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Film: The Man From Nowhere
Year of production: 2010
UK Release date: 11th April 2011
Studio: E1
Certificate: 18
Running time: 119 mins
Director: Lee Jeong-beom
Starring: Kim Sae-ron, Kim Hyo-seo, Won Bin
Genre: Action/Crime/Thriller
Format: DVD
Country: South Korea
Language: Korean
Lee Jeong-beom directs this tale of redemption through violence which went on to became the highest grossing film in Korea last year, winning national and worldwide acclaim across the board. Following in the footsteps of Shiri and A Bittersweet Life, Korea continues to establish itself as a force to be reckoned with on the action cinema front.
The story follows a reclusive pawnbroker Cha Tae-sik (Won Bin), as he tries to forget a past which still haunts him. His only human contact comes in the form of Jung So-mi (Kim Sae-ron), a young girl who steadfastly refuses to give him the peace he desires and slowly starts to draw him out of his self enforced solitude.
When So-mi's mother gets involved in a drug deal that goes bad, she and her daughter are kidnapped and Cha is drawn into a race against time in order to save them. However, the deal that he is assured will see the two released turns out to be a double cross that leaves So-mi's mother dead and Cha caught between the law and gangsters vying for control of Korea.
After realising he has been betrayed and that the life of his only friend is in jeopardy, Cha flees the police and sets out on his own quest to rescue the girl. Unknown to the rest of the world, Cha was once a decorated black ops soldier, until he lost everything after a failed assassination attempt on his life.
Cha must become the man he once was if he is to stand a chance of ever seeing So-mi again. Using the skills and abilities he thought he had left behind forever, he slowly starts to work his way towards the men who took So-mi, hoping that he will he be able to prevent another tragedy before it is too late…
This movie borrows heavily from other sources, most notably from the gangster and the heroic bloodshed genres but even hints of Taken and the Bourne trilogy can be seen. Whilst the story is well written, it is nothing new and, unfortunately, predictable. However, what stops this from becoming simply a mash up of good ideas is the direction, editing and acting. Lee Jeong-beom brings the city to life with his striking imagery and settings, whether it is the poorer parts of town where Cha and So-mi live, or the garish opulence which surrounds the gangsters. His use of the colour blue, which is almost always present when the gangsters are on-screen, is used brilliantly to bathe Cha himself once he has entered their world. All this is accompanied by a mostly orchestral score that is used in all the right places, both for building tension and hauntingly setting the scene for the quieting moments in the movie.
A movie of this kind relies upon a strong actor in the lead role and in this regard Won Bin delivers. As Cha Tae-sik, he gives a performance that deserves the awards and plaudits he has received. A man hiding from the world behind his pawnshop window, the only bright spot in his life is So-mi, a surrogate reminder of the life that was taken from him. His seemingly gruff tolerance of her is offset by the fact he is the only parental figure in her life. He takes a subtle joy in that fact, whether making dinner for her or offering her a place to sleep when her mother is indulging in her drug habit. Though his anguish is evident when he fears he may never see his friend again, his transformation into the man he once was takes a lot of the emotion out of his performance, as what is left behind is a cold blooded killer. He dispassionately takes down anyone in his way, and the fact that he remains calm and never raises his voice during the scenes of extreme violence make them all the more affecting - and Cha all the more terrifying to behold.
Young actress Kim Sae-ron is brilliant in the role of So-mi. Her earlier interactions with Cha are filled with her talking incessantly about things that can only seem important when you're young yet also getting into trouble, as she tries to make the best of what life has thrown her. However, behind this tough façade, we can see a child in need of a friend and, more importantly, someone to look up to. With her mother addicted to drugs, she finds solace and refuge within the pawnshop. An absolutely heartbreaking scene where she shows a maturity and understanding of selfworth far beyond her years becomes the main driving force behind Cha's mission to save her and mark her as a talent to watch in future years.
As the gang leaders responsible for kidnapping So-mi and her mother, Kim Hee-won and Kim Sung-oh both give solid performances; even if Song-oh sometimes crosses the line and hams it up too much. They are men who deal in human lives as a commodity and never truly understand why Cha comes after them. Both have a false bravado that the violence Cha inflicts on their underlings slowly erodes. This leaves Ramrowan as the main antagonist of the piece. A henchman with a penchant for bladed weapons and the only person believable as a viable threat to Cha. His respect and happiness at finding a worthy adversary are evident and lead to two of the film’s best fight sequences.
As mentioned earlier, the editing is a crucial part of this movie and it is during the fight scenes that this is best shown. They are quick, brutal and bloody, yet always easy to follow, even with quick cutting and extreme close ups. This is especially true when point of view shots are used to brilliant affect as Cha and Ramrowan finally face each other in a climactic showdown. Won Bin excels in these action scenes. Moving with a speed and grace that conveys that he is a man trained in the art of killing as he makes short work of these apparently hard men who rely on their numbers and brute strength to deal with their opponents.
The only major problem with this movie is the length, coming in at just under two hours and aided by good pacing, it isn't so long that boredom will set in. However, with a slightly convoluted plot and too many incidental characters, it could easily have been shortened. The most obvious sections to take out would have been those involving Kim Tae-hun as detective Kim Chi-gon. He is the man in charge of jailing the gang members and subsequently trying to find Cha as he leaves a trail of bodies in his wake. Whilst he is good in the role, and brings some added black comedy to the film, he has too little to do. He spends much of the movie surveying the carnage Cha creates and all of the information he uncovers is nothing Cha doesn't figure out on his own. Even his discoveries about Cha's secret past are irrelevant as they are later revealed during flashbacks to much greater effect.
Whilst the influences of American blockbusters can be seen throughout, this proves Korean talent can match and, in a lot of ways, better anything Hollywood can produce. A familiar story of friendship, revenge and redemption which is often violent and bloody, it stands above similar titles in the genre. Brilliantly choreographed fight sequences and strong performances from the two leads make this much more than just another action film. DM
Film: The Killer
Release date: 21st October 2002
Certificate: 18
Running time: 111 mins
Director: John Woo
Starring: Chow Yun-fat, Danny Lee, Sally Yeh, Kong Chu, Kenneth Tsang
Genre: Action/Crime/Drama
Studio: Hong Kong Legends
Format: DVD
Country: Hong Kong
During the 1980s and early-90s, Hong Kong cinema was introduced to a new subgenre, ‘heroic bloodshed’. These movies featured similar themes of gangsters, gunfights, lots of blood, and would usually involve the main hero either dead or dying as they look for redemption in the violent world they inhabit. A seminal movie of this genre is John Woo's The Killer. Its influence can be seen in many action movies since, both in Hong Kong itself and across the world.
The film opens with a nameless killer, who later uses the alias Ah Jong, undertaking a hit on a mob boss. During the ensuing gun battle, a singer is caught in the crossfire and blinded. Driven by a desire to put right this wrong, the killer watches and slowly befriends this woman. He finds that his feelings, originally based on guilt and remorse, soon turn to affection and finally love. He is forced to do one last job in order to raise the money he needs to take her to America for the operation that will return her sight.
This last job brings him into the sights of a rogue cop, Inspector Li Ying. What starts as a routine search for a killer becomes much more after Ling witnesses Ah Jong risk his own life to help a child who is accidentally shot when Jong is betrayed by the Triad boss who hired him. Ling soon becomes obsessed with finding this enigma of a man, who seems to follow a set of rules and codes that are becoming defunct among the new breed of gangster that walk the streets of Hong Kong.
As Ying and Ah Jong face off against each other, an unlikely friendship develops. However, it is not long before they are beset on all sides as the man who wants Jong out of the way comes to finish the job. Finally, trapped and surrounded inside a church, these two men must put their differences aside to save the girl they both care for…
Underneath the action is also a good story which in some ways feels like, had it been in a more subdued film, would have gotten much more attention than it receives as a bridge for the action here. It puts a mirror between Ling and Jong and asks the question, is all that separates the hunted and the hunter a badge? The two men are both similar, from their wanting to do what is right to how far they will go to protect and uphold their ideals. This is an interesting comparison as, at times, it is shown that the killer is the more compassionate of the two. They are both men who no longer fit into the jobs they do; Ying is an embarrassment to the rest of the police, whilst Jong lives by rules that are now non-existent in the profession he works in. A scene that perfectly captures their similarities visually is a panning shot of a chair both men have sat in. The scene cuts between the two and shows them to be almost of one mind. They are the last of a dying breed and this cements a friendship that could easily have fallen flat on its face without the two charismatic leads.
Chow Yun-fat once again appears as Woo's alter ego. Outwardly, he is handsome, funny and deadly, though behind this we can see a man struggling with himself and the things he has done. Danny Lee, as a cop on the edge, is more self assured than Jong. He believes what he is doing is right and is frustrated at others for not being able to see it. Their relationship is played well and the two show a wide range of acting skills when they share the screen, whether exchanging pleasantries whilst pointing guns at each other (a dramatic yet comic highlight to the film), their interactions as they slowly start to become friends or, as they spend much of the film doing, fighting for their lives.
Sally Yeh does a good job with what she is given. Admittedly, she is mainly there to facilitate the relationship between the two and is given little to do when not in focus as the object of both the men's affection. She also provides some of the songs that help drive the film, reminding the heroes and the audience what they are fighting for.
Shing Fui-on as the Triad leader who wants Jong dead, is everything you want in a villain. He is ruthless, power hungry, has an army of killers on his payroll and the annoying ability to survive almost everything the protagonists can throw at him. Whilst this doesn't give much scope for the actor, his willingness to throw himself into the role makes for a satisfying antagonist to root against.
One of the best yet under-rated performances comes from veteran actor Paul Chu Kong as Jong's manager/mentor. Like Jong, he has no place in this new world of killers. An injury hinders him from being able to perform the job and his code of honour lead him to being seen as little more than a relic of days gone by. He is the one who betrays Jong to the triads, and spends the rest of the movie trying to rectify this mistake and regain the self respect he has lost over the years.
John Woo's ability to mix the ballistic and the balletic are fully on display in this movie. The action scenes, directed by martial arts maestro Ching Siu-tung, take gun fighting to a new level. They play out more like a dance number than a series of men taking pot shots at each other, which was the norm at the time. John Woo uses techniques that have since become synonymous with his name. Slow motion, doves, bodies that are literally ripped apart from gunfire, plus just the right mix of action and melodrama. The use of a church in the finale is a beautiful touch; it adds a sense of hopelessness for these two men. Whilst they seek redemption, they are forced to battle for their lives in the very building that is usually associated with peace and sanctuary.
Saying this, Woo's style does come with its own caveat of annoyances for anyone unwilling to embrace the suspension of disbelief that is required to enjoy this movie fully. The heroes can fire an unending stream of bullets, usually running out only when it adds dramatic tension to the scene. Their aim is almost always perfect whilst the villains appear to have no knowledge of what the sight on their gun is used for. Lastly, whilst the bad guys are taken down with minimal fuss, the two leads seem to almost absorb the few bullets that actually hit the mark - and use this slight inconvenience to spur them onto greater acts of violence. Whilst fans of the genre and Woo himself will take these with a pinch of salt, the excessive carnage and overblown action may put some off.
A true action classic. A great story, brilliantly choreographed action and an ending that is both touching and controversial. When it comes to ballistic gun play, Woo's touches bring this head and shoulders above most rivals in the genre. This story of a killer and a cop turns the tables on similar themed movies by forcing the two to confront their core beliefs and realising that, underneath it all, they really are two sides of the same coin. DM
Film: Jesus Of Montreal
Release date: 27th February 2006
Certificate: 18
Running time: 115 mins
Director: Denys Arcand
Starring: Lothaire Bluteau, Catherine Wilkening, Johanne-Marie Tremblay, Remy Girard, Yves Jacques
Genre: Drama
Studio: Arrow
Format: DVD
Country: Canada/France
The story of Christ is not new to most people. In fact, to many it is the greatest story ever told. From epics depicting his life to films focusing solely on his death, there is no lack of resources to look at when examining this religious icon. Canadian director Denys Arcand gives us a fresh look at this figure in a contemporary setting, played out by a group of actors as they try to give their own version of Jesus' story itself.
Hoping to increase tourist trade and the dwindling numbers attending his services, Father Leclerc hires a recently returned actor, Daniel, to re-vamp the story of the Passion of Christ. Daniel sets about researching the role and gathering together a troupe of actors with which to make this a reality.
With his group brought together, Daniel sets about re-imaging how the story is told using recent evidence that has been discovered about Christ. While this is greeted with success and critical acclaim from the audience, it is not what the priest had in mind and soon the production is in threat of being shut down by the Roman Catholic Church itself.
As their fame grows, so too do the outside influences wanting to shut it down. As the group try to keep the show running as long as possible, Daniel soon finds that the trials and tribulations that faced Jesus are now starting to impact on his own life…
It is not uncommon to have movies that are filled with symbolism, whether it be religious or otherwise. Sometimes they are there for the audiences to see. In others, they are laced within the sub-text, visuals and dialogue. As this is a film about Christ and this is a subject many know, most can be seen clearly here. Daniel’s return from his mysterious travels at the age of 30, his gathering of actors who eventually become his ‘disciples’, right through to his persecution by the Church and those in positions of power.
The acting is good all round. Lothaire Bluteau does a great job of portraying a man undergoing a transformation from a man into something more. His brooding presence adds greatly to this as he tries to stand up for his beliefs against unbeatable odds. His troupe also hold their own in the role of disciples. Catherine Wilkening is a commercial actress who believes it is her body alone that has gotten her to where she is today. Johanne-Marie Tremblay is a failed actress trying to make ends meet. Rémy Girard is a pretentious actor who will not agree to anything until he has seen a script, and Robert Lepage fills out the last place as an actor who has been reduced to dubbing over porn. Throughout the movie we see them grow into a group of friends who come to rely on one another as they place their faith and careers in Daniel's hands. As an obvious take on the Apostles, they even go so far as to share a ‘last supper’ before the opening night of the show.
For a movie like this, you could expect a lot of animosity towards organised religion, but here, Arcand is reserved. Whilst it is the Church that wants to put a stop to the show, it isn’t shown as an all consuming evil. The representative of the Catholic faith is Father Leclerc, played brilliantly by Gilles Pelletier. He is a man disenfranchised with his own belief system but also institutionalized into the only life he knows how to lead. He is a priest who, it transpires, has bedded women and sees the commercialism of religion as a means to an end in supporting his lifestyle and the continuation of his congregation. He is not an evil man, but more a coward unwilling to stand up to his own hypocrisy. Plus, the Church's unease at the production is understandable, as Daniel's revitalized re-telling takes broad strokes at undermining the teachings and facts that most Christians hold dear, so it is no surprise they want to shut it down.
In fact, it is another community that receives the most biting criticisms the film has to offer. The theatrical world itself is mocked more openly than the Church. This is first seen in the critics who spout the exact same asinine critiques for a play which opens the film to their review of the troupe's Passion, as both are in vogue at the time of their comments. One of Daniel's own friends is famous for his steadfast refusal to do advertisements at the beginning but after seeing the praise heaped upon the show, is seen at the end adorning a poster on the wall of a train station, forsaking his own morals in his quest not to lose the spotlight. Rémy Girard only agrees to be in the production on the assurance that he will be allowed to recite a monologue from Hamlet. At the start of the movie, all the actors are struggling for their art, none of them where they want to be but all trying to do the thing they love no matter how degrading it is. Although this helps cement them later when they have a common goal, it is a cautionary tale about the ups and downs that must be endured in the life of an actor.
As mentioned above, the comparisons between Daniel’s and Jesus' lives are easy to see, but it is when these aspects are brought into the modern setting that the movie works best. Daniel’s explosion of rage directed towards a company who ask a girl to strip naked for a beer commercial audition is a nod towards Jesus ransacking the temple as the people who wield power abuse it for their own ends. The Romans are replaced by the police, not wanting to or even caring why they have to stop the production but simply men with a job to do. His temptation by the Devil is beautifully recreated as he looks out over the city and is promised it all by a sleazy lawyer who wants to entice him to sign with him, in order to cash in on the new found success he has garnered. Though the highpoint of the film is when the story brings the ideas of miracles and resurrection into present times, it is both inspired and bittersweet.
A good movie with some interesting ideas. Bringing the story of Jesus into the modern age works due to some inventive ideas and an actor willing to throw himself into the role. Though these comparisons can sometimes be heavy-handed, they highlight how the message and life of Christ can still be as relevant now as it was then. On a final note, although it doesn't seem to be the film's intention, the themes and liberties taken with the story have the potential to offend and upset, so it may be best avoided by some. DM
Film: Returner
Release date: 19th January 2004
Certificate: 15
Running time: 112 mins
Director: Takashi Yamazaki
Starring: Takeshi Kaneshiro, Anne Suzuki, Gorô Kishitani, Kirin Kiki, Yukiko Okamoto
Genre: Action/Adventure/Sci-Fi
Studio: Sony
Format: DVD
Country: Japan
When a term such as “summer blockbuster” is used, audiences are usually aware what they are in for: a lot of action, an over-reliance on CGI, and a dose of humour thrown in for good measure. Unfortunately, these elements can come at the expense of the writing and the plot, but if handled in the right way, these movies can be enjoyable and, most importantly, fun. Takashi Yamazaki's ambitious movie shows us it's not just Hollywood that appreciates the value of these movies.
The year is 2084, the human race has been brought to the edge of extinction by an alien race known as the Daggra. The humans have holed up in Tibet and their last hope rests with Milly, a young girl driven by the loss of her brother, who must travel back in time to the three days before the war started. Her orders are to kill the first Daggra, who faked a crash landing on Earth as a prelude to their invasion. Things don't go as planned, as her trip back in time places her squarely in the cross hairs of Miyamoto, a gunman who, after taking out a child smuggling ring, has finally caught up with his best friend's murderer, Mizoguchi .
After shooting Milly, Miyamoto takes her home to help her recover. When she reveals her true purpose to him, his reaction is one of derision and mirth at her obvious insanity, until she attaches an explosive device to his neck ensuring his co-operation. Together, with the aid of Miyamoto's sage-like handler, the two set out to stop the Daggra and save the future.
Meanwhile, Mizoguchi has his own plans for the alien and the ship. Hoping to use the technology for himself, he will go to any length to stop anyone from gaining the power he feels he rightly deserves.
As the two groups race to find the Daggra, Milly and Miyamoto slowly start to realise that all may not what it seems as they learn what really happened on the fateful day that the Daggra began their invasion…
This movie feels like a live action anime, with a super-cool anti-hero, a cute female side-kick, mechs and set pieces that take ‘over the top’ to the next level. This is a hard task for any director to get right, yet Takashi Yamazaki manages to pull it off. This aesthetic choice on his part is easier to understand now that he has gone on to direct live action versions of popular animes such as Space Battleship Yamato.
The action set-pieces are explosive and satisfying. The addition of a wrist device that can speed up the wearer adds to this greatly. Although it is a cheap ploy to fit in some Matrix-lite slow motion, it is nevertheless used in some original and inventive ways, while also giving characters a reason for being able to pull off some superhuman feats featured in the film.
The CGI and special effects are well done. The scenes set in a future overrun by the Daggra are the best example of this, from their ability to disguise their ships as normal planes to the scenes of the mech-encased invaders laying waste to all around them. It falls down slightly when the real actors and the Daggra are shown together on-screen as the limitations of the special effects become obvious.
With his shades, long hair and trench coat, Takeshi Kaneshiro oozes cool as Miyamoto. He switches between a revenge driven killing machine to reluctant hero effortlessly. His character isn't given much to do beyond this, but scenes showing his reaction and internal struggle with the loss of his best friend, and the scenes where he and Milly start to bond show a depth to his character which gives the film a much needed touch of heart.
Anne Suzuki is a delight to watch as Milly. Her fish out of water reaction to things we take for granted makes for an amusing contrast to her original introduction as the battle hardened savour of humanity, whilst a back-story involving losing her brother to the Daggra gives her an opportunity to show an emotional side, which helps fuels the story and her friendship with Miyamoto.
The relationship is well written and thankfully the bond that develops is similar to a bickering brother/sister combination rather than used as an excuse to fit a romantic sub-plot into an already convoluted story.
Undeniably, it is Goro Kishitani who steals the show here. With a hairstyle that even a manga star would envy, he lets rip as the villain. His introduction sees him execute one of the children he is transporting in order to subdue the rest. From here, he only gets worse, as his quest to use the power he feels he can gain from the Daggra leads him to more outrageous acts of violence and deception. In essence, he is the pantomime villain of the piece, though he goes about his acts of lunacy with such darkly comic glee that it is impossible not to look forward to his scenes.
This is a movie that is literally bursting with ideas, perhaps too many. An alien race, time-travel, gang warfare, a childhood vendetta and a clunky “humans are the real enemy” message all feature. Despite this, the plot is easy to follow, though scratch beneath the surface and things to start to unravel. Miyamoto's character has no obvious motivation (his encounter with Mizoguchi being as much a surprise to him as anyone). The Daggra are extremely powerful but haven't managed to wipe out humanity in eighty years. Why would Mizoguchi be firing a rocket launcher on an oil rig? The usual problems with time travel paradoxes, an issue that plagues the Terminator series, rears its head here also, and threatens to ruin one of the movie's most touching scenes. These are elements that could easily deter the more serious movie watcher, but it is a testament to the direction, action and acting that while watching the film, these niggling issues will fade into the background.
This is a divisive movie. It is a great action/ comedy movie with some decent CGI that will please fans of anime and action cinema in general. However, gaping plot holes, limited character development, and having heroes who take time out of saving the world to get makeovers may be a step too far for some people as the suspension of disbelief can only be pushed so far. DM
Film: Fulltime Killer
Release date: 29th March 2004
Certificate: 18
Running time: 100 mins
Director: Johnny To, Wai Ka-Fai
Starring: Andy Lau, Takashi Sorimachi, Simon Yam, Kelly Lin, Cherrie Ying
Genre: Crime/Drama/Thriller
Studio: Tartan
Format: DVD
Country: Hong Kong
Before receiving awards and plaudits around the globe with movies such as Exiled and the Election series, Johnnie To already had a wide array of films to his name. Looking back on some of his lesser known works, such as this adaption of the Pang Ho-Cheung novel ‘Fulltime Killer’, gives a revealing insight into a director who has been developing and honing his skills for years.
The story starts showing O undertaking a hit. He is calm and methodical. When confronted by an old friend, he doesn't hesitate in killing him in order to protect himself. Then we meet another professional hit-man, Tok. When his first assassination involves a bagful of grenades, we see he is a man who is more interested in the impressive style in which he takes people out in rather than any sense of dignity or composure.
O is the better, renowned for his efficiency and ability to stay below the radar, whereas Tok is new to the game, and wants to make a name for himself in any way possible. Tok knows the only way to do this is to be the man to take down the infamous O, and will do anything in his power to draw him out.
This bait comes in the form of Chin, O's house cleaner and the only person O seems to care for, although their relationship is one of voyeurism and hidden feelings as his paranoia and insecurity stops him from being able to relate to her in any meaningful way. Tok enters her life and initiates her into the world these two men live in through his charm, and a charisma that O lacks.
As a deadly game of cat and mouse plays out between O and Tok, Agent Lee, an Interpol agent tasked with the unenviable task of finding and stopping the two, starts to close in as their battle of wits draws him ever closer to his goal. With a desire that borders on obsession to bring both men to justice, he will go to any lengths to get to the pair before they escape him again.
As events escalate, it is only a matter of time before they must finally confront each other to see just who the better is, and who will get caught in the crossfire…
With a brooding and calm demeanour, Takashi Sorimachi shows us O as a man who excels at a job where emotions are distractions he can't handle, yet who longs for something tangible and real as his self-enforced detachment and solitude have left him so secretive that he doesn't so much live his own life, as watch it from afar.
Meanwhile, Andy Lau brings his usual charisma to the role of Tok, a character who revels in his own notoriety. He is brash, easily excitable and never shy about expressing his emotions, whether through words or, often times, acts of extreme violence.
The contrasts between the two are shown often. Each has his own distinct colour, suited to their personality, which bathes them throughout the movie - ice cold blue for O and a fiery red for Tok. The way in which they undertake their assignments also reveals an insight into how their minds work differently to achieve a common goal. However, it is scenes where they react to being double crossed that the parallel between the two is best shown. O calmly exacts a clinical yet devastating retribution on the man who betrayed him, while Tok charges headlong into the trap, taking glee in springing it, trusting on nothing more than his own ability to get him through, before gleefully turning the tables on those who wronged him.
As the object of both of the protagonists’ affection, it is nice to see Kelly Lin play such a strong character in what could easily have been a one-dimensional ‘damsel in distress’ role. Instead, she quietly keeps the story flowing. At first, she is seemingly caught up in the madness caused around her by her contact with the two killers, but then it slowly becomes apparent that she has masterfully orchestrated her way into their world as a solution to her “quiet” and “boring” life. Her scenes with O and Tok help to establish the differences between them outside of their profession. The former watching her from a distance but unable to make the contact he desires, while the latter literally bursts into her life with his cocky and assured approach.
The standout, however, is Simon Yam, a man obsessed with O. He has seen the damage that O has caused and wants it to end. His chance comes when Tok enters the scene and O is forced to take a reactive role which finally brings him into Yam’s cross-hairs. Upon finally meeting O, his grin is wolfish and predatory, perfectly conveying his joy of the hunt yet also his excitement at the chance to end it. It is only after a botched arrest attempt when he is physically unable to pursue O any longer that he is forced to take in the scope of the damage his obsession has caused to those around him, beautifully conveyed as he surveys a street that is littered with his dead and wounded team.
This leads to an unconventional final act as the film starts to follow him and his descent into despair. This is unexpected and slightly disappointing as the focus is taken off the two killers. However, it is thanks to Yam's performance that this works as we see how his encounters with these two killers have left him a broken man. There is no gung-ho desire for revenge as might have been expected, but instead we see a man who has lost everything to his obsession. Yet he is still so close to the case that even though his role in the story between the two is over, he must find out how the story ends in order to have any kind of catharsis.
As you would expect with a Johnny To film, the action scenes are shot and staged beautifully - a gun fight where the three finally meet at an apartment building is a highpoint that any action fan will want to see for themselves. The only problem is the final face off between the two. After so many excellent yet varied action sequences showcasing the differences between how O and Tok operate, the pay-off to the entire movie is quite short and plagued by an over reliance on a pop culture reference that takes away some of the tension in favour of ridiculousness. Whilst it doesn't ruin the movie, the fact that it can't live up to the standards that have been previously set is slightly unsatisfying.
Star turns, a decent script and some dazzling fight choreography stop this time old tale of a newcomer trying to prove himself to the old hand from being anything but predictable. It conveys the differences between the two killers without judgement. There is no good or bad guy, and this means there is a layer of investment in these characters that make the final outcome all the more potent. DM
