User:FrostFairBlade/sandbox/John Woo: Difference between revisions - Wikipedia

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Born into poverty, Woo developed an interest in filmmaking from an early age. After making several short films, he joined [[Cathay Organisation|Cathay]] in 1969 as a script supervisor. Woo left two years later to work for [[Shaw Brothers Studio]], where he would be mentored by [[Chang Cheh]]. Hired by [[Orange Sky Golden Harvest|Golden Harvest]], Woo made a series of comedy films which pigeonholed him into the genre, a reputation that followed him to [[Cinema City Enterprises|Cinema City]]. His breakout hit, ''[[A Better Tomorrow]]'' (1986), marked his first collaboration with [[Chow Yun-fat]]. After directing ''[[A Better Tomorrow II]]'' (1987) and ''[[The Killer (1989 film)|The Killer]]'' (1989), Woo would make the Vietnam War epic ''[[Bullet in the Head]]'' (1990) and the heist film ''[[Once a Thief (1991 film)|Once a Thief]]'' (1991).

Following ''[[Hard Boiled]]'' (1993), Woo transitioned to working in [[Cinema of the United States|Hollywood]], where he would deliver ''[[Hard Target]]'' (1993) and ''[[Broken Arrow (1996 film)|Broken Arrow]]'' (1996) to mixed critical reception. He would also produce and direct several film and television projects, including a [[Once a Thief (1996 film)|1996 adaptation of ''Once a Thief'']] and ''[[Blackjack (1998 film)|Blackjack]]'' (1998). After helming box office successes in ''[[Face/Off]]'' (1997) and ''[[Mission: Impossible 2]]'' (2000), he directed back-to-back disappointments with ''[[Windtalkers]]'' (2002) and ''[[Paycheck (film)|Paycheck]]'' (2003). After creating the comic book series ''[[Seven Brothers (comics)|Seven Brothers]]'' (2006) and the video game ''[[Stranglehold (video game)|Stranglehold]]'' (2007), Woo would return to Asia to direct ''[[Red Cliff (film)|Red Cliff]]'' (2008) and ''[[Reign of Assassins]]'' (2010), with the former being commercially and critically successful. Woo released ''[[The Crossing (2014 film)|The Crossing]]'' (2014) and ''[[Manhunt (2017 film)|Manhunt]]'' (2017) to little acclaim, then returned to the United States to direct ''[[Silent Night (2023 film)|Silent Night]]'' (2023) withand ''[[The Killer (2024 film)|The Killer]]'' releasing in August (2024).

Woo is credited as a pioneer of [[heroic bloodshed]] films and the [[gun fu]] genre in [[Hong Kong action cinema]]. His films often utilise stylised imagery, [[slow motion]], [[Mexican standoff|Mexican standoffs]], and allusions to ''[[wuxia]]'', [[film noir]] and [[Western film|Western]] cinema.

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After completing ''Hard Boiled'', Woo was encouraged by [[Universal Pictures]] producer [[James Jacks]], writer [[Chuck Pfarrer]] and action star [[Jean-Claude Van Damme]] to pursue opportunities in Hollywood.<ref name="TheHollywoodReporter_Keeley2018" /> Feeling constrained by the Hong Kong film industry and wanting a better work-life balance,<ref name="Asiaweek_HavisSeno1997" /><ref name="Asiaweek_Gee1998" /> Woo closed Milestone Pictures in 1992{{sfn|Sun|2021|pp=|p=24|loc=}} and moved to [[Los Angeles]]. He decided to direct ''[[Hard Target]]'' (1993), based on Pfarrer's story inspired by "[[The Most Dangerous Game]]".<ref name="LATimes_Leydon1993" /> Van Damme starred as an unemployed seaman who uncovers a [[human hunting]] ring while helping a woman search for her missing father. This film was notable for being the first Hollywood film directed by an Asian director.<ref name="TheHollywoodReporter_Keeley2018" /> Woo wanted to create a modern Western,<ref name="EntertainmentWeekly_1993" /> but was forced to grapple with Hollywood's bureaucracy, including concerns about his English skills<ref name="TheHollywoodReporter_Keeley2018" /><ref name="EntertainmentWeekly_Staskiewicz2009" /> and the need to re-edit the film after receiving negative feedback from [[Test screening|test screenings]].<ref name="TheNewYorkTimes_Harmetz1993" /><ref name="Variety_Garcia2002" /><ref name="LosAngelesTimes_Goldstein2002" /><ref name="SCMP_Havis2023_JohnWooHardTarget" /> He also had to make dozens of additional cuts to secure the desired [[Motion Picture Association film rating system|R rating]], submitting the film to the ratings board seven times before approval.<ref name="TheWashingtonPost_Howe1993" /> ''Hard Target'' received negative reviews from critics. [[Emanuel Levy]] of ''[[Variety (magazine)|Variety]]'' called the film "a compromised work", stating that while Woo's action set pieces were enjoyable, the movie suffered from a generic script, "disjointed storytelling" and "uneven performances".<ref name="Variety_Levy1993" /> Richard Harrington of ''[[The Washington Post]]'' panned Van Damme's acting and criticised how much worse the film was in comparison to Woo's Hong Kong oeuvre, calling it "a disappointing affair that can probably be traced to seven producers and Hollywood's traditional inability to accommodate auteurs."<ref name="TheWashingtonPost_Harrington1993" />

Following ''Hard Target'', Woo, Chang, and Godsick created an American production company called WCG Entertainment in 1994, named after their surnames.<ref name="SCMP_1996_ActionManWoo" /><ref name="Variety_Blair2010_AtWorkWithJohnWoo" /> After a brief stint with [[Cinergi Pictures]], it was announced in November of that year that he signed a two-year production deal with [[20th Century Studios|20th Century Fox]], with a one-year option to renew.<ref name="SCMP_1996_ActionManWoo" /><ref name="UPI_1994" /><ref name="Variety_1995_AntsyAgentsMakeMutantManagers" /> AfterHowever, Woo would spend a two-and-a-half year period ofstruggling limboto whereget his Hollywood directorial projects developed,<ref name="SCMP_Havis2023_JohnWooHardTarget" /> only producing a couple of projectsChinese-language fellpictures throughin ''[[Don't Cry, Nanking]]'',<ref name="SCMP_Havis2023_JohnWooHardTargetSCMP_Fonoroff1995" /><ref name="SCMP_1994" /> ''[[Peace Hotel (film)|Peace Hotel]]'' (both 1995), and ''[[Somebody Up There Likes Me (1996 film)|Somebody Up There Likes Me]]'' (1996).{{sfn|Elder|2005|p=xxxi|loc=Filmography}} Woo acceptedultimately decided to direct an already-greenlit film from 20th Century Fox called ''[[Broken Arrow (1996 film)|Broken Arrow]]'' (1996).{{sfn|Heard|2000|pp=134–135|loc=1993–1994: The Yellow Brick Road}} The film depicts the theft of two nuclear missiles by a rogue [[United States Air Force]] pilot ([[John Travolta]]) as he is pursued by his former co-pilot ([[Christian Slater]]) and a park ranger ([[Samantha Mathis]]). Woo found directing the movie an "unpleasant experience", recalling instances of meddling from the studio.{{sfn|Stokes|Hoover|pp=|p=310|loc=Hong Kong Calling}} [[Janet Maslin]] of ''[[The New York Times]]'' believed that even though Woo's storytelling abilities were "at the level of cartoonish jousting", the visual effects, Travolta's performance, and action sequences "[marked] a big step forward" for the director.<ref name="TheNewYorkTimes_Maslin1996" /> Conversely, [[Desson Thomson|Desson Howe]] of ''[[The Washington Post]]'' lambasted the film for its inability to translate the kinetic action of Woo's Hong Kong movies to Hollywood.<ref name="TheWashingtonPost_Howe1996" /> Opinions on Travolta were mixed: Roger Ebert thought he was miscast,<ref name="RogerEbert_Ebert1996" /> while [[Mick LaSalle]] of the ''[[San Francisco Chronicle]]'' called the decision to cast Travolta "inspired", and appreciated Woo's directorial touches throughout the film.<ref name="SanFranciscoChronicle_LaSalle1996" />

Woo's next work was ''[[Once a Thief (1996 film)|Once a Thief]]'' (1996), a [[television film]] remake of his [[Once a Thief (1991 film)|1991 movie]] that he had been asked to do a couple of years prior.<ref name=":3" /><ref name="Mediaweek_Stanley1996" /> Curious about trying something new,<ref name="Mediaweek_Stanley1996" /> Woo teamed up with [[Alliance Films|Alliance Communications]] to make the pilot for [[Fox Broadcasting Company]].<ref name="Variety_1995_CompanyFortifiesLAStronghold" /><ref name="TheWashingtonPost_Winslow1996" /> This version featured [[Sandrine Holt]], [[Michael Wong (actor)|Michael Wong]], and [[Ivan Sergei]] as the trio of thieves, with [[Nicholas Lea]] cast as a former police officer who becomes an additional love interest for Holt's character.<ref name="Variety_Horst1996" /> Armed with a budget of around $2 million, Woo shot the pilot in 26 days, a grueling pace involving 14-to-18-hour work days.<ref name="Mediaweek_Stanley1996" /> Writing for ''[[Variety (magazine)|Variety]]'', reviewer Carole Horst called the project "an entertaining telepic that can best be described as Woo Lite."<ref name="Variety_Horst1996" /> [[John J. O'Connor (journalist)|John J. O'Connor]] of ''[[The New York Times]]'' enjoyed the action scenes, but panned the acting by describing the cast as "pretty adornments".<ref name="TheNewYorkTimes_OConnor1996" /> While Fox declined to turn ''Once a Thief'' into a full-fledged series,<ref name="LosAngelesTimes_1998" /> [[The Movie Channel]] bought the pilot two years later, airing a "director's cut" version that restored unseen footage cut from the initial broadcast on Fox.<ref name="Variety_Dempsey1998" /><ref name="NewYork_Leonard1998" />

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In January 2000, Woo left Sony without having directed any films for them. He ended up signing Lion Rock Productions with [[Metro-Goldwyn-Mayer]] (MGM).<ref name="Variety_Bing2000" /> In October of that year, he co-founded an additional production company called Digital Rim to handle multimedia projects that use [[computer-generated imagery]].<ref name="Variety_Muttalib2000" /> Woo's first project under MGM would be ''[[Windtalkers]]'' (2002), a war film about [[Navajo]] [[Code talker|code talkers]] in [[World War II]].<ref name="Variety_HigginsPetrikin1998" /> Woo wanted the story to focus on the friendships between the characters;<ref name="EntertainmentWeekly_Bonin2002" /><ref name="WindtalkersProdNotes" /> this was approved by the studio despite resistance from the screenwriters.<ref name="TheNewYorker_Abrams2023" /> The script was revised due to objections from the [[United States Department of Defense]] and the [[United States Marine Corps]], who had lent production assistance but disapproved of certain scenes that they felt depicted Marines negatively.<ref name="TheWashingtonPost_Robb2002" /> The film faced weather-related delays,<ref name="TheNewYorker_Abrams2023" /> and was further postponed to distance itself from the [[September 11 attacks]].<ref name="SeattlePI_Arnold2002" /> ''Windtalkers'' was a box office bomb, earning only $77.6 million worldwide on a production budget of $115 million.<ref name="TheNumbers_Windtalkers2002" /> It was also critically panned; [[Peter Bradshaw]] of ''[[The Guardian]]'' called it "a disappointing feature" that presented a superficial understanding of the relationship between the code talkers and the Marines.<ref name="Variety_Bradshaw2002" /> Perceiving the film as "fundamentally schlocky" with numerous [[Cliché|clichés]], [[David Edelstein]] of ''[[Slate (magazine)|Slate]]'' quipped that "Woo could end up becoming the [[John Ford]] of schmaltz."<ref name="Slate_Edelstein2002" /> In a positive review however, [[Jonathan Rosenbaum]] of the ''[[Chicago Reader]]'' believed its "masterful storytelling" left him "moved and absorbed".<ref name="ChicagoReader_Rosenbaum2002" />

After ''Windtalkers'', Woo continued to explore television by executive producing the martial arts movie ''Red Skies'' (2002) which aired on USA Network in the summer.<ref name="ChicagoTribune_2002" /><ref name="TheHollywoodReporter_Richmond2002" /> In October 2002, it was announced that he signed a one-year agreement with [[20th Television|20th Century Fox Television]] and their sister studio [[Regency Enterprises|Regency Television]] to direct potential pilot episodes.<ref name="TelevisionWeek_Freeman2002" /> That same month, Woo contributed a short film for [[BMW]]'s [[branded content]] series ''[[The Hire]]'' (2002).<ref name="CNET_Olsen2002">{{Cite web |last=Olsen |first=Stefanie |date=2002-08-07 |title=BMW Net films go for star power |url=https://www.cnet.com/tech/services-and-software/bmw-net-films-go-for-star-power/ |access-date=2024-07-06 |website=[[CNET]] |language=en}}</ref><ref name="TheGuardian_Cozens2002">{{Cite news |last=Cozens |first=Claire |date=2002-08-06 |title=BMW puts top directors in driving seat |url=https://www.theguardian.com/media/2002/aug/06/advertising |access-date=2024-07-06 |work=[[The Guardian]] |language=en-GB |issn=0261-3077}}</ref> The movie featured [[Clive Owen]] as a skilled BMW driver entrusted with delivering ransom money to help free a kidnapped CEO (played by [[Kathryn Morris]]).<ref name="BMWGroup_2002">{{Cite press release |title=John Woo's Hostage premieres on BMWFilms.com |date=2002-10-24 |publisher=BMW Group |url=https://www.press.bmwgroup.com/usa/article/detail/T0015380EN_US/john-woo-s-hostage-premieres-on-bmwfilms-com |access-date=2024-07-06 |location=Woodcliff Lake, New Jersey}}</ref> Woo left MGM in February 2003, signing Lion Rock Productions to a two-year first-look deal with [[Paramount Pictures]].<ref name="Variety_McNary2003_LionRockParamount" /> After producing [[Paul Hunter (director)|Paul Hunter]]'s ''[[Bulletproof Monk]]'' (2003),<ref name="Variety_Schneider2000" /><ref name="ComicBookResources_Worley2003" /> Woo would direct ''[[Paycheck (film)|Paycheck]]'' (2003), a Paramount and [[DreamWorks Pictures|Dreamworks Pictures]] co-production based on the 1953 short story "[[Paycheck (novelette)|Paycheck]]" by [[Philip K. Dick]].<ref name="Variety_McNary2002" /><ref name="Variety_McNary2003_Paycheck" /> Woo aimed to convey a hopeful message to younger viewers while also paying homage to [[Alfred Hitchcock]].<ref name="IGN_Otto2003" /><ref name="TheGeorgiaStraight_Caddell2003" /> However, he admitted he had not read any of Dick's books before directing the film, and had wanted to reshapechange the screenplaystory to de-emphasise theits science fiction elements in the original story.<ref name="IGN_Otto2003" />{{sfn|Macias|2005|p=169}} Starring [[Ben Affleck]] and [[Uma Thurman]] in the lead roles,<ref name="EntertainmentWeekly_Susman2003">{{Cite magazine |last=Susman |first=Gary |date=2003-03-28 |title=Uma joins Ben in sci-fi thriller 'Paycheck' |url=https://ew.com/article/2003/03/28/uma-joins-ben-sci-fi-thriller-paycheck/ |access-date=2024-07-10 |magazine=[[Entertainment Weekly]]}}</ref> ''Paycheck'' grossed over $117.2 million on a budget of $60 million,<ref name="BoxOfficeMojo_Paycheck">{{Cite web |title=Paycheck |url=https://www.boxofficemojo.com/releasegroup/gr4193407493/ |access-date=2024-07-10 |website=[[Box Office Mojo]]}}</ref> but received generally negative reviews from critics. Roger Ebert stated that while he enjoyed ''Paycheck'' on a basic level, he was disappointed by Woo's uninspired direction, stating that the director was seemingly worked on the filmworking with a "clipboard and a checklist, making sure everyone is killed in the right order."<ref name="RogerEbert_Ebert2003" /> Robert Koehler of ''Variety'' called it "among the least memorable of big-screen adaptations" of Dick's work. He criticised Affleck's acting as "out of sync" with what his role required, and remarked that Thurman lacked the ferocity of her lauded performance in ''[[Kill Bill: Volume 1|Kill Bill]]'' (2003).<ref name="Variety_Koehler2003" />

Following ''Paycheck''<nowiki/>'s under-performance with critics, Woo struggled throughout the mid-2000s to get feature films developed in Hollywood. In a 2023 interview with ''[[IndieWire]]'', Woo admitted, "Because I failed with ''Paycheck'', I didn't get a good script offered to me for a long, long time."<ref name="IndieWire_Hemphill2023" /> Several projects that Woo was attached to never made it into production, including a [[Charlie Chan]] remake starring [[Lucy Liu]],<ref name="IGN_Vejvoda2003" /><ref name="IGN_Vejvoda2004" /> as well as film adaptations of ''[[Metroid]]'',<ref name="GameSpot_Calvert2004" /><ref name="IGN_Schneider2012" /> ''[[SpyHunter|Spyhunter]]'',<ref name="Variety_Brodesser2004" /><ref name="Variety_James2005_WooViewRedoCoup" /><ref name="Variety_Graser2007" /> ''[[Rainbow Six (novel)|Rainbow Six]]'',<ref name="Variety_McNary2004" /> and ''[[Masters of the Universe]].''<ref name="Variety_Harris2004" /><ref name="Empire_2004" /> In May 2003, Woo, Chang, and producer [[Brad Foxhoven]] announced the formation of a new entertainment studio called Tiger Hill Entertainment., Thisa new studio that would initially partner with [[Sega]] to develop and publish new and existing [[video game]] properties.<ref name="IGN_2003" /><ref name="GameSpot_Calvert2003" /><ref name="Variety_Graser2003" /> Woo also stated in September of that year that he would be directing a new television adaptation of ''[[Lost in Space]]'' series.<ref name="Variety_Adalian2003_LostIsFoundAgain" /> While Woohe did gotget the chance to film the pilot episode, the series was never picked up for syndication.<ref name="IGN_Bibbiani2018" /> WooAfter servedserving as part of the main jury at the [[2005 Cannes Film Festival]] in May,<ref name="Variety_James2005_JuriesSetForCannesStand" /><ref name="ScreenDaily_Tartaglione2005" /> Woo directed a 19-minute short film for ''[[All the Invisible Children]]'' (2005),<ref name="IGN_Gilchrist2007" /> an anthology film for [[UNICEF]] meant to raise awareness of thatunderprivileged yearchildren.<ref name="Variety_James2005_JuriesSetForCannesStandSCMP_Chow2004" /><ref name="ScreenDaily_Tartaglione2005TheWrap_Blair2009" /> The short film, "Song Song and Little Cat", was praised by ''[[Variety (magazine)|Variety]]'' for its camera work and set design.<ref name="Variety_Young2005" /> By October 2005, hisWoo's main production company, Lion Rock Productions, was no longer at Paramount.<ref name="Variety_2005" />

Over the next couple of years, Woo would spend time producing films and detouring into other mediums. In 2006, Woo collaborated with writer [[Garth Ennis]] to create a new comic book series for [[Liquid Comics|Virgin Comics]] called ''[[Seven Brothers (comics)|Seven Brothers]]'' (2006).<ref name="Variety_Gardner2006" /> This was a five-issue mini-series loosely based on the Chinese folk tale of the [[Ten Brothers]].<ref name="IGN_Goldstein2006" /> The following year, he served as producer on two movies: ''[[Blood Brothers (2007 Chinese film)|Blood Brothers]]'' by first-time director Alexi Tan,<ref name="SCMP_Tsui2007" /><ref name="TheGuardian_2006" /> and the Japanese animated film ''[[Appleseed Ex Machina]]'', where he gave guidance on both the story and the action sequences.<ref name="IGN_George2007" /><ref name="IGN_Isler2007" /> While most of Woo's video game projects at Tiger Hill Entertainment would go unrealised,<ref name="Kotaku_2013">{{Cite web |date=2013-07-05 |title=Hollywood's Long History of Mostly Failing to Make Video Games |url=https://kotaku.com/hollywoods-long-history-of-mostly-failing-to-make-video-663035349 |access-date=2024-07-18 |website=[[Kotaku]] |language=en}}</ref> he and [[Midway Games]] successfully released the [[third-person shooter]] game ''[[Stranglehold (video game)|Stranglehold]]'' (2007).<ref name="IGN_Geddes2007">{{Cite web |last=Geddes |first=Ryan |date=2007-09-05 |title=Stranglehold Ships for Xbox 360 |url=https://www.ign.com/articles/2007/09/05/stranglehold-ships-for-xbox-360 |access-date=2024-07-18 |website=[[IGN]] |language=en}}</ref> This was a sequel to ''Hard Boiled'', with Chow Yun-fat reprising his mainrole characteras roleTequila.<ref name="GameSpot_Surette2005">{{Cite web |last=Surette |first=Tim |date=2005-05-19 |title=Stranglehold gets a grip on next-gen consoles |url=https://www.gamespot.com/articles/stranglehold-gets-a-grip-on-next-gen-consoles/1100-6125719/ |access-date=2024-07-18 |website=[[GameSpot]] |language=en-US}}</ref> The game sold over one million copies worldwide.<ref name="MCV_2008">{{Cite magazine |date=2008-03-12 |title=UT3 and Stranglehold hit 1m sales |url=https://mcvuk.com/development-news/ut3-and-stranglehold-hit-1m-sales/ |access-date=2024-07-18 |magazine=[[MCV/Develop|MCV]]}}</ref>

* In January 2000, ''Variety'' reported that Woo and Terence Chang left Sony to sign Lion Rock Productions with MGM; Woo left Sony without ever directing a film for them<ref name="Variety_Bing2000">{{Cite magazine |last=Bing |first=Johnathan |date=2000-01-23 |title=MGM lands Lion Rock |url=https://variety.com/2000/film/news/mgm-lands-lion-rock-1117761195/ |access-date=2024-03-13 |magazine=[[Variety (magazine)|Variety]]}}</ref>

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=== 2008–2017: ''Red Cliff'' and return to Asian cinema ===

By the middle of 2007, Woo decided to head back to Asia to commerce production on ''[[Red Cliff (film)|Red Cliff]]'' (2008), an [[epic film]] retelling the [[Battle of Red Cliffs]] that he conceived 20 years prior as a dream project.<ref name=":2" /><ref name="IndieWire_Thompson2009" /> While he enjoyed his time in the United States, Woo disliked navigating the country's internal studio politics,<ref name="CNN_Irvine2009" /> and wanted to use his American work experience to help the Chinese film industry create a big-budget, Hollywood-style movie.<ref name="Vulture_Ebiri2009" /><ref name="Variety_Chang2010" /> However, ''Red Cliff'' proved to be a protracted, arduous affair. Woo and Chang initially struggled to find a production company that would finance the movie without a script or budget,<ref name="TheHollywoodReporter_Galloway2007" /> ultimately finding four different companies from Korea, China, Taiwan, and Japan.<ref name="IndieWire_Thompson2009" /><ref name="Variety_Coonan2007" /> Casting issues caused further headaches, with Chow Yun-fat dropping out of the film three days into shooting.<ref name="ScreenDaily_Yu2007" /><ref name="Variety_FraterCoonan2007_ChowDropsOut" /><ref name="ArkansasDemocratGazette_2007" /> ShootingThe production was further beset with weather issues and other problems,<ref name="TheIndependent_Coonan2008" /> including a fire that killed a stuntman and injured six others.<ref name="TheHollywoodReporter_Dai2008" /><ref name="Variety_Coonan2008_FatalFire" /> ''Red Cliff'' was the most expensive Chinese-language film in history, costing $80 million to make.<ref name="LATimes_Lim2009" /> It was released in Asia in two parts, with international audiences receiving an abridged version condensed into a single two-hour movie.<ref name="Reuters_Goldsmith2009" /> The films collectively earned over $250 million worldwide, with the first part making $129.71 million<ref name="BoxOfficeMojo_RedCliff" /> and the second part making $120.43 million.<ref name="BoxOfficeMojo_RedCliffII" /> Western reviewers who saw the international cut were generally entertained by the action sequences.<ref name="TheOregonian_Levy2009">{{Cite news |last=Levy |first=Shawn |date=2009-11-24 |title=Review – the majestic sweep of "Red Cliff" |url=https://www.oregonlive.com/madaboutmovies/2009/11/review_--_the_majestic_sweep_o.html |access-date=2024-07-24 |work=[[The Oregonian]]}}</ref><ref name="LosAngelesTimes_Turan2009">{{Cite news |last=Turan |first=Kenneth |author-link=Kenneth Turan |date=2009-11-25 |title='Red Cliff' |url=https://www.latimes.com/archives/la-xpm-2009-nov-25-la-et-redcliff25-2009nov25-story.html |access-date=2024-07-24 |work=[[Los Angeles Times]]}}</ref> However, many critics complained that recuttingre-cutting the films into a single movie caused characterisation issues, pacing problems, and plot holes,<ref name="TheVillageVoice_Foundas2009">{{Cite news |last=Foundas |first=Scott |date=2009-11-17 |title=John Woo's Killer Instincts Return for Red Cliff |url=https://www.villagevoice.com/john-woos-killer-instincts-return-for-red-cliff/ |access-date=2024-07-24 |work=[[The Village Voice]]}}</ref><ref name="TheBostonGlobe_Morris2009" /><ref name="TheGuardian_Solomons2009" /> with Simon Abrams calling the Western version "out-and-out disrespect for a much vaunted filmmaker's vision."<ref name="SlantMagazine_Abrams2009" />

At the [[Cannes Film Festival]] in 2008, Woo announced that he would direct a wartime romance film called ''1949''.<ref name="SCMP_Tsui2008" /><ref name="IGN_2008" /> The film, budgeted at $40 million USD and written by [[Wang Hui-ling]], was meant to be set during the last years of the [[Chinese Civil War]].<ref name="Empire_Richards2008" /> However, in April 2009, producer Chang stated that production on ''1949'' was cancelled due to a legal dispute over the rights to the script.<ref name="TheHollywoodReporter_Landreth2009" /><ref name="ScreenDaily_Yu2009" /> After producing Peter Lee's ''My Fair Gentleman'' ({{Zh|c=窈窕紳士|labels=no}}, 2009),<ref name="Sina_2009">{{Cite web |date=2009-09-10 |title=吴宇森监制《窈窕绅士》 称沉重大片时代已过去_影音娱乐_新浪网 |url=https://ent.sina.com.cn/m/c/2009-09-10/15422693296.shtml |access-date=2024-07-23 |website=[[Sina]]}}</ref> the next year Woo was selected to lead the jury at the [[2010 Shanghai International Film Festival]].<ref name="TheHollywoodReporter_Landreth2010_ShanghaiFestivalUnveilsLineup" /> He would return to work by producing and co-directing the ''[[wuxia]]'' film ''[[Reign of Assassins]]'' (2010) with Su Chao-pin ({{Zh|c=蘇照彬|labels=no}}). Intended as a vehicle for lead actress [[Michelle Yeoh]] to showcase her martial arts skills,<ref name="ScreenDaily_Shackleton2010_ReignOfAssassins" /><ref name="SCMP_Lee2010" /><ref name="HKFA_ReignOfAssassins" /> the film follows Yeoh's character, a former assassin named Drizzle, as she is pursued by her old gang in search of a valuable Buddhist relic.<ref name="FilmBusinessAsia_Elley2010">{{Cite magazine |last=Elley |first=Derek |author-link=Derek Elley |date=2010-09-03 |title=Reign of Assassins |url=http://www.filmbiz.asia/reviews/reign-of-assassins |url-status=dead |archive-url=https://web.archive.org/web/20120404203344/http://www.filmbiz.asia/reviews/reign-of-assassins |archive-date=2012-04-04 |access-date=2024-07-21 |magazine=[[Film Business Asia]]}}</ref> Since Su was not well-known outside of Taiwan, Woo agreed to be listed as a co-director to ease investor concerns about box office performance.<ref name="ScreenDaily_Shackleton2010_ReignOfAssassins" /> Woo primarily acted as a producer, but did direct one scene with his daughter Angeles in her first film role.<ref name="GiantRobot_Leung2011" /><ref name="TheStar_Chew2010">{{Cite news |last=Chew |first=Wan Ying |date=2010-10-08 |title=John Woo and his first martial arts production |url=http://ecentral.my/news/story.asp?file=/2010/10/8/movies/7164934&sec=movies |url-status=dead |archive-url=https://web.archive.org/web/20101010060337/http://ecentral.my/news/story.asp?file=/2010/10/8/movies/7164934&sec=movies |archive-date=2010-10-10 |access-date=2024-07-21 |work=[[The Star (Malaysia)|The Star]]}}</ref> ''Reign of Assassins'' made $13.3 million at the box office.<ref name="BoxOfficeMojo_ReignOfAssassins">{{Cite web |title=Reign of Assassins |url=https://www.boxofficemojo.com/title/tt1460743/ |access-date=2024-07-21 |website=[[Box Office Mojo]]}}</ref> It received generally positive reviews, with some critics questioning the implausible plot.<ref name="TheIndependent_Quinn2013" /><ref name="TodayOnline_Ng2010" /> [[Peter Bradshaw]] of ''[[The Guardian]]'' thought that despite a few interesting moments, multiple elements of the film "all [looked] a bit samey".<ref name="TheGuardian_Bradshaw2013" /> The movie was nominated for 11 awards at the [[30th Hong Kong Film Awards]].<ref name="HKFAA_30thAwardsWinners" />

Woo would co-produce a few more projects over the next couple of years. He was an executive producer on a South Korean remake of ''[[A Better Tomorrow (2010 film)|A Better Tomorrow]]'' (2010) directed by [[Song Hae-sung]].<ref name="TheKoreaTimes_Lee2010">{{Cite news |last=Lee |first=Hyo-won |date=2010-09-09 |title=Tomorrow ripe with Korean-style drama |url=https://www.koreatimes.co.kr/www/art/2022/04/689_72808.html |access-date=2024-07-23 |work=[[The Korea Times]]}}</ref> The following year, he would produceproduced ''[[Warriors of the Rainbow: Seediq Bale]]'' (2011), a Taiwanese historical drama directed by [[Wei Te-sheng]] about the [[Musha Incident]] in 1930.<ref name="TheHollywoodReporter_Szalai2011" /><ref name="TheHollywoodReporter_2012" /> Additionally, Woo was a producer on an animated web series based on his ''[[Seven Brothers (comics)|Seven Brothers]]'' graphic novel, which aired on [[Machinima, Inc.|Machinima]].<ref name="TheHollywoodReporter_Bhushan2011" /><ref name="DigitalSpy_Langshaw2011" /> Woo would also make a small acting appearance as [[Lin Sen]] in ''[[The Founding of a Party]]'' (2011), a mainland Chinese film produced by the state-owned [[China Film Group Corporation|China Film Group]] to commemorate the [[60th anniversary of the People's Republic of China]].{{efn|Woo also had a bit part in an earlier historical drama called ''[[The Founding of a Republic]]'' (2009), but his part was cut.<ref name="TheHollywoodReporter_2010">{{Cite web |date=2010-07-28 |title=Woo first star to join propaganda film cast |url=https://www.hollywoodreporter.com/news/general-news/woo-first-star-join-propaganda-25985/ |access-date=2024-04-13 |website=[[The Hollywood Reporter]] |agency=[[Associated Press]]}}</ref>}}

In DecemberJanuary 20112012, itWoo wasrestarted announced that productionwork on ''1949'' would resume under the new working title of ''Love and Let Love''.<ref name="IndieWire_Lyttelton2011" /><ref name="TheKoreaHerald_Lee2011" /> However, thishe would behalt haltedproduction shortly asafter Wooto quietly underwentundergo treatment for a medical issue.<ref name="SCMP_Mottram20142" /> The project resumed in 2013,<ref name="ScreenAnarchy_Marsh2013" /><ref name="ChinaDaily_Bi2013" /> with shooting beginning in July of that year.<ref name="TheHollywoodReporter_Brzeski2013" /> Starring a pan-Asian cast including [[Song Hye-kyo]], [[Takeshi Kaneshiro]], [[Bowie Lam]], [[Zhang Ziyi]], [[Tong Dawei]], and [[Faye Yu]],<ref name="FilmBusinessAsia_FraterCremin2013" /> the movie was released in two parts under the new name ''[[The Crossing (2014 film)|The Crossing]]'' (2014).<ref name="Deadline_Tartaglione2015" /> The first part earned only $32.81 million at the box office,<ref name="BoxOfficeMojo_TheCrossing" /> and the second part fared even worse, garnering only $8.07 million.<ref name="BoxOfficeMojo_TheCrossing2" /> A reviewer for ''[[Variety (magazine)|Variety]]'' stated that part two "features no intriguing new turns and has nothing meaningful to say", declaring that Woo should have re-edited the movie into a single film.<ref name="Variety_Lee2015" /> The ''[[South China Morning Post]]'' was even harsher in its criticism, saying that the movie's "ending will cause audiences to feel "resigned acceptance that Hong Kong cinema has lost one of its truly great directors."<ref name="SCMP_Marsh2015" /> Following the disappointing financial returns of ''The Crossing'', Woo and Chang disbanded Lion Rock Productions.<ref name="ScreenDaily_Shackleton2017_TerenceChangTalks" />

Woo would next work with [[Media Asia Entertainment Group|Media Asia]] on ''[[Manhunt (2017 film)|Manhunt]]'' (2017), a remake of the [[Manhunt (1976 film)|1967 film]] directed by [[Junya Sato|Junya Satō]] about an attorney being framed for crimes he did not commit. Woo dedicated this project to [[Ken Takakura]], the star of the original film who died in 2014.<ref name="TheHollywoodReporter_Coonan2015" /><ref name="Deadline_Jaafar2015" /> After several blockbuster films, Woo was happy to work on a smaller production. Eager to revisit familiar themes like brotherhood and justice,<ref name="Variety_Frater2017" /><ref name="TheHollywoodReporter_Coonan2015" /> Woo changed the protagonist's nationality to Chinese in order to explore the dynamics of cross-cultural cooperation between China and Japan.<ref name="SCMP_Mottram2017" /> Featuring [[Zhang Hanyu]] and [[Masaharu Fukuyama]] in the lead roles, ''Manhunt'' flopped at the box office, grossing only $18.3 million worldwide<ref name="TheNumbers_Manhunt2017" /> against a budget of $50 million.<ref name="ScreenDaily_Shackleton2017_ManhuntBudget" /> Reviews were generally positive, with critics finding the kitschy, self-referential film an enjoyable return to form, if at times overly melodramatic and silly.{{Efn|Attributed to multiple references.<ref name="IndieWire_Ehrlich2018">{{Cite web |last=Ehrlich |first=David |date=2018-05-04 |title='Manhunt' Review: John Woo Comes to Netflix With His Most Gloriously Ridiculous Action Movie Since 'Face/Off' |url=https://www.indiewire.com/features/general/manhunt-review-john-woo-netflix-1201960517/ |access-date=2024-08-08 |website=[[IndieWire]] |language=en-US}}</ref><ref name="RogerEbert_Abrams2018">{{Cite web |last=Abrams |first=Simon |title=Manhunt |url=https://www.rogerebert.com/reviews/manhunt-2018 |access-date=2024-08-08 |website=[[RogerEbert.com]] |language=en}}</ref><ref name="EntertainmentWeekly_Nashawaty2018">{{Cite magazine |last=Nashawaty |first=Chris |date=2018-05-04 |title=Lower your expectations for John Woo's new Netflix film Manhunt: EW Review |url=https://ew.com/movies/2018/05/04/john-woo-manhunt-ew-review/ |access-date=2024-08-08 |magazine=[[Entertainment Weekly]]}}</ref><ref name="TheGuardian_Bradshaw2017">{{Cite news |last=Bradshaw |first=Peter |author-link=Peter Bradshaw |date=2017-09-15 |title=Manhunt review – John Woo rolls back the years with big pharma bullet-barrage |url=https://www.theguardian.com/film/2017/sep/15/manhunt-review-john-woo-toronto-film-festival-tiff |access-date=2024-08-08 |work=[[The Guardian]] |language=en-GB |issn=0261-3077}}</ref><ref name="ScreenDaily_Romney2017">{{Cite magazine |last=Romney |first=Jonathan |date=2017-09-07 |title='Manhunt': Venice Review |url=https://www.screendaily.com/reviews/manhunt-venice-review/5122041.article |access-date=2024-08-08 |magazine=[[Screen International|Screen Daily]]}}</ref>}}

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=== 2021–present: ''Silent Night'' and return to Hollywood ===

In October 2021, Woo announced plans to produce a live-action version of ''Monkey Master'', based on an unreleased comic book story created by [[Stan Lee]] and [[Sharad Devarajan]].<ref name="Variety_Ramachandran2021" /><ref name="GamesRadar_Williams2021" /> He had always wanted to create a film about the [[Monkey King]], but struggled to find a unique angle until discovering Lee's version.<ref name="TheHollywoodReporter_Brzeski2021" /> Woo's next film, ''[[Silent Night (2023 film)|Silent Night]]'' (2023), was a gritty action film withabout minimala spokenfather dialoguewho takes revenge on a gang for damaging his vocal chords and killing his son. He had been searching for a unique smaller-scale project, and found the premise of a father who hunts downdirecting a gangmovie forwith damagingminimal hisspoken vocal chords and killing his sondialogue intriguing.<ref name="Polygon_Volk2023" /><ref name="Deadline_Shackleton2022" /><ref name="TheGuardian_Bramesco2023" /> For both budgetary reasons and as a personal challenge, Woo intentionally directed therefrained filmfrom withoutusing much of his cinematic style, optingchoosing to stage more realistic fight choreographyscenes.<ref name="LATimes_Yamato2023" /> Featuring [[Joel Kinnaman]] and a supporting cast of [[Kid Cudi]], [[Harold Torres]], and [[Catalina Sandino Moreno]], ''Silent Night'' polarised critics and earned only $11 million worldwide.<ref name="Metacritic_SilentNight">{{Cite web |title=Silent Night |url=https://www.metacritic.com/movie/silent-night-2023/ |access-date=2024-08-08 |website=[[Metacritic]] |language=en}}</ref><ref name="BoxOfficeMojo_SilentNight">{{Cite web |title=Silent Night |url=https://www.boxofficemojo.com/title/tt15799866/ |access-date=2024-08-08 |website=[[Box Office Mojo]]}}</ref> [[Richard Roeper]] praised Woo's direction and Kinnaman's performance, stating that "there's something undeniably refreshing about Woo's reliance on sound, movement and sometimes flashy camera moves to tell his very simple but effective revenge tale."<ref name="ChicagoSunTimes_Roeper2023" /> Conversely, David Erhlich of ''[[IndieWire]]'' lambasted the movie's banal plot, gimmicky premise, and Woo's overindulgent approach, saying that it "rewards your patience with a massive piece of coal."<ref name="IndieWire_Ehrlich2023">{{Cite web |last=Ehrlich |first=David |date=2023-11-27 |title=‘Silent Night’ Review: John Woo’s Dialogue-Free Xmas Movie Is an Unholy Misfire |url=https://www.indiewire.com/criticism/movies/silent-night-review-john-woo-1234929119/ |access-date=2024-08-08 |website=[[IndieWire]] |language=en-US}}</ref>

Woo would soon direct and produce ''[[The Killer (2024 film)|The Killer]]'' (2024), a remake of his 1989 film.<ref name="Deadline_Kroll2023" /> This was a long-gestating project stuck in [[development hell]] since it was first announced in 1992.<ref name="EntertainmentWeekly_Wells1992">{{cite magazine |last=Wells |first=Jeffrey |date=1992-06-19 |title=Orient Excess |url=http://www.ew.com/ew/article/0,,310846,00.html |url-status=dead |archive-url=https://web.archive.org/web/20090421064154/http://www.ew.com/ew/article/0,,310846,00.html |archive-date=2009-04-21 |access-date=2024-08-08 |magazine=[[Entertainment Weekly]]}}</ref><ref name="Variety_McNary2011">{{Cite magazine |last=McNary |first=Dave |author-link=Dave McNary |date=2011-01-31 |title=John Woo to remake his own 'Killer' |url=https://variety.com/2011/film/news/john-woo-to-remake-his-own-killer-1118031236/ |access-date=2024-08-08 |magazine=[[Variety (magazine)|Variety]]}}</ref><ref name="ScreenDaily_Gallagher2015">{{Cite magazine |last=Gallagher |first=Chris |date=2015-10-26 |title=John Woo keeps aim on 'The Killer' remake |url=https://www.screendaily.com/news/john-woo-keeps-aim-on-the-killer-remake/5095930.article |archive-url=https://web.archive.org/web/20151027145109/http://www.screendaily.com/news/john-woo-keeps-aim-on-the-killer-remake/5095930.article |archive-date=2015-10-27 |access-date=2024-08-08 |magazine=[[Screen International|Screen Daily]]}}</ref> Initially refusing to direct a remake of his own movie, Woo reconsidered after being inspired by the idea of making the protagonist female.<ref name="NBC_Weiss2024" /> In this version, a Parisian assassin ([[Nathalie Emmanuel]]) allies with a detective ([[Omar Sy]]) after she angers her handler for refusing to kill a woman that she blinded.<ref name="Deadline_Grobar2022" /><ref name="Deadline_Kroll2023" /><ref name="NBC_Weiss2024" /> The film was released on [[Universal Pictures]]' streaming service [[Peacock (streaming service)|Peacock]] on 23 August 2024 to mixed reviews.<ref name="IGN_Vejvoda2024" /><ref name="Metacritic_TheKiller" /> Roeper declared ''The Killer'' "easily one of the best action movies of the year", praising Woo's stylish direction and Emmanuel's performance.<ref name="ChicagoSunTimes_Roeper2024" /> ''[[Slant Magazine|Slant]]'' conversely was critical of its lack of depth compared to the original, and found the remake's more optimistic ending "dishonest and patronizing".<ref name="SlantMagazine_Cole2024" />

Woo is currently working on multiple projects.<ref name="SanFranciscoChronicle_Johnson2024">{{Cite news |last=Johnson |first=G. Allen |date=2024-08-22 |title=John Woo is making a comeback with 'The Killer' – and maybe a musical? |url=https://www.sfchronicle.com/entertainment/movies-tv/article/the-killer-john-woo-19652900.php |access-date=2024-08-22 |work=[[San Francisco Chronicle]]}}</ref> In September 2024, he signed with talent agency Independent Artist Group.<ref name="Deadline_FlemingJr2024">{{Cite web |last=Fleming, Jr. |first=Mike |date=2024-09-26 |title=‘The Killer’ Helmer John Woo Signs With Independent Artist Group |url=https://deadline.com/2024/09/the-killer-helmer-john-woo-signs-with-independent-artist-group-1236100693/ |access-date=2024-09-27 |website=[[Deadline Hollywood|Deadline]] |language=en-US}}</ref> That same month, Woo also confirmed that he was working on a "half-musical" with pop duo [[Sparks (band)|Sparks]], who will be providing the script and the songs.<ref name="Empire_Travis2024" /> HeOther isplans alsoin developingdevelopment include a [[Western film]],<ref name="TheWrap_Taylor2024">{{Cite web |last=Taylor |first=Drew |date=2024-08-23 |title=How John Woo Finally Resurrected ‘The Killer’ |url=https://www.thewrap.com/john-woo-the-killer-remake-interview/ |access-date=2024-08-23 |website=[[TheWrap]] |language=en-US}}</ref> and has future plansas towell directas a film about Dean Lung, a [[Chinese Americans|Chinese American]] valet of [[Horace Carpentier]] who helped [[Columbia University]] fund their Department of East Asian Languages and Cultures.<ref name="Variety_Balaga2022_WooDevelopsDeanLung" /><ref name="Deadline_Shackleton2022" />

* Woo had been originally slotted to direct a portion of the anthology film ''[[Septet: The Story of Hong Kong]]'', but withdrew from production for personal reasons<ref name="HK01_Chan2022">{{Cite web |last=Chan |first=Wing-si 陳穎思 |date=2022-07-27 |title=七人樂隊｜吳宇森「歸隊」拍片力撐：令我們想到將來會有更好的事 |trans-title=Septet: John Woo "returns" to support the film: It makes us think of better things to come |url=https://www.hk01.com/%E9%9B%BB%E5%BD%B1/797177/%E4%B8%83%E4%BA%BA%E6%A8%82%E9%9A%8A-%E5%90%B3%E5%AE%87%E6%A3%AE-%E6%AD%B8%E9%9A%8A-%E6%8B%8D%E7%89%87%E5%8A%9B%E6%92%90-%E4%BB%A4%E6%88%91%E5%80%91%E6%83%B3%E5%88%B0%E5%B0%87%E4%BE%86%E6%9C%83%E6%9C%89%E6%9B%B4%E5%A5%BD%E7%9A%84%E4%BA%8B |access-date=2024-04-14 |website=[[HK01]] |language=zh-HK}}</ref><ref name="HKFilmCriticsSociety_2021">{{Cite web |date=2021-05-26 |title=《七人樂隊》映後分享（嘉賓：杜琪峯先生） |trans-title=Post-screening sharing of ''Septet'' (Guest: Mr. Johnnie To) |url=https://www.filmcritics.org.hk/zh-hant/node/2897 |access-date=2024-04-23 |website=[[Hong Kong Film Critics Society]] |language=zh-hant}}</ref>

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=== Style ===

* Woo's intention was to create a unified style between dialogue and action; he felt that Hong Kong films had noticeably distracting stylistic shifts whenever an action choreographer would take over the direction for fight scenes<ref name="NYT_Yu2023">{{Cite news |last=Yu |first=Brandon |date=2023-12-01 |title=John Woo Has Seen a Lot in Hollywood. He’s Finally Back for More. |work=[[The New York Times]] |url=https://www.nytimes.com/2023/12/01/movies/john-woo-silent-night.html |access-date=2023-12-01 |archive-url=https://web.archive.org/web/20231201234929/https://www.nytimes.com/2023/12/01/movies/john-woo-silent-night.html |archive-date=2023-12-01}}</ref>

* Woo wanted this unification because he wanted the fight scenes to play out as emotionally as he envisioned it in his mind<ref name="Letterboxd_Rife2022">{{Cite web |last=Rife |first=Katie |date=2022-07-27 |title=Heroic Bloodshed: John Woo on action with a beating heart |url=https://letterboxd.com/journal/heroic-bloodshed-john-woo-fantasia/ |access-date=2024-09-30 |website=[[Letterboxd]] |language=en}}</ref>

* The violent action in Woo's films has been referred to as a choreographed dance or musical;<ref name="TheNewYorkTimes_Weinraub1997">{{Cite news |last=Weinraub |first=Bernard |author-link=Bernard Weinraub |date=1997-06-30 |title=A Specialist In Esthetics Of Offbeat Violence |url=https://www.nytimes.com/1997/06/30/movies/a-specialist-in-esthetics-of-offbeat-violence.html |access-date=2023-12-18 |work=[[The New York Times]] |language=en-US |issn=0362-4331}}</ref><ref name="PhillipineDailyInquirer_Cruz2015">{{Cite news |last=Cruz |first=Marinel R. |date=2015-11-27 |title=John Woo: Action scenes much like jazz dancing |url=https://entertainment.inquirer.net/184239/john-woo-action-scenes-much-like-jazz-dancing |access-date=2023-12-18 |website=[[Philippine Daily Inquirer]] |language=en}}</ref>{{sfn|Howell|2015|p=158|loc=John Travolta, A Song and Dance Man in Action}} Woo says he pays attention to the rhythm of the gunfire, and often listens to music when choreographing and editing action scenes<ref name="TheRinger_Surrey2023" /><ref name="SCMP_Havis2022_JohnWooInterview" />{{sfn|Tirard|2002|p=149–150}}

* "When I shoot action sequences I think of great dancers, [[Gene Kelly]], [[Fred Astaire|Astaire]] [...] In action I feel like I'm creating a ballet, a dance. That's what I like. Even though there's violence, it's a dance. I make it a dance."<ref name="TheNewYorkTimes_Weinraub1996" />