One of the many straight-to-streaming movies to essentially disappear without a trace this fall was the Mary Elizabeth Winstead vehicle Kate. What minimal coverage the film got focused on it as the latest in a line of insufficiently revisionist takes on the calcified genre in which an outsider — usually a white man, so kudos to Kate for expanding gender horizons, at least — arrives in Japan and instigates two hours of bloodshed, among mostly Japanese people, in which their culture and aesthetics are reduced to fetishized background details, usually with a visit to a sushi bar, the appearance of a soulful ...
- 11/16/2021
- The Hollywood Reporter - Film + TV
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