Mou Gaan Dou [Infernal Affairs] (2002)

A top notch crime thriller. A complete revamp of what you'd expect to see from a Hong Kong crime flick. Gone are the highly stylised gun play action, where every character seems to knows a bit of kung fu and where blood would splatter freely. What we have here is a taut and tense cat and mouse film where the hero and villain are conflicted and both wish to be set free from their assigned roles. It was so outstanding, even Hollywood stood up and paid attention and remade it into an overblown but stylish crime film The Departed.

Ming (Andy Lau)

The Departed was highly praised, commercially and critically but I feel unfortunately, that a lot of people seem to have missed the original and raved on too much about the remake. It is a sharp, sleek and more focused film and it zips along and gets to the dramatic actions quicker. There is more characters and development in The Departed but sometimes less is more (the only character I particularly liked in The Departed gave the film more credibility was Staff Sgt Dignam played by Mark Wahlberg).

Yan (Tony Leung)

For those of you who don't know what the film's about here's a brief synopsis. 10 years prior to the present day events, we learn that a Triad Boss Mon Sam (Eric Tsang) instructs his newest minions to infiltrate the police force by recruiting to become a mole. Unbeknown to the crime lord, the police also have similiar ideas. All this is played out to us in under 8 minutes, Ming (Andy Lau) rises amongst the police ranks whilst Yan ( Tony Leung) earns the trust of his Triad Boss. No sagging and no extra luggage. Fast forward to present day we find Yan (Tony Leung) so desperate to finish his undercover assignment and Ming also tried of being an informant for the Triads.

One night when a lucrative drug deal is being set up, Superintendent Wong (Anthony Wong) is tipped off and plans to arrest Mon Sam and all those involved. Unfortunately Ming also tips off Sam and when both the police and the triads come away empty handed, suspicions arises and both parties conclude that there is a mole amongst their midst. Both organisation set out to flush the mole into the open and both assign their respective moles to find themselves!

With such a simplistic yet wildly unbelievable story, it is actually quite compelling. There are a few plot holes and characters which don't enhance the narrative of the film (Yan has a daughter....?!?) but overall the film feels fresh, full of energy and great use of locations (the city roof tops have never looked a cooler place for a secret meeting) and with Christopher Doyle as visual consultant we can see how immersing and intense the colours come out on screen. It's so clean and crisp, I have never seen a better looking Hong Kong film in such a long time.

Both leads portray men with an internal struggle to such an extent you believe they're both wanting out from their ordeal.They're basically playing each others roles and are sick of the lies and the constant fear of being found out. Tony Leung is, as always amazing and you can feel his turmoil by the look in his eyes (especially when he's put into a tight situation or when he feels like someone is on to him), and a special mention should go to Eric Tsang as he is normally associated with comedic roles and plays the role of a crime lord with great grit, determination and menace with none of the over theatrics that Jack Nicolson shows in the remake.

The use of mobiles and Morse code plays heavily in this film and provides the film with some of its more intense dramatic scenes. I don't think I have seen a better and more valuable use of the mobile phone than in this film. It is what makes it different from the usually HK crime films. It's relies heavily on characters' driving the narrative forward instead of some stupid nonsensical violent shoot-out (the film does have a shoot out on the streets but it's not over the top or excessively violent). It's very reminiscent of how U.S. crime thrillers are made. It's clever, with some neat twists and turns, some you may expect others you may not. When I first saw this film, it felt unique and very fresh. It mixes the Hollywood style of storytelling with Chinese themes of honour, loyalty and betrayal. I hope that if people saw The Departed, they would seek out the original as it is a more deserving film to be called a modern classic instead of it having a small cult following it currently has and I have been trying to get more people to watch it.

18/20

The Box (2009) with Trailer

This is the first of hopefully few films that I wish I never had spent any time on. It drove me insane to say the least. I was so hoping to enjoy (no, actually adore) this film that I was left feeling very disappointed. Maybe I'd pinned my hopes on this film being as interesting and intriguing as Richard Kellys previous works (Donnie Darko and Southland Tales). It feels like a missed opportunity and I feel cheated and want my 115 minutes back.

I usually try not to spoil a film by writing too much about the story or giving the ending away but if you do wish to endure this torture of a film then I would advise you not to carry on reading. The basic premise is that a young family (The Lewis's played by Cameron Diaz and James Marsden) are given an opportunity to become rich very quickly and simply just by pressing a button. Bang! There are drawbacks and stipulations to this offer (of course). When they push the button they will be paid a guaranteed sum of one million dollars and the other guarantee is that someone, somewhere in the world, who they don't know, will die. Sounds interesting....right? That's what I thought till I got to the end.

There isn't anything wrong with the idea or premise which was based on a short story by Richard Matheson which also, was adapted to TV by the show The Twilight Zone (and therein lies the problem). It's just an hour too long! The film seems to try to cram in too many ideas and convoluted plots which stalls the film mid way through. I did actually enjoy the first half an hour or so, wondering where this would be going. Of course they push the button and the leading consequences towards an inevitable ending just got more and more baffling and tirelessly unbearable to watch. This idea would be better suited as a short film/TV adaptation.

Interesting ideas aside, the film suffers from it own inability to gel into a cohesive narrative. The tone is difficult to describe. It starts off like a mystery/thriller/suspense and starts veering off into more of a science fiction flick and it seems to be lacking in clear direction. What was Mr Kelly trying to prove...? I can fit so many ideas in you won't be able to tell or care what really happens to the Lewis family (and to be honest with you I stop caring when they started to do idiotic and stupid things).

It's just questions after questions...Why can't films be a little bit more simpler and not try to make you think about a dozen things and hope they can pass it off as entertainment. Nosebleeds, multiple boxes, vessels, transportation, Mars, NASA, wind tunnels, zombie-like followers...the list of weird oddities goes on. It's just a little too much info and not enough clear sense. I don't mind being challenged but this is taking the proverbial biscuit. There is no clear reason as to why people are being given boxes with buttons on (you would push it) and it seems no one will ever learn the lesson. It's an experiment (apparently) we learn later on through the film but what are they trying to learn from us. People are greedy..?

Arlington Steward (Frank Langella)

The film isn't without some merit, It does have some glimpses of mild entertainment and enjoyment. Frank Langella plays the mysterious Arlington Steward very effectively, he is creepy and ominous and the scene always feels a lot more menacing when he's onscreen. Some of the dialogue is very well written and are very creepy (and humorous). The liquid transportation into the bedroom is impressive and what little effects are on show are done well.

I feel that, maybe if you haven't got such a high expectation from the director who I felt made a effortless feature debut with an abundance of promising talent, you may enjoy it but I would never wish to inflict this nonsense on even my worst enemy. It left me frustrated and disappointed. Even with a downbeat ending, it doesn't feel like it should have ended that way. I'm all for downbeat endings but I just didn't care in the end.

5/20

Chungking Express (1994) with Trailer

If you only get to watch one Wong Kar Wai film make it this one, It's the most accessible and enjoyable film he has made in my opinion. Wong Kar Wai is known for starting a film without a planned script and this film follows suit. This is all about obsessions and mourning over lost love. The narrative is split in two and the link between them is very tenuous (there is the obvious connection of them being two cops and that they eat at the same take out joint) but both stories do share the common theme of what a break up can do to a man and how a minor connection from strangers can overcome and heal ones heartache.

The first story introduces us to Cop 223 (Takeshi Kaneshiro) who is obsessively buying tins of pineapple with the expiration date May 1st to see if his love will re blossom or expire like the tins of pineapple. His own rational thinking involves the fact his birthday falls on the 1st of May so that will be the time to move on after mourning and pining after her for a whole month. When his birthday arrives he comes across a blonde wig wearing drug dealer on the run and he spots her in the bar. He tries his hardest to chat her up but she just wants to find somewhere safe to rest. Eventually they end up in a hotel together and she falls asleep and he wakes up alone the next morning, unbeknown to him he has helped her more than she could have hoped for.

With the second narrative, the transition occurs at the take out joint where both cops frequent and we are introduced to Faye (Faye Wong) the new waitress who notices the 2nd lovelorn cop, Cop 663 (played by Tony Leung) always coming in buying food and getting relationship advice from the owner. Unfortunately for him his relationship breaks down and he fails to notice the subtle advances made by the new waitress, so she sets out obsessively to try to get his attention and win him over by any means possible.

Cop 223 (Takeshi Kaneshiro)

I can't say how much I found this a breath of fresh air and an absolute joy to watch. Its very light and has a very dream like quality to the opening and the dazzling kaleidoscopic colours capturing the neon lights of the bustling Hong Kong streets incredibly well. Credit goes to the amazing cinematographer Christopher Doyle, he fleshes out such sumptuous vibrant colours from the locations. It's very aesthetically pleasing on the eye.

Cop 663 (Tony Leung) and Faye (FayeWong)

The dialogue is very much written the night before each scene and there is a poetic feel to the whole observational comments on love and the situations we can find ourselves in. The performances by both leads are commendable considering there isn't much to the script. Tony Leung is always watchable and there is always an intensity to him even when he has nothing to say, it's all in his eyes. He looks thoughtful and displays such emotion that even when he is just standing still in shot, he still out acts most actors.

People may find that it's a case of style over substance. The story is not the strongest part of this film and like I said before, Wong Kar Wai is known for starting a film without a completed script, but it's all the cinematic techniques which are on display which draws you in. The jump cut editing, the numerous pop cultural references, to the kinetic camera work and the repetitive use of Mama's and Papa's "California Dreaming" (you'll end up loving the song or it'll drive you insane, for me it was the former) all makes up for it's paper thin narrative with it's avant garde visual style. Very much a Hong Kong art house flick akin to the New Wave French films created by film makers like Jean Luc Goddard and Francois Truffaut.


It's a film that will excite many of those who are film-literate (or a moderate knowledge of the film language) but for many modern audiences, I feel, will be a little bit less engaged by the whole thing. For those willing to try something different visually and unconventional in terms of narrative, you can't go wrong with this expressive piece of work with a finale that is ambiguous and lets you paint your own conclusion as to what happens to it's characters.

18/20

Moon (2009) with Trailer

It is hard to write a review without giving away too much as to not spoil your surprise or enjoyment, but just watch the trailer and you will get the basic premise of the film but luckily it doesn't show you everything that will ruin the overall pleasure.

The film starts us off with stock footage telling us that the Earths natural resources are pretty much used up and more environmentally friendly sources of energy can be found on the moon. This is where majority of the film takes place.

Sam Bell (Sam Rockwell), is nearing his 3 year stint on the moon with only Gerty (voiced by Kevin Spacey) as his reliable and only companion, he is most certainly looking forward to going home, but not everything goes according to plan. After 3 years of isolation and no contact with the outside world (he only receives delayed video transmission from Earth via satellite link) he begins to see things (an unknown woman on the base) and notices minor glitches in video playback and archive footage of himself he doesn't remember recording. When one of the mining vehicles stalls, Sam goes out to investigate only to find his hallucination reappearing on the surface of the moon which causes him to crash.When he wakes up in the infirmary, he has no recollection of the crash. This is when the real mystery and marvel of the film begins

The recovered Sam notices that the mining vehicle is still not in proper working order but Gerty denies him access to go outside. When Sam manages to convince Gerty to let him check it out, he comes across an abandoned lunar vehicle next to one of the mining vehicle and finds an unconscious body. "His" unconscious body....

This film is outstanding and the performance by Sam Rockwell is superb (he was criminally denied a nod for best actor). The main driving force in the film, is that Sam is able to portray himself as two different characters and the amount of sadness and loneliness he displays when he is alone is a complete contrast to the anger, frustration and confusion that he shows as the 2nd Sam Bell. The supporting vocals from Kevin Spacey also provides the film more of the feeling of isolation and alienation. Its all done very monotonous way but he does convey human emotions via emoticon.

Little touches within the film are marvellous and subtle. The use of Chesney Hawkes "The One and Only" is so ironic and apt used that it is the probably only time I would ever tolerate his music. The score as well is very haunting and very effective. Clint Mansell (Requiem For a Dream) once again creates the perfect ambient and mood.

We see the influences worn clearly on its sleeve. The sets and designs are very in keeping with other sci-fi classic. White minimalistic interiors (2001, Alien) and a computer called Gerty who is very HAL-like (also 2001) and vast emptiness of space. It's very much a throwback to old 70s and early 80s sci-fi films. Scenes are reminiscent of films like Silent Running and Outlands. Films like these are not always about alien invasions and this is one that questions, why are we here and who are we really....

The general themes on what makes us humans and what is humanity are very apparent and asks you questions on what really makes us who we are. Is it our ability to dream, think, desire and to feel... The portrayal of these human qualities by Sam Rockwell gives the film its heart and soul. We are all rooting for him to make it home because of the suffering and desire to see "his" loved ones is so overwhelming. We start off with a man waiting to go home only for it to turn out to be a film about identity.

It is an intelligent and very thoughtful piece of science fiction with a deeply affecting performance from Sam Rockwell. With no other major actor (bar Kevin Spaceys voice and video footage via satellite) it is a wonderful and mesmerising display of skill and nuances from Sam Rockwell that even if you don't enjoy sci-fi movies you have to tip your hat in acknowledgement of his "one" man show.

18/20

Assault on Precinct 13 (1976) with Trailer

A modern interpretation of an old western classic (Howard Hawks' Rio Bravo), it is a tense and tightly movie directed by the master of horror John Carpenter. It uses the old classic formula of a siege film done with a really small budget and shot in a relatively small amount of time (20 days I believe).


This re-make is relocated to modern 1970s LA and the action is set primarily in a soon to be abandoned police precinct. The narrative is very simplistic but very effective. The screenplay is so efficient no action is played out without pushing the narrative further. Every little detail placed within the film allows the film to flow without any unnecessary dialogue.

Napoleon Wilson (Darwin Joston)

The film starts off with the mysterious and menacing street gang wandering through an alleyway where they are ambushed by the police and are shot and killed. The remaining gang members forge a blood pact and aim to take no prisoners for the consequences of the slaying of their fellow gang members. The whole set up is done very quickly thereafter. We are introduced to the hero, Ethan Bishop (Austin Stoker) and the archetypal anti-hero Napoleon Wilson (played with glee by the late Darwin Joston) in the first 10 minutes. Other characters come on screen and within minutes we can follow their preordain destiny. The father and daughter's path is on a collision course with the gang and the near abandoned police station is the setting for the unrelenting siege by the gang ready to kill any and all who get in their way.

The build up to it, is very expertly handled and the emotionless and remorseless gang move with such determination and purpose they become almost inhuman in their actions. Almost zombie like. There is hardly any dialogue and when they are shot and killed they barely make a sound and die lifelessly. It bears a remarkable similarity to The Night Of The Living Dead, what with both having black actors as their main leads and both being about the struggle and their ability to handle the unrelenting siege from the masses..

Ethan Bishop (Austin Stoker)

It is without a doubt a remarkable achievement from John Carpenter and his gift as a composer is apparent (as with majority of his features) and is very effective at conveying a sense of dread and suspense. You can always tell if it's a John Carpenter movie just by listening to the atmospheric ambiance and his adept nature in efficient story telling. The acting isn't always great but what the film lacks in dramatic acting it makes up for suspenseful action. Always enjoyable to watch and one of Quentin Taratino's favourite films (but that shouldn't be the only reason to watch it). Search it out and you will not be disappointed. Oh and please try not to confuse this with the recent re-make starring Ethan Hunt and Laurence Fishburne, even though its has a bigger budget and bigger stars doesn't make it a better film... I'll just leave you this comment....Got a smoke...?

17/20