The Killer
by Chung Lam
from Fox Lorber
This 1989 rouser is apocalyptic pulp--the bloodiest, showiest, most shamelessly sentimental specimen of Hong Kong's gangster melodramas. A torch singer named Jennie (Sally Yeh) is accidentally blinded during a slaying in a night club, and Chow Yun-fat's sad-eyed Jeff, a self-lacerating assassin, drags himself out of retirement to take on one last job--rubbing out a major mobster for major bucks--so he can pay for the singer's cornea transplant operation. But Jeff pauses to ferry a wounded child to the hospital during this final outing, and because of this a cop finally gets a good look at him: "He was seen on the job," snarls a saturnine Mr. Big, "and I want him wasted." Armies of thugs converge on the saintly slayer. Some of writer-director John Woo's flourishes are kitsch classics (doves flying upward in a candlelit church), while the action sequences are rapturous. "Life's cheap," a character opines. "It only takes one bullet," but in this case it actually takes about a dozen spewing bullet hits to kill anyone, as soulful triads in mirror shades and duster overcoats blaze away with high-tech weaponry. (A favorite trick involves grasping an enemy by the lapels, pulling him into a waltz embrace, and pumping several slugs into his duodenum.) Danny Lee, Chow's costar in City on Fire, is the intense, young officer who fixates on the killer's contradictory personality. --David Chute
The Killer - Criterion Collection
by John Woo
from Criterion
This 1989 rouser is apocalyptic pulp--the bloodiest, showiest, most shamelessly sentimental specimen of Hong Kong's gangster melodramas. A torch singer named Jennie (Sally Yeh) is accidentally blinded during a slaying in a night club, and Chow Yun-fat's sad-eyed Jeff, a self-lacerating assassin, drags himself out of retirement to take on one last job--rubbing out a major mobster for major bucks--so he can pay for the singer's cornea transplant operation. But Jeff pauses to ferry a wounded child to the hospital during this final outing, and because of this a cop finally gets a good look at him: "He was seen on the job," snarls a saturnine Mr. Big, "and I want him wasted." Armies of thugs converge on the saintly slayer. Some of writer-director John Woo's flourishes are kitsch classics (doves flying upward in a candlelit church), while the action sequences are rapturous. "Life's cheap," a character opines. "It only takes one bullet," but in this case it actually takes about a dozen spewing bullet hits to kill anyone, as soulful triads in mirror shades and duster overcoats blaze away with high-tech weaponry. (A favorite trick involves grasping an enemy by the lapels, pulling him into a waltz embrace, and pumping several slugs into his duodenum.) Danny Lee, Chow's costar in City on Fire, is the intense, young officer who fixates on the killer's contradictory personality. --David Chute
Hong Kong's preeminent director John Woo transforms genres from both the East and the West to create this explosive and masterful action film. Featuring Hong Kong's greatest star, Chow Yun-fat, as a killer with a conscience, the film is an exquisite dissection of morals in a corrupt society, highlighted with slow-motion sequences of brilliantly choreographed gun battles on the streets of Hong Kong.
City on Fire
by Ringo Lam
from Dimension
Although many Hong Kong action fans have criticized Quentin Tarantino for stealing the premise of Reservoir Dogs from Ringo Lam's 1987 hit City on Fire, those accusations do a disservice not only to Tarantino--who vastly improved upon every scene he "borrowed"--but also to Lam and his charismatic star, Chow Yun-fat, whose talents were evident long before they were lured to Hollywood. City on Fire may seem overly familiar now, with its standard undercover-cop-befriending-the-bad-guys scenario, but it remains a first-rate example of Hong Kong urban-action drama, and as a star vehicle for Chow it's a guaranteed crowd-pleaser. The shootouts and chase scenes are as good as anything Hollywood offered in the late '80s, and the chaotic environs of Hong Kong provide an exotic backdrop that further enhances the routine plot line.
Chow plays the undercover cop, still agonizing over his betrayal of a criminal friend during a previous case; when he's asked to infiltrate a gang of violent thieves, his rapport with one of the gangsters threatens the integrity of his assignment. While his superiors battle among themselves (one protects Chow, the other pursues him), director Lam keeps it all ticking along with surefire pacing and an amusing subplot involving Chow's dissatisfied fiancée. The film is fascinating to watch for its obvious precedents to Reservoir Dogs (including a climactic "Mexican standoff" between the untrusting criminals), but it's best appreciated as a showcase for Chow, who's instantly captivating from the moment he appears onscreen. (Note: Disney's DVD release of City on Fire greatly improves upon the poorly translated subtitles of all previous DVD releases.) --Jeff Shannon
Internationally renowned superstar Chow Yun-Fat (CROUCHING TIGER, HIDDEN DRAGON; THE REPLACEMENT KILLERS) delivers an electrifying performance in this hard-hitting big-screen thrill ride! An undercover cop sent to infiltrate a notorious crime ring, Ko Chow (Chow Yun-Fat) must replace a fellow officer who was killed in a violent confrontation. But, as he earns the trust of the syndicate, he develops a tight friendship with one of the thieves. Then, when a planned heist turns into a bloody shoot-out with police, suspicions arise about who the informant could be. As friendship and loyalty clash with duty and honor, you'll be riveted by the explosive power of this intensely entertaining motion picutre!
The Killer - Criterion Collection
by John Woo
from Home Vision Cinema
This 1989 rouser is apocalyptic pulp--the bloodiest, showiest, most shamelessly sentimental specimen of Hong Kong's gangster melodramas. A torch singer named Jennie (Sally Yeh) is accidentally blinded during a slaying in a night club, and Chow Yun-fat's sad-eyed Jeff, a self-lacerating assassin, drags himself out of retirement to take on one last job--rubbing out a major mobster for major bucks--so he can pay for the singer's cornea transplant operation. But Jeff pauses to ferry a wounded child to the hospital during this final outing, and because of this a cop finally gets a good look at him: "He was seen on the job," snarls a saturnine Mr. Big, "and I want him wasted." Armies of thugs converge on the saintly slayer. Some of writer-director John Woo's flourishes are kitsch classics (doves flying upward in a candlelit church), while the action sequences are rapturous. "Life's cheap," a character opines. "It only takes one bullet," but in this case it actually takes about a dozen spewing bullet hits to kill anyone, as soulful triads in mirror shades and duster overcoats blaze away with high-tech weaponry. (A favorite trick involves grasping an enemy by the lapels, pulling him into a waltz embrace, and pumping several slugs into his duodenum.) Danny Lee, Chow's costar in City on Fire, is the intense, young officer who fixates on the killer's contradictory personality. --David Chute
Hong Kong's preeminent director John Woo transforms genres from both the East and the West to create this explosive and masterful action film. Featuring Hong Kong's greatest star, Chow Yun-fat, as a killer with a conscience, the film is an exquisite dissection of morals in a corrupt society, highlighted with slow-motion sequences of brilliantly choreographed gun battles on the streets of Hong Kong.
Return to a Better Tomorrow
by Jing Wong
from Tai Seng
Organized Crime & Triad Bureau
by Kirk Wong
from Tai Seng
Director Kirk Wong set the style for the lean, edgy Hong Kong cop thriller. In this drama, special forces officer Danny Lee bends the law and suspends civil rights to track down ruthless criminal Anthony Wong (Hard Boiled), the leader of a notorious robbery ring, on the run with his loyal girlfriend Cecilia Yip. Lee, who performed similar duties in John Woo's The Killer, is driven and demanding as the passionate authority figure, a man whose selfless sense of duty teeters over into vigilantism, while Anthony Wong tones down his usual flamboyant style to play a charismatic, sensitive criminal who earns the director's sympathies. There's no John Woo bravura shootouts or stylistic frenzies in Kirk Wong's sober, sometimes too restrained approach, lacking the dramatic edge of Rock and Roll Cop and the punch of Supercop, two of his later productions. But the violence packs a wallop in its street-realist directness, and Wong knows how to stage a high-tension action set piece, as evidenced in the opening chase scene and the dynamic police-dragnet finale. What more attracts the director, however, is the inner workings of crime and punishment: the maze of the underworld hierarchy and the mechanics of crime, the contradictions that pull at the police and the bureaucratic tangle they navigate. Though there's none of the romantic gloss that Woo invests his cowboy criminals with, Kirk Wong loves to explore the dynamic that separates--and binds--cop and criminal. --Sean Axmaker
Man Wanted
by Benny Chan
from Image Entertainment
City on Fire
by Ringo Lam
from Tai Seng Video Marketing
Although many Hong Kong action fans have criticized Quentin Tarantino for stealing the premise of Reservoir Dogs from Ringo Lam's 1987 hit City on Fire, those accusations do a disservice not only to Tarantino--who vastly improved upon every scene he "borrowed"--but also to Lam and his charismatic star, Chow Yun-fat, whose talents were evident long before they were lured to Hollywood. City on Fire may seem overly familiar now, with its standard undercover-cop-befriending-the-bad-guys scenario, but it remains a first-rate example of Hong Kong urban-action drama, and as a star vehicle for Chow it's a guaranteed crowd-pleaser. The shootouts and chase scenes are as good as anything Hollywood offered in the late '80s, and the chaotic environs of Hong Kong provide an exotic backdrop that further enhances the routine plot line.
Chow plays the undercover cop, still agonizing over his betrayal of a criminal friend during a previous case; when he's asked to infiltrate a gang of violent thieves, his rapport with one of the gangsters threatens the integrity of his assignment. While his superiors battle among themselves (one protects Chow, the other pursues him), director Lam keeps it all ticking along with surefire pacing and an amusing subplot involving Chow's dissatisfied fiancée. The film is fascinating to watch for its obvious precedents to Reservoir Dogs (including a climactic "Mexican standoff" between the untrusting criminals), but it's best appreciated as a showcase for Chow, who's instantly captivating from the moment he appears onscreen. (Note: Disney's DVD release of City on Fire greatly improves upon the poorly translated subtitles of all previous DVD releases.) --Jeff Shannon
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