This is a very well done action thriller. Instead of crazy stunts and too much violence - you feel the tension from empathy with the heroine played to perfection by Bridget Fonda. Bridget is slim and elegant and the transformation is quite fun to watch. It's like watching a supermodel action star.

Supporting cast are really well cast. Anne Bancroft makes a brief but memorable appearance. Gabriel Byrne adds some stature. Dermot Mulroney is charming. Harvey Keitel is effectively chilling.

The Nina Simone songs are great background. The score is atmospheric too.

This is a keeper.

After drug addict Maggie kills a policeman she is sentenced to death. She is 'executed' but then wakes up to be told she has a choice either she can work for the state or her execution will take place for real. Supervised by 'Bob' her training then begins; she is taught how to behave properly and how to kill. She is not an easy student but eventually passes her final test. Finally she is allowed to leave the training facility and is told to move to Venice Beach and wait further instructions. Time passes and she gets in a relationship with a local man before finally being given her first job. Shortly afterwards 'Uncle Bob' turns up and gives his 'niece' two tickets to New Orleans for Mardi Gras… of course it turns out to be another job. By now Maggie has become more human, the job bothers her on a moral level and she doesn't want her boyfriend caught up in it; Bob tells her that there is no way out of her job. Inevitably she gets given another task… this time things don't go according to plan.

When I first watched this in the cinema I really enjoyed this… at the time I hadn't seen 'Nikita'. Having seen both it is clear that this is more than 'based on' it is a very close remake; a few details are changed but not many. While I think the original is the superior film this is still pretty solid and I'll try to review it on its own merits. The story is solid and the main characters are believable despite the unlikely situation. Bridget Fonda does an impressive job as Maggie making her sympathetic despite the way she starts out. She is ably supported by Gabriel Byrne as 'Bob'; Anne Bancroft, as Amanda her etiquette coach; Dermot Mulroney as boyfriend JP and Miguel Ferrer as Bob's boss, who is not a fan of Maggie. There is also an impressively sinister turn from Harvey Keitel as Victor the Cleaner. The action is impressive with shootings, some martial arts and other fights. While there are a few disturbing moments, there is nothing too bad. Overall this is a solid action thriller and while I'd recommend watching 'Nikita' this is worth watching if you don't like subtitles, like any of the main actors involved or just want to compare the films.

"Point of No Return", or "The Assassin" as it is known here in Britain, is, of course, a remake of Luc Besson's French thriller "Nikita", and keeps closely to the plot of the original, although the action is transferred from France to America. Some of the names, such as Victor or Amande/Amanda, are the same as, or very close to, those used in the original film, although the name of the main character is changed from Nikita to Maggie. (Besson had, for reasons best known to himself, given his heroine a masculine Russian Christian name).

Like Nikita, Maggie is a criminal and drug addict who murders a policeman during a raid on a pharmacy, a crime for which she is sentenced to death. The sentence is, apparently, carried out soon after the trial, but in reality Maggie's life is spared. (The film-makers ignore the fact that in America any death sentence is automatically subject to a lengthy series of appeals and reviews; in California, where the film is set, only thirteen people, out of nearly seven hundred sentenced to death, have been executed during the last thirty years). She is given the option of being trained to work for the Government as a professional assassin; if she refuses she will be killed and buried beneath the tombstone which already bears her name.

Roger Ebert compares Maggie to a modern-day Eliza Dolittle, the heroine of Shaw's "Pygmalion". This may seem an odd comparison, given the nature of the work Maggie is being trained to do, but it is in fact an apt one. The modern assassin must master not only martial arts, weapons skills and computer technology but also such matters as deportment, polite conversation, fine dining and the art of looking beautiful. The rationale is presumably that, as Maggie may be called upon to kill members of America's high society, she needs to know how to behave in their company. The tuition she receives is obviously effective; Maggie enters her charm school with the social graces of an alley-cat and leaves with those of a débutante. For all her poise and glamour, however, she also has the skills of a ruthless killer.

The Government resettle Maggie in Venice Beach where she poses, under an assumed name, as an IT consultant and finds a boyfriend. Occasionally, however, she is called upon to take out a target whom the Government want dead, either by delivering a bomb to their hotel room or shooting them dead in the street. At first she is happy to go along with their instructions, but begins to develop a conscience about what she is doing, and wants to leave her job.

The idea of remaking a modern foreign-language film in English and with an American setting was anathema to many purists, particularly to those (on both sides of the Atlantic) who see Europe as the home of High Culture and America as a land of vulgar Philistines who are too lazy to bother with reading subtitles. This, however, was a view which I found unfair, as "Nikita" did not lose much, if anything, in translation when it was remade. Contrary to what some might think, not every French or European film is an art-house classic; Besson's was a commercial thriller which was itself influenced by American models, especially neo-noir. Film noir, as the name might suggest, has always been appreciated in the French cinema; the influence of Besson's model on John Badham's film might be seen as France's repayment of its debt to America.

Moreover, "The Assassin" has many virtues in its own right. It makes effective use of music; there is a memorable score from Hans Zimmer, possibly influenced by David Hentschel's music for "Educating Rita". The soundtrack also features several songs by Nina Simone, a particular passion of Maggie's. (This seemed a rather conservative taste for a young woman of her generation, but the explanation is that Maggie's enthusiasm derives from her mother).

Bridget Fonda (who has clearly inherited the classic good looks of her Auntie Jane) is very good as the heroine, both as the anti-social rebel of the early scenes and the sophisticated, seductive young lady of the later ones. There are effective cameos from Anne Bancroft as Amanda, Maggie's tutor in the social arts, and from Harvey Keitel as Victor the Cleaner, the ruthless, deadpan killer called in to "clean up" when one of her jobs unexpectedly goes wrong. There is a larger contribution from Gabriel Byrne as Maggie's handler, Bob, a key role as the relationship between the two is a complicated one. At first Bob is only able to handle her by making veiled (and sometimes open) threats about what will happen if she does not co-operate, but later he grows close to her, almost like a substitute father. (She passes him off to her boyfriend as her uncle). He is sympathetic to her desire to leave her job, but his hands are tied by the attitude of his superiors.

As a thriller, "The Assassin" is a fast-paced and exciting one, but it may also have a deeper significance as a critique of the death penalty. Maggie's development parallels that of Burt Lancaster's character Robert Stroud in "The Birdman of Alcatraz", who also starts off as a vicious, conscienceless killer and gradually grows in humanity There is an obvious irony in the fact that she is sentenced to death for murder and that her life is then spared so that she may commit further murders on behalf of the State that has sentenced her. The further irony is that it is her career as an assassin which teaches her the value of human life. 7/10