Movies
[Review] Netflix’s Bloody Action-Thriller ‘Kate’ Offers Stylistic But Familiar Fun
A highly skilled assassin punching and slicing their way through an endless horde of opponents out of revenge reads like several contemporary action-thrillers, especially in the wake of John Wick’s popularity. Kate marks the latest, borrowing from a few prominent action-thrillers to create an easily digestible blend of violence, action, and humor by way of a silly plot that ticks off all the action-thriller tropes at breakneck speed.
Mary Elizabeth Winstead stars as the eponymous Kate, an expert hitman living in Japan currently working her way through a list of yakuza targets. Her only semblance of friendship and family comes in her handler (Woody Harrelson), and she wonders if obtaining normality beyond her niche career would be possible. Then Kate uncharacteristically blows her latest target, resulting in a series of events that leave her poisoned and with only 24-hours to live. Hell hath no fury like a hitwoman scored; Kate demands vengeance, and she’s going to carve her way to the top to get it.

Directed by Cedric Nicolas-Troyan (The Huntsman: Winter’s War) and written by Umair Aleem, Kate relies on the Japan backdrop to do the heavy lifting in terms of style. Tokyo’s fast-paced, futuristic aesthetic becomes ground zero for Kate to hunt down clues, kidnap yakuza princess Ani (Miku Patricia Martineau), and murder her way to answers. The bustling streets, dark back alleys, and neon-lit nightclubs become just a few of the major set pieces for Kate to slash her way through while her body takes massive abuse in the process.
That’s really the extent of the narrative, too. See Kate maim. Watch Kate dole out as much punishment as she receives. See Ani forge a bond with Kate, despite Kate’s guilty conscience. Nicolas-Troyan attempts to inject some pathos to Kate in the form of flashbacks of her upbringing, but they don’t effectively contribute to making Kate a fully realized character. She’s a terminator, and in this case, that’s just fine.

Winstead’s natural charisma and physicality make Kate winsome, even when her journey follows the familiar beats of similar action-thrillers that came before. She’s assisted by a charming performance by Martineau, the sidekick to a reluctant Kate. Then there’s a mini Ichi the Killer reunion in supporting players Tadanobu Asano (Mortal Kombat 2021) and Jun Kunimura (Kill Bill: Vol 1), both playing prominent members of the crime syndicate Kate seeks to dismantle. The former brings surprising humor to the mix, a welcome balance. Harrelson, Asano, and Martineau serve as consistent reminders that Kate doesn’t take itself too seriously, despite being led by a very serious and determined protagonist.
Sharing more in common with Crank than John Wick in terms of tone, Kate never rises above the influences it’s drawing from. That extends to anime, as well; Kate’s late-game red eye serves as a hat tip to Tokyo Ghoul, which plays in the background of one scene. It earns its R-rating, offering plenty of bone-crunching and blood-splattering mayhem in Kate’s path, but it’s a predictable path with no surprises. It telecasts precisely how Kate’s story will play out from the outset, but at least Nicolas-Troyan and the cast commit to bringing the fun while it lasts.
Kate releases on Netflix on September 10, 2021.

Editorials
‘Backrooms’ Lore Explained: Async Research Institute and the Complex
The iconic line “If you build it, they will come” may have originally referred to a baseball field, but I’d argue that the record-breaking success of Kane Parsons’ Backrooms is proof that the line could also refer to well-crafted movies about ideas that young cinemagoers actually care about.
Yet, despite being based on Parsons’ existing ARG/Webseries, the A24-produced film is more of a standalone tale exploring the personal implications of the titular rooms rather than a traditional examination of the hard sci-fi elements present in the source material.
This less lore-reliant approach was a genius move, as the resulting film ended up being equally accessible to both existing fans and newcomers alike. That’s not to say that Backrooms doesn’t engage with the existing mythology in new and interesting ways, however, as the film heavily expands on the Async Research Institute and the cryptobiology of the rooms themselves. With that in mind, I’m diving a little deeper into these connections in order to help fledgling Backrooms enthusiasts find their way around the yellow labyrinth.
As is to be expected from this kind of article, there are major spoilers ahead, so proceed at your own risk if you’ve yet to see the movie!
Who is Async Research Institute in the Backrooms Movie?

Backrooms. Courtesy of A24.
Of course, if we’re going to discuss the connections between the series and the film, a good place to start would be Async itself. The California-based Foundation plays a brief yet pivotal role in the film as outside observers that only really interfere with the main plot during the final act. While the Foundation is the main focus of the ARG, they’re mostly hinted at in the film.
Chiwetel Ejiofor’s Clark runs into several Async-built “anomaly lures” during his exploration of the liminal space (mostly in the form of human-shaped cut-outs accompanied by audio recordings inspired by the 1977 Voyager Golden Record), as well as surveillance cameras and evidence that at least one of their agents has become trapped in the rooms – though we’ll get to this last detail later.
It’s only towards the end of the flick that Foundation agents finally show up in their iconic yellow protection suits and “rescue” Renate Reinsve’s Mary by pulling her back to “reality” through a familiar portal, though it’s heavily implied that they might not be all that concerned with her well-being.
After all, long-time fans are aware that Async has been researching the “Complex” (their official name for the Backrooms phenomenon) since at least the late 1980s, with their Threshold experiments being based on a Low-Proximity Magnetic Distortion System prototype developed by Oak Ridge National Laboratory in 1982. Unfortunately, their experiments have likely resulted in hidden portals appearing more frequently in the outside world, which consequently leads to more people accidentally “no-clipping through reality”. And that’s not even mentioning the occasional earthquake caused by unstable Thresholds!
Where the Backrooms Fits in the Original ARG Timeline

Kane Parsons’ “The Backrooms” horor short
Though the film takes place in 1990, the ARG’s timeline actually begins in 1996, with the original found footage upload and the ensuing research sparked by the video serving as sequels to the A24 production. Not only that, but film’s Still Life monsters (“misremembered” versions of real people who wandered into the rooms) appear to be precursors to the Lifeform from the series.
In the original videos, it’s speculated that the humanoid predator inhabiting the Complex is the result of a novel strain of hay bacillus forming a human-shaped colony, though the addition of the Still Life mythology may very well mean that the mutated hay bacillus itself is a Still Life reproduction of an existing bacteria that somehow fell into the Complex.
The film also offers us an interesting clue into the history of the Foundation when Mark Duplass’ Phil talks about how the company used to work with MRI machines. This seemingly innocuous origin for the secretive organization implies that the Complex itself might be the result of some advanced form of neural imaging – as if the Threshold is somehow opening a portal to the universe’s -or even God’s- subconscious mind.
Who is Naren Warne and Why is He Important to Backrooms Lore?

Async researches in “Backrooms” web series
One of the more direct connections between the film and the series happens to be Avan Jogia’s Naren Warne, an unfortunate Async Institute scientist who shows up in the movie’s found footage prologue. A now-deleted Discord post by Kane Parsons himself suggests that Warne was originally a part of the Missing Persons survey team that discovered a dead body taken over by “mold” (the aforementioned hay bacillus).
At some point during the expedition, Naren appears to have been separated from the rest of the team and wound up wandering alone in the Backrooms. The film opens with the desperate scientist’s VHS footage as he records his attempts to contact his superiors and is ultimately chased down by an unseen Lifeform.
While this prologue mostly serves to establish that the Backrooms contain more than empty hallways, it’s fun to see Parsons include a trail of breadcrumbs leading back to the lo-fi source material even when working on such a high-profile production.
Naturally, there are other curious connections to be found here, such as a faithful recreation of the original photo that spawned the Backrooms creepypasta in the first place, as well as audio cues harkening back to the various TikTok musical trends that often accompany liminal horror content.
However, half the fun of engaging with lore-heavy material comes from discussing theories with fellow fans, so I’d like to invite readers to comment below with your own favorite additions to the lore/references to the ARG! Just be sure to watch out for suspicious-looking furniture salesmen – especially if they’re dressed up like a pirate.
You must be logged in to post a comment.