It ended the totally weird. Did she just run out in the world like that?

作为一部人物片 人物变化必须准确 人物起点是一个没有同情心和道德感的杀人犯 面对死刑时的对死亡充满了畏惧 经历了漫长的训练 从玩世不恭开始变成一个杀手 重获自由一秒就坠入爱河 这是第一个大问题 她在此刻有爱人的能力吗？或者说她能信任爱情吗？ 然后随着任务的累积和爱情的发展 她感受到这二者平衡起来太难了 一次困难的任务中她直接崩溃了 第二个大问题 所有的那些训练 任务的累积 仿佛这一刻就不存在了 小孩一般躲在角落哭泣 最终选择放弃了爱情与杀手事业跑路了 人物经历与变化相矛盾 这还不算其他那些雷点

The film starts brutally strong, but gradually loses the pull that should have carried it through.

A curious blend of hard edges and soft emotions from writer/director Luc Besson, who would apply a similar mix of antithetical senses in his 1994 international breakthrough, _Léon: The Professional_. _Nikita_ (the “Femme” was added after its French release) is the story of a strung-out punk rock junkie, whisked away after a deadly police shootout and unwillingly trained to be a secret government assassin. If that sounds like a huge leap, it is, and the reason for her selection is never really explained beyond the weirdly passive handler who “sees something in her.” But regardless, she gets into the program, overcomes her addiction, ruffles feathers with her gruff demeanor, eventually faces facts and graduates into a cushy life as an on-call killer. Many of these developments feel abrupt or confusing due to the film’s tendency to skip weeks, months or years in a flash. In just a few minutes of screen time, she kicks her anti-authority ethos to the curb and reclines into a sort of submissive acceptance. If we pay attention, the film leaves plenty of hints that she’s been through a rigorous psychological indoctrination, but those details are mostly left to our imagination. Weird to skip the sordid transformation scenes like that, but also refreshing. That reprogramming isn’t a point of emphasis for Besson, so he doesn’t obsess over it. Instead, we spend a lot of time watching Nikita enjoy the fruits of her new life. We don’t know how she wound up in such a dark place to begin with, smash-and-grabbing drug stores with a crew of grungy criminals, but we can see her enthusiasm about making the most of a fresh start. Left to her own devices between jobs (another risky call from her superiors), she immediately sets to building a happy, comfortable, quiet life with the friendly cashier of a local grocery store. It’s great cover for a part-time executioner, and the awkward balancing act doesn’t seem to upset things all that much. Not until a job finally goes wrong and suddenly she’s in deep water without a buoy. Both sides of this cinematic contradiction are well-developed. The action is bright and loud, an exciting relic of mid-budget ‘80s blowouts on VHS, while the playful romance develops into something warm and effervescent. The whole third act is a chaotic riot, a spike of difficulty and consequence that’s driven by a single-minded Jean Reno, and while I wasn’t satisfied with its resolution, I was wrapped up by the young love affair while it lasted. A loose, ambitious, free-spirited film that leans on both its star’s unusual brands of feminine allure (Anne Parillaud isn’t your traditional badass bombshell) and its director’s unique sensibilities.

A common criminal to be turned into a state assassin