A theme of homoeroticism/sexually charged appreciation of the male body exerts itself as a clear visual in The Killer and Face/Off. In this paper, some of these homoerotic images and the theoretically gender-based reasoning behind them will be explored. In some ways, Woos’ films The Killer and Face/Off, can be “read” as both example and counterexample to masculine-feminine discussions of gendered cinema. Laura Mulvey, for instance, posits the thesis that cinema is a vision dominated by patriarchal society. Both films I will be analyzing exemplify the superior role of male societal functions; such as males in positions of authority, or with the expectation of fulfilling a stereotypical male protective role. As a counterexample the films can also be read as the objectification of the masculine body, a theory that Paul Smith and Mark Galleghar focus on in American cinema. According to my own interpretations of the films, Mulvey’s patriarchy and Smith’s eroticizing of the male body combine to offer the films as not only contextually patriarchal, but because of the emphasis placed on male bodies, the characters consequently become homoeroticized.