LIFE AS FICTION > for the love of film / a dequinix.com externality

Accident

2009 / Soi Cheang > Easily the most accessible film Cheang has made in the latter half of the decade, Accident is a cryptic piece about assassins who construct seemingly random chains of events to do their dirty deeds. On the outside, the package is filled with the kind of polish meant for a classy thriller, but underneath the hood, the focus is really about self-paranoia, or rather, when your business is making illusions, at what point does your reality cease to exist? Produced by Johnnie To, the film also acts as a showcase for Louis Koo’s acting abilities. After a career of being a slighted pop performer, he’s really starting to carve out a name for himself as Hong Kong’s go-to frontman (also see Election 2 and Overheard). Accordingly, Cheang also continues to impress with fresh, genre-hopping efforts similar to fellow countryman Edmond Pang that gives quite a bit of hope to the future industry of the country that brought us both John Woo and Wong Kar-Wai.

Blood: The Last Vampire

2009 / Chris Nahon > Tragically boring. When you’ve got the confluence of vampires, live-action anime and Korean megastar Jeon Ji-Hyun’s English-language debut, you expect at least something. Not necessarily storytelling or character development, but at least lots of awesome fights and maybe some skin. But there too, Blood fails. What a terrible intro to Gianna Jun (as she’ll be known stateside), who gained much of her fame through her hard-knock, lovable lead in the rom-com sensation My Sassy Girl. The lack of adequate roles for well-known Asian actresses continue to leapfrog their abilities, and unless you count Gong Li’s serviceable turn as a half-Chinese, half-Cuban drug-mama in Miami Vice, the category continues to remain empty and shameful.

Overheard

2009 / Felix Chong & Alan Mark > Every Hong Kong filmmaker now has to take into effect mainland China’s demands the righteousness of mankind, whether it be the clutches of morality or the dearest of cultural sensitivities. If they didn’t, the single largest portion of their box office receipts go out the door. And because of that, we’re back to adjusting for the 21st century’s version of the Hays Code all over again. Earlier this year, the guys behind Infernal Affairs (i.e., the basis for The Departed) released Lady Cop & Papa Crook after a six month delay because of disagreements with the Chinese censors. Critics bashed it. Lesson learned: If the bad guys can’t win, make sure somehow everyone loses. In Overheard, Chong and Mak make sure that they can utilize this technique into fitting their vision into China’s demands.

The problem is this, however: The tone of the film never becomes concrete. Thematically, we don’t know what the focus is. It starts off being a wiretapping thriller that turns into a morality dilemma for cops. That’s fine, but then we’re thrown into some reactionary revenge sequences. As it happens, vengeance isn’t always necessary or appropriate, even if the audience wants it. And if the actual act of vengeance isn’t satisfying, then it isn’t worth putting forth to begin with. Tricky, yes, but the Chinese censorship dilemma has forced directors and writers to into a corner from which they'll have to climb their way through. This may have been one of the best efforts at it, but there's still some way to go.

Sparrow

2008 / Johnnie To > As one of the most prolific directors working in cinema today, it's nice to see To take a break from his more usual triad fare to try on a different hat. Sparrow is an elusive departure, with its visually stunning cinematography, matching moody music and a charming performance by the elegant Kelly Lin in telling the story of a gang of Hong Kong pickpockets falling for the wrong woman. It's light, a bit airy and sometimes hard to resist, but is similarly fleeting in the mind of the viewer. There's some drama thrown into the mix to give the film some semblance of a plot, but that's really an afterthought. Consider it a treat, a simply joy from the director—especially after those vicious dogs in Election 2—before his venture into the global market with a remake of Jean-Pierre Melville's Le Cercle Rouge.

Ocean Flame

2008 / Liu Fendou > A train wreck that you can't take your eyes away from, that's what Liu's concocted for us. In this case, it's the supremely destructive relationship between a street thug and a well-to-do girl who clutches on tighter the harder he pushes. In some scenarios, it's easy to say that we should only watch movies that have hope, redeeming values, make us comfortable and fluffy inside. This is the antithesis of all that. There's nothing but the weakest attributes of humanity on display, and is somehow, at least for me, fascinating enough to stay with until the end. It's also interesting that this is Hong Kong-favorite Simon Yam's first producing effort. Maybe he's playing Robin Hood, taking money from his mainstream winnings and putting them into the virtually nonexistent independent film scene on the island. If so, good. While Ocean Flame is as polarizing a film that may be released out of Hong Kong this year, I'm glad someone is taking these chances.

A Moment of Romance

1990 / Benny Chan > As a definite Hong Kong-classic, A Moment of Romance is raw in its violence and in its portrayal of love. An already popular Andy Lau starring alongside a fresh Jacqueline Wu display the kind of chemistry that makes up for the film's trite plot points and unpolished direction. The whole triad angle simply works as a foil for us to see their love evolve, ultimately leading to the now-famous final sequence on the bike. It's a scene that's been imitated but never with this kind of emotion. Director Chan and producer Johnnie To have created a picture that's amazingly been able to withstand the test of time.

Exodus

2007 / Edmond Pang > After a superb directing effort in Isabella, Pang goes off the deep-end in this seemingly ridiculous black dramedy about a secret women's organization that kills men—or so it seems. Following a haunting, memorable introductory sequence, Exodus dives us into a mystery that takes its sweet time to unwind. Plot twists are somewhat predictable, but the tone is dark and fascinating. Simon Yam's passive-aggressive cop is spot on and Annie Liu complements him well. Visually, Charlie Lam's cinematography once again impresses, with lingering, vivid shots that constantly mesmerize the eye. Where the film fails, unfortunately, is in the final stretch where the speed at which the film moves accelerates to a point where it may actually leave the viewers with more questions than answers. It ends up being somewhat superficial and fluffy, but still a wonderful, offbeat treat.

Yi Yi

2000 / Edward Yang > Yi Yi is loved for the same reason it isn't perfect: For three hours, Yang meticulously orchestrates the lives of a middle-class Taiwanese family through everyday trials and tribulations, both simple and complex, but ends without a proper conclusion. Generally, this does little but to anger the viewer who's given up 180 minutes of their life, but as the credits roll, a feeling comes over that contradicts such expected notions.

Beautiful and easing, Yi Yi is full of warmth while staying true to the crass happenings of life. In some ways, it's just easy to watch—there are no fancy editing techniques or climactic sequences, but even in its calm demeanor, the film commands attention throughout. As a character says, "films let us live three times," and in that vain, we are able to connect to others and empathize about the richness and hope of living. It's a must-see for those who've been turned off by Tsai (and to some degree Hou) to once again believe in the future of Taiwanese cinema, while at the same time coming to appreciate the loss that Yang's death earlier this year has caused to the film world.

TMNT

2007 / Kevin Munroe > Harshly misjudged by critics who never appreciated the original cartoon series in its heyday, TMNT is incredibly beautiful, often funny, sometimes serious and overall enjoyable piece of work. It's not great cinema, and it doesn't go beyond its safe zones, but it does what it does well. I simply couldn't help at times to think that the animation was completely outsourced from Hong Kong, with its production values as good if not better than anything Pixar's put forth. Obviously, the story remains the key, and while it doesn't compete with Brad Bird's output, it ends up having a slightly more mature tone that should satisfy those who have grown with the turtles themselves.

Protege

2007 / Derek Yee > One Nite in Mongkok is arguably one of the finest Hong Kong crime/noir films ever made, so I was very much anticipating Yee's follow-up within a similar genre. In Protege, however, Yee has disappointed me considerably, as the film falters from incredibly uneven pacing and a lack of passion and focus that sucks the juice out of what could have been a rather powerful storyline. There are definitely some great moments (such as Andy Lau in the bathroom), but the overall tone is too pedantic and constantly meanders for meaning and approval.

Suzhou River

2000 / Lou Ye > This might be the first film since the early 90s outings from Zhang Yimou and Chen Kaige that has made me believe in the future of mainland Chinese cinema. Having been unable to adjust to critically acclaimed films of Zhang Ke Jia, I was worried that most of what was being made in the mainland—of slow, deliberate pacing reminiscent of the Taiwanese New Wave. But with Suzhou River, one can hope that these elements will continue to be combined with the vibrancy present in Wong Kar-Wai's Chungking Express and the local mood of modern China. By itself, it's a tangential homage to Vertigo that's both beautiful and heartbreaking. While separately it often feels grossly derivative, the combined product is as fresh as it is youthful.

Happy Together

1997 / Wong Kar-Wai > Undeniably my least favorite Wong Kar-Wai film, but not because of the obvious subject matter: The problem was that it felt too easy. When you have a character like Ho Po-wing—that bastard significant other who's selfish but somehow always comes back to haunt you—it becomes an easy to use conflict creator that tires quickly. It lacks the imagination of Chungking Express and the subtlety of In the Mood for Love, but saves itself by retaining the visuals and music that are so pertinent to Wong's oeuvre.

The Hole

1999 / Tsai Ming-Liang > While I've gotten somewhat used to Hou Hsiao-Hsien, it's still been a bit of a dogfight "getting" Tsai's films. The question I find myself asking is: If nothing really happens in a film, do you go out of your way to find meaning? I think no, mostly because if we did that with every film, it's possible to find loads of layers that were not intended to begin with. And in many ways, I still find intention to be one of the cornerstones of filmmaking. (It is, of course, possible to not execute your intention properly but still result in a better film than originally intended—and judging that is quite another dilemma.) Anyhow, The Hole and its semi-apocalyptic romantic musical isn't for everyone. Tsai remains a director you love or you hate, and while I won't go to the polar negative, I can't say I've warmed up to him by any means.

Exiled

2006 / Johnnie To > A calculated work of art, Exiled is a treat to those who enjoyed To's The Mission. With the same actors in tow, the film features several classic Hong Kong-style shootouts as its main entree while serving up themes of loyalty, debt and brotherhood as its appetizers. What's for dessert, then? How about a sweet soundtrack accompanied by beautiful, angular shots that make this a memorable viewing, even if the underlying plot is superficial at best.

Viva Erotica

1996 / Derek Yee > There's something strangely charming about this satire about the Hong Kong Category III—or softcore porn—industry. It's not the naive and sexy Shu Qi, although that certainly helps. And it's not exactly Leslie Cheung's pinning down of his semi-aloof failed-director-forced-to-go-softcore character either. It has more to do with Derek Yee's ability to make fun of both himself as well as the industry as a whole while still trying to convey a serious message. It's unfortunate that the production quality is a little subpar, and some of the comedy comes across a little forced. Otherwise, this is a Hong Kong gem that's considerably more intelligent than its peers.

Drink, Drank, Drunk

2005 / Derek Yee > Romantic comedies from Hong Kong are arguably some of the silliest films in the world, and Derek Yee's Drink, Drank, Drunk is no exception. However, somehow Daniel Wu's acting is even sillier. Nowhere present is the level of emotion he showed in One Nite in Mongkok, and there is virtually no chemistry onscreen between him and Miriam Yeung. If it weren't for the ending, which was a absolute surprise (although I imagine Yee always has at least one decent trick up his sleeves), the film would have been an absolute wash of two hours.

Dog Bite Dog

2006 / Cheang Soi > Violence for the sake of violence has become a bit of a bore lately. So, once in a while, we get a film tha tries to justify its grotesque level of blood and gore as if there's a greater meaning to it all. Sometimes it succeeds (see Sympathy for Mr. Vengeance). But as is the case with Dog Bite Dog, chances of a failure is more probable. The glue for the film are the acting feats pulled off by one of the pretty boys of Hong Kong here: Edison Chen, and the immaculate conception of dramatic skills by the usually effervescent Sam Lee in his role as a misunderstood cop hot on the trail of the aforementioned Mr. Chen.

The film is not completely without merit. The violence is gruesome, but at times you can't help but feel for both sides of the law. The line between good and bad is not often clear, and some of the situations the characters face are surreal enough that it's hard to put one's self in such a position. Unfortunately, the film is plagued by an elongated ending that stretches beyond a reasonable conclusion and holds the viewer at a standstill for what is, essentially, a filler finale.

Fearless

2006 / Ronny Yu > In some ways, it's hard not to like Fearless: Yuen Woo-Ping's exquisitely crafted fight sequences leave you breathless by the beauty of its brutality. Shigeru Umebayashi's score, while not memorable, is subtle enough to cradle your patience when the film tries to be a little too philosophical. And Jet Li's goodbye-to-wushu performance is, at the least, memorable for his return to the days of Fist of Legend in terms of style, intricacy and emotion.

I do, however, find myself disappointed in the film's erratic character development. Often, characters motivations changed seemingly overnight, as if it's just that simple. Moreover, its emotional overtones were often heavy-handed, and much of it was fairly trite and by the numbers. One has to wonder, though, if the film's original 150 minute cut would have been able to achieve what this 105 minute theatrical release did not. If there's not much else to the story that what's presented here, there's a chance that the longer cut would have been a droning failure. For that, it's possible to give Ronny Yu the benefit of the doubt and consider this as good a martial arts film will get these days.

Daisy

2006 / Andrew Lau > What do you get when you combine Infernal Affairs director Andrew Lau with the writer/director Kwak Jae-young of My Sassy Girl? Apparently a love triangle between Jun Ji-hyun, a cop and a contract killer. Having watched the 124 minute director's cut, it's pretty understandable why the Korean audiences didn't initially take on this film: The theatrical cut had much of the initial storyline development shortened into one, tight package that skews the objectivity and thoughtfulness present in the longer version.

The film itself is somewhat slowly paced, but absolutely beautiful (as one should expect). Jun, for once, plays a girl of calm demeanor, which befits her considerably more than the loud, obnoxious teens she's portrayed in films such as My Sassy Girl and Windstruck. Kwak's strength is generally exposition, and in Daisy, his skillful storytelling is highlighted well. It's important to weigh the background plot a little less than the love story itself (which the film does successfully), but inevitably the weakest point of the film is Kwak's inability to avoid a barrage of melodrama in the finale. He's done this before, so it shouldn't be surprising by any means. Taking into effect the flock of unnecessary flashback sequences later in the film, Daisy fails to reach a higher ground—A disappointment, considering how strong a start it had.

In the Mood for Love

2000 / Wong Kar-Wai > No matter how many times it's viewed, In the Mood for Love never fails to impress and evoke: Incredible performances from Maggie Cheung/Tony Leung, gorgeous cinematography by Christopher Doyle/Mark Li and the haunting music of Shigeru Umebayashi/Michael Galasso come together to complete Wong Kar-Wai's masterpiece about unrequited love.

Never has a film mesmerized as much as it has made the heart ache. There's a wondrous beauty in its concepts of time and space between a man and a woman, of hope and fulfillment vs. respect and duty. And it's absolutely fantastic when rain starts to fall.

Isabella

2006 / Edmond Pang > Recoginized with the Silver Bear for Best Film Music at this year's Berlinale, Pang Ho-Cheung's story is of a pre-handover Macau cop and the discovery of the daughter he never knew he had. The cop, played by a suddenly mature Chapman To is often outshined by the daughter, played by Canto-pop start-turned serious actress Isabella Leung. Her performance is surprising, if only because she pins down the mercurial behavior of the daughter so well.

Unlike most films, Peter Kam's score refuses to take a backseat to the actors, and often pads idyllic sequences so they end up having as much breadth as those with blatant meaning. The story turns conventional halfway through, but luckily changes back into something a little more special at the end. There is strength in how it culminates, and any sort of seesaw Pang went through in revealing plot details are ironed out. Of special note is the elegant beauty of the sets, taking advantage of the Portuguese-influenced architecture and a bounty of colors reminiscent of Wong Kar-Wai's In the Mood for Love. Isabella is a simple, wondrous pleasure.

Millennium Mambo

2001 / Hou Hsiao-Hsien > Millennium Mambo is the first time I've taken the time to actually sit through a film made by one of the Taiwanese New Wave directors. While it tested my patience at several instances, I also felt strangely drawn to it. There isn't much of a plot in the contentional sense; people do mundane things, but ironically we identify with these events considerably more than a car chase. Turn of the century techno/house permeates the soundtrack, and glowing, neon colors end up being strangely soothing to the eye.

I'm unsure why I like this film. It felt a bit like the old Wong Kar-Wai on acid, and must have been a considerable influence on Coppola's Lost in Translation. Shu Qi is heartbreaking and gorgeous, evoking a sentimentalist innocence not often felt in films nowadays. In this process, Hou has successfully challenged me to revisit his other films as well as those of his compatriot Tsai Ming-Liang.