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Baby Assassins 3
Movie

Baby Assassins 3

2024 • Unknown

Woke Score
2
out of 10

Plot

Teenage assassins Mahiro and Chisato visit the coastal city of Miyazaki for a contract and a vacation, but they unexpectedly cross paths with a legendary, bloodthirsty assassin looking to add to his kill count.

Overall Series Review

Baby Assassins 3 is a Japanese action-comedy that continues the story of the duo, Mahiro and Chisato, as they balance their brutal lives as contract killers with the mundane, humorous challenges of everyday life. On a contract-vacation in Miyazaki, the pair is pitted against Kaede, a legendary freelance assassin who is a formidable and nihilistic threat. The film's core is the dynamic between the two leads: the stoic, sociopathic martial artist Mahiro and the bubbly, socially functional Chisato. The narrative focuses on action choreography and absurdist comedy as the girls try to complete their assignment and fight for their professional survival. The conflict is purely one of professional hierarchy and personal combat skills, which are the main focus, with the comedy derived from their shared slacker attitudes toward their non-lethal responsibilities. The movie is an unapologetic genre piece that prioritizes violence and humor over social commentary.

Categorical Breakdown

Identity Politics1/10

The narrative is entirely race-neutral. Character merit, specifically combat skill, dictates success and professional standing within the assassin world. All main characters are ethnically Japanese, and the plot contains no discussion of race, privilege, systemic oppression, or the vilification of any specific group. Casting is authentic to the Japanese setting.

Oikophobia1/10

The film is a Japanese production set in Japan, focusing on the country’s crime underworld and slice-of-life comedy. There is no element of hostility toward Western civilization, one’s own home, or ancestors. The humor critiques the bureaucracy and banality of everyday life, not Japanese culture or its institutions.

Feminism4/10

Female leads are extremely powerful and highly skilled professional killers. This places them at the top of the 'Girl Boss' trope, demonstrating physical and tactical superiority. However, they are not portrayed as flawless 'Mary Sues'; Mahiro is a diagnosed sociopath who struggles with social norms, and they get into trouble due to financial and administrative incompetence. The antagonist is a highly competent, brutal male assassin, preventing the narrative from simply depicting all men as bumbling. The focus is on their job and partnership, not a direct critique of family or a lecture on anti-natalism.

LGBTQ+1/10

The story centers on the close 'odd couple' female partnership but frames their relationship as a co-dependent professional and roommate dynamic, common in action cinema. There is no presence of sexual ideology, no deconstruction of the nuclear family, and no discussion or centering of alternative sexualities or gender theory.

Anti-Theism2/10

The story’s core conflict is criminal and territorial, not moral or spiritual. The main villain is a 'brutally nihilist' freelancer, representing subjective moral chaos, but this is an action genre trope, not a philosophical attack on religion. The film contains no commentary or depiction of traditional religion, specifically Christianity, as a source of evil or bigotry.