Romantic to its core, The Killer stages its many bombastic set pieces with gloriously poetic flourishes, the off-the-cuff verve stemming at least in part from Woo's infamously improvisational approach. As transfixing as it is, however, death is not something glorified here, but bemoaned as a necessary evil in an evil world; every expended bullet and flailing body of dead meat is shot as if an aching expression of a corrupted soul. Woo's impulsive editing choices (freeze frames abound for practically Wagnerian effect) compliment his rigorously framed thematic devices; men on both sides of the law become dual sides of the same coin when true justice is at stake. The blinded Jennie (Sally Yeh) is the equally melodramatic purity of essence in this world, but all does not give way to a better tomorrow. Sins must be paid for, and what separates The Killer from the commercial is Woo's ultimate refusal to give in to basic audience expectations. Like a true artist, he bites the bullet and gives us what we need instead.
I recommend these subtitles.