Tag Archives: Hong Kong Cinema

Cinema-Maniac: The Brink (2017)

Jin Zhang, or Max Zhang as he’s sometime is credited shares career similarities with director Jonathan Li. Both of these men before The Brink have worked their way up in the Hong Kong film industry. Jonathan Li starting out behind the camera as a third assistant director on Infernal Affairs 3 (2003), and Max Zhang starting out as a stunt double in Crouching Tiger, Hidden Dragon (2000). Over a decade later of work both managed to garner some level of recognition. Max Zhang is easily more prolific with supporting roles in The Grandmaster (2013), Ip Man 3 (2015), and SPL 2: A Time for Consequences (2015). Garnering Max Zhang a well earned fanbase for not just his incredible athleticism in his fight sequences, but his on screen presence displaying good acting abilities. Surprisingly, The Brink doesn’t just mark Max Zhang first time headlining a major movie as the lead star, and also marks the first time Jonathan Li take the helm as a director after over a decade working mostly as a assistant director. Both have something to prove in this film that is steps away from greatness, but accomplish the feat of proving they can handle bigger roles.

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A snippet of Max Zhang impressive skills in his fight sequences

On the story front The Brink is above average. Telling the classic story of a reckless Hong Kong officer, in this case being Sai Gau (Max Zhang), attempting to put an end on a criminal gold smuggling scheme. Anyone with experience in Hong Kong cinema will know what to expect from the story, minus the goods this time not being drugs. Some of the characters are also what you would expect them to be; best friend Zhi-Di (Wu Yue) so close to retiring getting pulled back into action, the chief coming down Sai Gau neck for operations gone wrong, a low ranked criminal villain in Jiang (Shawn Yue) with big ambitions, the daughter of a criminal reminding Sai Gau of his sense of duty, Jiang boss who plans to give his business to his son seeks to get rid of him, and that basically covers it. There are other minor characters, but they don’t contribute much in the grand scheme of things. It’s lacking in creativity, but when it comes execution writer Li Chun Fai knows how to play around with these familiar characters, and plot point in a successful way.

For starter, the pacing of the film is just right never lingering too much on unnecessary details, and evolving the main storyline in a organic way. Being able to escalate stakes within a reasonable scope. It has a certain number of main characters, and knows their influence with those around them. Hardly going overboard in favors of anyone to show more, or less an even playing field. Another positive in the writing is the whole cat, and mouse writing it takes for it central conflict. Both Sai Gau, and Jiang come face to face several times throughout the  movie. With Jiang just barely being able to get the advantage over Sai Gau in his attempts to arrest him. Further adding to the intrigue is Jiang seeking vengeance on those who betrayed him making proceeding events for him more difficult to come out on top. Seeing the many ways Jiang gets out of his situations is quite fun to witness.

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Prison changed me man. I’m a blonde now. Don’t ask.

Other area of the writing comes with mixed results. Characters are simplistic, and clear cut in their motivations. In its effort to be more than a good cop capturing evil doer it leaves many aspects half baked. The most prominent one being a insignificant plot point on Zhi-Di owing an off screen gang money. This clumsily justifies Zhi-Di motives in the later half of the movie, but with it being the only mention it just goes nowhere. While the writing attempts to make things different shades of grey it ultimately just boils down to good guy versus bad guy. Characters are defined, but they switch motivation, or personality at a moment notice to serve the writers needs since Li Chun Fai couldn’t figure out how its character would get from point a to point b with how they were established. If Li Chun Fai didn’t rewrite established characters consistently he would have been able to create more complex characters in favor of the film.

Where the writing falter plenty is with the character of Ke-Yan (Cecilia So) whose name I don’t believe is actually ever said in the movie itself. The only way I was able to find out her name was looking for it in the closing credits. If that alone doesn’t get across how this character is just put into the movie for no narrative reason than maybe the fact she contributes nothing in the overarching story will. Her scenes amount to nothing, but just providing a little characterization for Sai Gau, and even less for Ke-Yan. Her subplot of being a daughter tied to a criminal Sai Gau accidentally killed isn’t explored. It’s brushed aside quickly, and feels like Ke-Yan is only here to provide a pro-life message that is shoehorned in. If Ke-Yan was going to be in the last shot of the movie than you know, doing something significant storywise with her would have made it more impactful. Lastly, why does Sai Gau go into prison for a couple a months with dark hair, but then when released has blonde hair. Not that it’s of any importance, but it’s a noticeable change that comes out of nowhere.

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Shawn Yue (left) has the look of a trustworthy person.

Max Zhang for the first time in his career carries the mantle of a leading man, and he does quite well for himself. He doesn’t attempt to oversell his character through his acting, but rather tries to keep his portrayal restraint when not fighting. Providing more subtle delivery in some of his sentimental scenes preventing them from being sappy. There are glimmer of range within him that the film sadly doesn’t utilize more frequently. Of course, when it comes to Max Zhang in the fight sequences he’s still just as impressive, and quick as he ever been.

Opposite of Max Zhang is Shawn Yue playing the cold hearted villain. Nailing the portrayal of his character personality, but unable to overcome the occasional stoic delivery of dialogue. Sounding disinterested half the time, and the other half sounding detached like he should. Yue acting won’t impress, but one where he’s meant to mourn over a lost is handle well by Yue without him breaking character. Wu Yue whenever on screen typically takes the spotlight from Zhang. Giving life to a archetype character being capable to generate sympathy for his character in spite of the above average writing. When it comes to his fight sequences he’s just as impressive as Max Zhang. There’s some noteworthy name in the supporting cast like Janice Man, Derek Tsang, Gordon Lam, and Tai Po, but the supporting cast tends to be one note. Eventually being indistinguishable from one another performances.

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My favorite fight in The Brink.

First time director Jonathan Li with the helps of cinematographer Kenny Tse captures a aquatic, moody feel to the film. Showing a more grimy side of Hong Kong through his usage of location. If it’s related to the ocean he’ll use from a crowded indoor fish market, to a fishing trawler in the middle of a storm, gloomy ports, and even going underwater to film a action sequence which in spite of being performed slowly is still entertaining to witness. His directing of action sequences stands out more than his narrative storytelling. Mostly because when it comes to action he allows for long takes, and if needed will get inventive with his shots to make his fight scenes pop out. Being able to avoid the pitfall of showing background actors doing nothing in his fight sequences. With tight editing, and great composition his eye for action sequences raises the film quality whenever onscreen. Heck, he’s able to make an action sequence underwater feel eventful. There might be only a handful of them spread throughout, but they are worth waiting for. His music choices are mixed. Some of it works like during the action sequences to add excitement, but sometime it comes off overblown like towards the end of the movie using choir like music.

Action choreography is handle by Chung Chi Li, and much like his action choreography in Extraordinary Mission (2017), Li goes for a more grounded approach. Having very limited usage of wires, most of which are sprinkle in the climax. Chi Li emphasizes Max Zhang speed in the only one versus many brawl that has Max Zhang fighting in a alley. Alongside Wu Yue who also participate in the one versus many brawl on his own, Max Zhang is able to make it look convincing he’s able to beat up a dozen men rapid swings of his flashlights. However, my personal favorite fight in a parking lot with Max Zhang going one on one with a masked assailant. Creatively using the parked cars environment to have its actors use to avoid hits from the other fighter. Both men are able to keep up with each other performing their moves quickly resulting in some impressive long takes in the fight. Lastly, the climax which involve Max Zhang fighting against Wu Yue, and Shawn Yue on a fishing ship during a storm is the centerpiece action sequence. It’s an exciting climatic fight with plenty happening in the background as it shakes throwing all participants off. The choreography here in particular takes into account the rocking ship putting the advantage of the fight to whoever it wants. It’s quite a sight to witness, and what’s also vastly enjoyable to witness is how epicly presented the final punch between Max Zhang, and Wu Yue is filmed.

The Brink doesn’t break any grounds in any area of filmmaking, but is overall a success thanks to it crew overcoming several weaknesses. In particular, the wonderfully done action sequences elevating above everything else to be the one area it shines the best. Jonathan Li proves he can handle his own in the forefront as a director thanks largely to his strong direction which is felt throughout the movie. Of course, Max Zhang himself continues to prove why his raise to fame isn’t a fluke. Being just capable in his acting as he is in his fight scenes will eventually garner him more leading roles in his career. Regardless of your familiarity with anyone in the film, or Hong Kong action cinema The Brink is a good way to spend your time.

Rating 7/10

Cinema-Maniac: China White (1989)

I’ve seen many films, and been disappointed plenty of times even with reasonable expectations. Once you’ve seen the many noteworthy films in the action genre the more obscure titles you’ll have to take a gamble on. Granted, I haven’t written anything about a good portion of those noteworthy action movies, but sometimes the prospect of tackling something not widely discussed intrigues me more over something that is well praised, and regarded. Having a huge respect for action cinema than probably your average blogger/reviewer who writes about action cinema. Movies like China White further hammer in the point why action cinema is frequently criticize for their bad stories, and bad acting.

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In 10 seconds, Russell Wong avoids getting killed three times

China White follow brothers Bobby Chow (Russell Wong) and Danny Chow (Steven Vincent Leigh) want control of Amsterdam’s Chinatown for their drug trade in the midst of an escalating between the Italian, and Chinese mafia. Now, that sounds like a blast of an Hong Kong style action in a U.K. setting you might be thinking. The final product falls significantly short of its somewhat interesting setup due to its inability to focus on a single point. For starter, the character of Bobby Chow, and Danny Chow are developed decently in the story. However, the film isn’t interested in showing these two blood brother bond, and the struggles they must overcome in the violent criminal world they are a part of. Bobby, and Danny spend around half of the movie together, and then the other half both are separated from each other with the viewer only seeing Bobby side of events. When it wants to show some kind of drift between Bobby, and Danny it’s quickly brushed aside. Considering the movie spends a good chunk of the first half developing these two characters it’s misdirection in how it uses them effects the impact it desires to have.

While not required it does have a romantic subplot which yes litters action cinema in drove, even if the film could be stronger without such a thing. In the case of China White it got it partially correct. Bobby first interactions with Anne (Lisa Schrage) aren’t ones filled with romantic intentions. Starting off on the right foot in getting them to start out as friends. However (again), once Anne gets rescue in the film the relationship between Bobby, and Anne quickly takes a more romantic turn, and it’s unconvincing because it’s rushed. After Anne gets rescued there’s no recovery phase for her to get over her near death experience. It’s just brushed over like the development of Anne, and Bobby relationship. It practically goes from Bobby, and Anne having sex to the next important scene they are planning a trip to Paris before something tears them apart.

Another part of its grand story is the initial storyline of Bobby Chow, Danny Chow, and their comrades taking vengeance on the criminal boss who took out their father figure. This part of the story is pretty thin in actual value, but simply having them be themselves makes a thin idea work well. It easily gets across these people respect their father figure, and establishing a good sense of gratitude towards him. It’s unfortunate that after a flashback sequence which yes brings the movie to a halt that it is unable to expand on the idea. This is to blame on the romantic subplot, and also the subplot of the police officers trying to capture our main criminal characters. It’s unable to juggle all of it pieces into a coherent narrative easily  making things get lost in the shuffle. Meaning you have aspects of the story that start out initially working well, but deteriorate in quality as they go on.

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No one in the background looks suspicious at all

Lastly, the biggest downfall of the film’s story is the uneven pacing. The film’s act is paced well setting up the characters, and small bits of an overarching story in good fashion. Sure some of the dialogue is unnatural, though it has little hiccups in actually telling a story. Act one only big drawback is a flashback that’s bring the movie to a halt to provide some backstory. It’s well intended, but since the film is all over the place the flashback unintentionally harms the overall quality in the long run. There’s a lack of raising action due to the fact Bobby, and the gang easily obtain resources to launch their big plan for vengeance which skips plenty of steps. The final act is where the film suffers the most from rush pacing. Whereas the first hour of the film did somewhat well in holding itself together. It’s the remainder forty minutes where it all comes crashing down.

Plot points that were meant to resonate fall flat from glossing over character building rendering significant characters death lackluster. Raising action is absent spending an uneven amount of time between the main conflict, and the conflicts in its subplots which aren’t granted enough time to be properly fleshed out. Leading to resolutions to storylines that will make you feel nothing in the journey. There’s also the ending text crawl saying this movie was based around true events, even though it has cheesy elements ripe in the action genre like going oversea (half the time it’s Thailand) to expands drug trade, main villain having evil henchman doing their every bidding, villains & heroes being able to kill people in public (sometime in broad daylight) without long term repercussion, the protagonist love interest getting pregnant, and the police letting a criminal get away with a murder once against someone they hate to name a few.

I wrote earlier before the film’s does a somewhat decent job developing its leading characters, but its actors are plain wooden. Our lead is Russell Wong, and he is incapable being charming, and showing many range of emotions. His biggest issue is he’s mostly stoic in his facial expression, and there’s hardly a change in his tone of voice when delivery dialogue. When’s he meant to be tough he doesn’t come across as tough. If Wong is meant to be charming his wooden delivery, and stoic expression will make you question how he manage to get a woman with a lack of personality. The only time he’s somewhat convincing is during his action sequences because he has no lines to speak, and even those get ruined by some awkward choices. Also, he sounds really unnatural when speaking English dialogue. Almost robotic in delivery simple sentences. Russell Wong other co-stars fare about the same also sharing Russell Wong lack of range. Steven Vincent Leigh doesn’t come across much of a gangster, but since he’s given as much wide ranging material he fares better. He’s typically has to look upset, or tough in his scene. The only one in the supporting cast was Victor Hon as One Hand, and that was because he was at least trying to do his best in his limited role. The Chinese actors are largely speaking in their native language are fine, but sadly the stars speak English in a unconvincing manner making the bad performances stand out more.

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Even in bad movies, I do appreciate stunt work

Surprisingly, the film has superstar Andy Lau, Alex Man, and a surprise appearance by Fui-On Shing who just keeps popping up in a number of obscure Kong Hong movies I keep checking out. Despite appearing only in the ten minute flashback sequence Andy Lau doesn’t fare much better. He simply looks like he wants to exit the production. Allegedly, Andy Lau, and Alex Man were abducted by force by the triads to be in the film. I say allegedly because apparently a lot of sources claim this is real, but I’m unable to find the blog post by Manfred Wong who confirms this on the internet. As for Fui-On Shing he’s the typical baddie, and that what he so well at playing. He’s a highlight in the movie, along with a lackluster Andy Lau who is still more engaging to see than his other prominent co-stars.

The western cast of the film fare slightly better. Out of the entire cast Billy Drago comes out the best as the film’s villain. He’s one note in his performance, but it’s that one note he’s able to nail by hamming it up. Instead of portraying his character in a realistic manner Billy Drago simply revel in his evil nature. Lisa Schrage does okay with her haphazard material. She isn’t allowed any opportunity to transition from one aspect of her character into another. However, she’s able to pull off her none-serious scenes well. Frank Sheppard plays a cop name Rasta (I’m not kidding), and it’s a stereotype performance. Providing a Jamaican accent while throwing the occasional “I told ya man” whenever on screen. It’s passable at best. Saskia van Rijswijk plays the classic silent henchwoman who doesn’t appear much in the movie, and aside from one fight sequence she doesn’t get any scene to stand out.

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When mixed together, Chinese, and Italian gangsters are very explosive

Ronny Yu direction is one without confidence. He’s unable to make an assure experience being just as lost in juggling the film story just as much as the script. He’s also unable to overcome his actors weaknesses having long takes of his actors giving one bad performance after another. Where he partially does well is during the action sequences. The choreography in them is nothing special, but liven them up a bit. They would be exciting if it wasn’t for two things; Ronny Yu unnecessary use of slow motion, and his inability to show a connection between the camera & action choreography. For example, there’s a small skirmish between two criminals, and one of them pulls the pin of a grenade. The grenade isn’t seen with the only indication of a grenade pin being pulled being a sound effect. That’s not good action design. What’s also not good action design is some of the sloppy timing in the editing. There are a few instances where someone is shot, and takes seconds before the actor is shown reacting to getting shot. Sometime in slow motion!

When it infrequently comes together there’s nothing impressive about the action sequences. Gunfights are strictly of the cover, and shoot variety with little to visually make them interesting. Suffering from the cinematography not establishing the location, and what’s where. Not even the huge amount of sparks when bullets make impact liven things up. The brief instances of a choreograph fight are as good as it get because Ronny Yu tries to show them in a interesting way. Further hurting the movie is the film doesn’t know how to space out scenes evenly. The first half is evenly spaced out, but the second half saves it’s nearly absent until getting closer to the credits. When it gets to the climax, the action sequence is not worth the wait.

China White offers what you expect from a bad action movie from the rush writing in places, and the general bad acting from its cast. Feeling like the filmmakers weren’t yet ready to tackle a story with such big ambitions, and it shows throughout in the final product. Even action junkies won’t find much to enjoy in this mess of a movie.

Rating: 3/10

Cinema-Maniac: The Tigers (1991)

Today’s film, The Tigers (1991), might simply come across as just another obscure Hong Kong film forgotten by time. However, it’s the star studded of the Five Tiger Generals of TVB that will ensure it place in Hong Kong cinema history, even the reason is superficial. The Five Tiger Generals of TVB consisted of Michael Miu, Kent Tong, Felix Wong, Andy Lau, and Tony Leung Chiu-Wai who were the most popular young actors in Hong Kong during the 1980s. If you’re a fan of even one of these actors than eventually you’ll stumble upon this film on their filmography, and like me, be surprised by the amount of talent in the film. Sadly, whose in the film is about as interesting as it ever gets. While some of the Five Tigers of TVB have gone off to star in some classic films that have become landmark films in Hong Kong cinema. The Tigers (1991) is going to be a footnote in it stars legacy.

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Hong Kong’s Finest

The Tigers follows fives Cops that find their careers, and their lives in jeopardy when they spend a gangster’s bribe money after releasing him from custody during a drug bust. The movie’s premise immediately falls upon when it decided our first introduction to our characters sould be them betting on horses while on duty. It’s this initial irresponsible impression the film is unable to shake off becoming detrimental in its failing. Before the whole “should we take the money” plot point comes into play. Everything leading up to that plot point paints our officers as goofy, and easy going. Not treating what case they’re currently assigned to seriously. So when the officers are considering whether, or not to take away a suitcase filled with money, and not report it to anyone of course it comes across something they would do without question. Except for the fact it wants to present this fall into temptation with shades of grey, which you can’t do when only one out of the five characters presented actually appears to be taking their job seriously.

So seeing one officers who’s remaining silent on the matter, and not telling his superiors talks to another corrupt officers to remind him why he became an officer is sketchy. For starter, the silent officer values his friendship more so than upholding justice, and yet this character thinks he holds the higher ground when compared to his friends who actually took the money, and spend it. Obviously, just because the character sees corruption in his line of work, is in a position to prevent it from getting worse, and not participating in it doesn’t make him an upstanding officer. If the characters were more fleshed out in terms of caring about their jobs than maybe all the conversations about how they will make things right might actually hold some weight.

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Missing from this still image, slapstick humor.

Another weakness from the writing is the uneven characterization for its large cast of characters. Most of them can be defined as easy going officers whom want to make more money. Some of the characters are decently developed, and some fleshed out with their own subplots most of which don’t matter in the long run. However, on the other half you get characters who just come across as background fodder despite being established as good friends. There’s also the noteworthy weakness that none of the officers are given traits to stand out. All are jokey, partially serious, and slowly crack under pressure. Homogenizing nearly all the characters unknowingly. Also, since the film is incapable of developing characters the “mind games” the corrupt officers take part in against the film’s villain feels dragged out. When the “mind games” portion start around the end of the first act virtually no progress in the story is made until the climax of the movie comes. This is because it feel like the story is prolonging the inevitable by having scheme, after scheme failed in either getting the villain killed, or getting the police officers locked up.

Dialogue doesn’t fare any better being the routine “what does being an officer mean to you”, “what separates your action from criminals”, and “we are bound to uphold the law, not break it” variety with conversations going where you would expect them too. The issue with this are the characters participating in these conversations never had the high ground. From the opening that showed the officers not taking their line of work seriously, even during a police raid making sex jokes, all the way to the end these officers simply come off as irresponsible, and stupid. You would think characters who’ve all been serving various amount of years in the police force would know how to hide the fact they illegally acquire a huge sum of money during a raid. Apparently not since the characters aren’t able to hide their tracks for simple reasons like buying an expensive car that can’t be bought on their budget, or giving a daughter a large sum of cash for her to start her business. Made even stupider by the fact they mentioned earlier in the movie they wouldn’t do these of things to because they could caught, yet still do it.

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Seriously, we’re surrounded by fog, and looking over mountains, and you still wear sunglasses!

Now comes my biggest point of criticism in the writing; it’s inability to represent morality in shades of grey, or black and white. The villain of the film for instance uses his hold over the officers for his own needs. Never at any point in the film is he given a fair shake that would allow him to be sympathetic. This cartoonish villain doesn’t belong in the same story that is attempting to make police officers that took bribe money appear morally grey. A villian who enjoys giving our main characters a difficult time, and takes pleasure in killing some of them muddles it’s execution of being morally ambiguous. You end up with a film with a cartoonish villain who has nothing much going for him besides being evil. However, when one of the police officers takes the stolen money to pay for his brother education it’s meant to be a noble cause. You simply can’t do that because then the villain becomes justified for demanding the police to do his bidding for taking the money he made through (likely) illegal means. This issue could have been easily remedied if the film didn’t attempt to make what the police did with some sense of righteousness.

As for the actual story of the film that’s hard to discuss because nearly all character arcs are never balanced out in its nearly 2 hours runtime. A subplot revolving around an old police officer trying to reconcile with his daughter that doesn’t add much to the movie. It would have helped if the reconciling part wasn’t resolved by a third party after one conversation that basically amounted to “Your dad does care for you, have you considered that”. Another storyline would be an officer finding his brother during a raid doing shady activities. That plot point feels like it just disappears after its brought up. Instead of using this moment to create an interesting dynamic between the brothers it chooses not to do anything with it because it’s not a well written movie. There’s also another officer who worries about getting killed because it’ll mean his family will be left with no money. This officer is hardly ever shown interacting with his family rendering what could have been an emotional drive seem shallow.

When it tries to be thrilling it fails because inevitable sequences are dragged out; like the police releasing a gang leader from custody in order to get the villain killed, and there being a fight that breaks out. Whenever the story acts like whatever it does is a big deal it gets boring over time before realizing you still have over forty minutes left in the movie. Tonally, there’s no balance in it. It’s somewhat comedic in the beginning of the film, and than suddenly turns dark before the first act ends. The writers had a bunch of ideas about what story they wanted to tell, and just called it a day before developing them into something cohesive that would work in anything it attempted to do.

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Cool moment brought to you by Andy Lau.

Despite my gripes with the story my actual biggest disappointment from the movie is generally the weak performances from its star-studded cast. Sure, maybe Hong Kong superstar Andy Lau is the only name you recognize, but Tony Leung, Felix Wing, Miu Roi Wai, and Ken Tong aren’t small players either. First of all, Andy Lau performance in the film is weak. Usually he can make the most even out of cardboard characters. Sadly in this movie his usual charm is nowhere to be found, and when it comes to his dramatic chops the poor direction hurts him. For example, there’s a sequence where he sees one of his friend getting killed, and while he’s mourning a song he sang for the movie is inserted into the sequence with on the nose lyrics about how conflicting his character is. It made a dramatic scene unintentionally funny, and it’s doesn’t help either the song used in this sequence is also used to close out the movie further hammering the point in.

There’s the beginning of the movie where most of the cast are acting goofy. Andy Lau during the brief lighthearted moments appears to be having fun. His dramatic acting is the opposite delivery scene after scene like he’s directly reading of from the script without adding his own touch. Becoming robotic in nature when delivery his scenes. Rarely does he deliver a scene in the movie that feels natural because once the lighthearted moments end he always looks pissed off. This could have been remedied if the writing included more moments of Andy Lau character expressing how conflicting he was about the turn of events. While Andy Lau does have the acting chops to play a unrepentant character the direction gives him little on how much to convey in scenes.

Tony Chiu-Wai Leung who plays Tai-Pi fares worse than Andy Lau. Whereas Andy Lau will have moments that displays the strength of his acting abilities. Tony Chiu-Wai isn’t allowed that luxury as he suffers the most from jarring tonal shifts. He overacts the comedic bits of his character so whenever he does any serious scene it’s difficult for him to come off convincingly. Seeing him be overly goofy detracts from his dramatic scenes, and in return almost comes off the worse among the star studded. Also, his goofy clothing dressing up like a teenager with his baseball cap adds to the problem.

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Yes that’s a dummy, but in a boring movie this moment is a highlight.

There’s Miu Kiu-Wai who unlike Tony Chiu is simply wooden. His lack of effort to emote eventually makes him disappear into the background, and make you forget the fact he’s in the film. At least Felix Wong Yat-Wah who is constantly just making an angry face for the entire film stands out a bit. Sure, Felix Wong unmoving angry face makes it impossible to care for him, but he puts effort in emoting when it he has too. Tony Chiu is the weakest link in the film in terms of acting.

The only actor who delivers a good performance in the film is easily Ka-Yan Leung as Uncle Tim. Unlike the rest of the cast, his performance is more grounded, and in line with the film’s end goal. He never borders into the realm of silliness like his other co-stars thanks to his committed performance. He never lets up on his serious portrayal being one of the oldest actor in the cast, but when requires he’ll loosen up a little bit in moments that don’t require him to be serious. In these moments, it’s not jarring seeing him having fun, and most importantly refrains himself from being overly silly like his other co-stars. There’s also a surprise appearance by Shing Fui-On who keeps appearing in obscure Hong Kong movies I write about, and here he’s once again casted as a criminal. He’s does fine, but I find his appearance more amusing more than it actually should be. There’s also Philip Chan as a superintendent which is another surprise.

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Not a fan of Tony Chiu (guy in red cap) look in this movie. Just comes across as someone trying to recapture their youth.

Ken Tong plays the villain in the movie, and typically over acts in virtually all his sequences. His character is to dislike, but it’s biggest drawback is falling into the annoying category. When Ken Tong starts taking up more screen time as the film progresses so his obnoxious evil laughter. Over acting while constantly laughing is a recipe for annoying. Sure, it makes you want to see Ken Tong gets killed quickly in the movie, but when’s far from subtle in his acting it diminishes the payoff. His over acting further highlights weakness in the writing going out of his way make his character detastable by any means. In a ironic way Ken Tong succeed in bringing to life this over the top villain, but at the cost of being increasingly annoying.

If you’re expecting any thrills from this film you’ll be disappointed. Aside from the fact the script is terrible written, director Eric Tsang doesn’t know how to rack up tension. I’ve already went into lengths about a majority of the actors inability to balance the tone of their material, but Eric Tsang is just as responsible for that. Committing mistakes that an amatuer is more likely to make; like inserting a song from Andy Lau during a death scene, and the right on the nose lyrics (paraphrasing) “I know I’ve done wrong, so let me take the blame” is not how drama should be delivered. While on music, it’s largely forgettable. His biggest strong suit is obviously comedy since he felt the most comfortable helming those scenes, and simply having fun, even if the humor was off. However, the absence of tension is noteworthy, especially if you’re making a mind game between two opposing forces, and the only thing you could think of to raise tension is by having loud music play more frequently throughout the movie. There’s also the lack of action, but since it’s more in line of a crime thriller the lack of them isn’t a criticism. Although, the poor quality of them is. From a shootout that is ruined by slapsticks to the climatic sequence in a mall that relies to heavily on making its villain nearly invincible to make it exciting. It’s a climax not worth sitting through a chore of a film.

The Tigers only appeal is the star studded cast of actors whom headline the movie, but even than only Ka-Yan Leung comes out looking good. It’s just a complete mess in representing it’s morality, handling its characters, and especially building tension for what’s meant to be a thriller. For something that has a star studded something better should have been expected than what was given. Even if you’re not a fan of any of these actors, this film doesn’t come close to being a worthwhile watch by any means.

Rating: 1/10