harrelson adds a touch of class in a supporting role, but make no mistake, this is Mary Elizabeth's show! It doesn't shy away from her rapidly deteriorating health either. But this is no indestructible herione - she's also on the receiving end of some serious pain. She's very much a complete bad ass, as the unflinchingly, bone crunching (and very graphic) violence is meted out. It made me wonder how Winstead's Birds Of Prey role could barely register when she absolutely owns every scene in this. It's predictable, undemanding stuff, wheeling out cliches thick and fast, but Winstead and to a lesser extent, young co-star Miku Martineau, really give it their all. Thoughts of D.O.A and Crank immediately sprung to mind as she embarks on a mission to avenge her 'death'. It shifts up as gear as Kate finds herself with just 24 hours left breathing oxygen (that old chestnut!) as dark(er) forces have administered her with something very nasty indeed. But if enough people play two minutes of it (or whatever Netflix's. Mary Elizabeth Winstead stars as the title character, a highly trained assassin, and we're dropped instantly into the story with her on a very high profile hit. The one good thing about Kate is that its ending, right there from the beginning, makes it clear there won't be a sequel. The latest Netflix action thriller arrives with little fanfare, but is actually a decent addition to the genre.
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