When it comes to gunplay, Schwarzenegger and Hollywood's other testosterone titans had better make room for Hong Kong's Chow Yun-Fat. At thirty-four, Chow is Asia's biggest star. He's made hundreds of films, a dozen in 1988 alone, but The Killer is the first to crack the U.S. market.

In his role as Jeff -- a hit man in dark shades -- Chow is the quintessence of cool detachment. During the first shootout, in a nightclub, Jeff wastes an army of hoods without undue muss or fuss. But when he unintentionally blinds the club singer Jennie (Sally Yeh), he is conscience-stricken. Vowing to quit crime, Jeff agrees to one more hit to pay for Jennie's operation.

Writer-director John Woo lets scenes of ferocious violence and egregious sentiment collide in ways both appalling and hilarious. In the final gun battle, set in a church, Chow and his cop buddy Lee (Danny Lee) call each other Dumbo and Mickey Mouse, but they make the Wild Bunch look like wimps. Woo's penchant for balletic brutality -- often in slow motion to catch every spatter of blood -- recalls the films of Sam Peckinpah. But Woo cares little for subtlety. There's no buildup; it's like a porno flick with nothing but come shots. Despite the dizzying thrills, The Killer falls victim to overkill.

“Youth Knows No Pain”

“Like on 'Youth Knows No Pain' — we are the ones that should demonstrate, because we can take it,” Likke Li said. “We can pierce ourselves, take Ecstasy, dance all night and still go to work at our McDonald's jobs.” Despite the hedonistic sentiment in the song, the Swedish singer also admitted in hindsight her youth had repercussions. “I remember when I was 18-19 and feeling that I know it all,” Li said. “I always feel that I know it all. But that song is about realizing you don’t, and reflecting, ‘Boy, if I only knew what would follow.’”