Love Off the Cuff (春嬌救志明, Pang Ho-cheung, 2017)

love off the cuff posterJimmy and Cherie, against all the odds, are still together and in a happy longterm relationship in the third addition to Pang Ho-cheung’s series of charming romantic comedies, Love off the Cuff (春嬌救志明). Following the dramatic declaration at the end of Love in the Buff, the pair have continued to grow into each other embracing each of their respective faults but after all this time Jimmy and Cherie have to make another decision – stay together forever or call it quits for good.

The major drama this time around occurs with the looming spectre of parenthood as Cherie’s long absent father and Jimmy’s “godmother” suddenly arrive to place undue strain on the couple’s relationship. These unexpected twin arrivals do their best to push Cherie’s buttons as she’s forced to re-examine her father’s part in her life (or lack of it) and how he may or may not be reflected in her choice of Jimmy, whilst Jimmy’s Canadian “godmother” makes a request of him in that he be the father of her child. Jimmy, a self confessed child himself, does not want anything to with this request but is too cowardly to hurt the feelings of a childhood friend and is hoping Cherie will do it for him. Cherie is wise to his game and doesn’t want to be trotted out as his old battle axe of a spouse but at 40 years of age children is one of the things she needs to make a decision on, another being whether she wants them with Jimmy.

Cherie’s father was an unhappy womaniser who eventually abandoned the family and has had little to do with any of them ever since. In his sudden return he brings great news! He’s getting married, to a woman much younger than Cherie. Building on the extreme insecurities and trust issues Cherie has displayed throughout the series, her faith in Jimmy crumbles especially after she intercepts some interestingly worded (yet totally innocent) text messages on his phone which turn out to relate to an unfortunate incident with their dog. Jimmy’s reliability continues to be one of his weaker elements as the behaviour he sees as pragmatic often strikes Cherie as self-centered or insensitive. Things come to a head during a disastrous getaway to Taipei in which the couple are caught in an earthquake. Cherie freezes and cowers by the door while Jimmy ties to guide her to safety but his efforts leave her feeling as if he will never value anything more than he does himself.

Moving away from the gentle whimsy of Love in a Puff, Cuff veers towards the surreal as the pair end up in ever stranger, yet familiar, adventures including a UFO spotting session which goes horribly wrong landing them with community service and accidental internet fame. A real life alien encounter becomes the catalyst for the couple’s eventual romantic destiny as does another of Jimmy’s grand gestures enlisting the efforts of Cherie’s father to help him win back his true love. Cherie’s troupe of loyal girlfriends even indulge in some top quality song and dance moves in an effort to cheer her up when it’s looking like she’s hit rock bottom though, improbably enough, it’s Yatterman who eventually saves the day.

Supporting cast is less disparate this time around relying heavily on Cherie’s dad and Jimmy’s godmother but Cherie’s friends get their fare share of screentime even if Jimmy’s seem to fade into the background. Cherie never seems to notice but one of her friends is in love with her and is not invested in her relationship with Jimmy, constantly trying to get her to come away on vacation to a nostalgic childhood destination, but most of the girls seem to be in the dump camp anyhow loyally making sure Cherie thinks as little about Jimmy as is possible lest she eventually go back to him.

Trolling the audience once again with the lengthiest of his horror movie openings (so long you might wonder if you’ve wandered into the wrong screen), Pang begins as he means to go on, mixing whimsical everyday moments of hilarity with surreal set pieces. It’s clear both Jimmy and Cherie have grown throughout the series – no longer does Jimmy skip out on family dinners with Cherie’s mother and brother but patiently helps his (future?) mother-in-law figure out her smartphone as well as becoming something like her errant father’s wingman. Things wrap up in the predictable fashion but it does leave us primed for the inevitable sequel – Love up the Duff? Could be, it’s the next logical step after all.


Love off the Cuff was screened at the 19th Udine Far East Film Festival.

Original trailer (Cantonese with Traditional Chinese/English subtitles)

Love in the Buff (春嬌與志明, Pang Ho-cheung, 2012)

love in the buff poster2010’s Love in a Puff was a delightfully low-key, slow burn romance in which two lonely smokers found each other over a back ally rubbish drum and a series of aimless text-based and ambulatory conversations. Jimmy and Cherie were both so diffident, fearful, and emotionally restrained that their grand love affair ended on a positive if ambiguous note, promising only to continue in forward motion. Where is there to go in a sequel? The same place again, apparently. Or, more precisely, Beijing.

So, Jimmy (Shawn Yue) and Cherie (Miriam Yeung) have found true love, moved in together and are very happy. Except, Jimmy is still Jimmy and Cherie is still Cherie and so there are problems. Things come to a head when Jimmy forgets a dinner arrangement with Cherie’s family, invites her to a beach party that turns out to be a work engagement, and then unwisely tries to win an argument by “reminding” her who plays the bills. Unsurprisingly, when Jimmy returns home Cherie has gone back to her mother’s. Jimmy takes a job in Beijing and starts dating an air hostess only for Cherie to also get an unexpected transfer to the mainland capital.

More or less following the pattern of the first film but with the roles of the protagonists reversed, Jimmy and Cherie find themselves falling back into the same old routine as they’re marooned in an unfamiliar city. Jimmy, still immature and self-centred, may have started an accidental relationship with a stewardess his friend intended to molest on an aeroplane, but it’s essentially superficial (at least from his side) and once again he finds himself texting Cherie whilst bored with his girlfriend’s elegant friend set. Cherie, not over Jimmy (much as she’d like to be) and perhaps regretting her over hasty grand gesture, begins a tentative relationship with a sensitive millionaire, Sam (Xu Zheng), whose only defects seem to be an old-fashioned idea of chivalry and the fact that he is extremely bald.

Despite Sam’s obvious goodness, Cherie can’t let Jimmy go and is ultimately disappointed to find that some of his childish strangeness has rubbed off on her – in fact, the very qualities which Sam finds attractive are ones she associates with Jimmy. Back to sneaking around, bickering, and exchanging cryptic text messages the pair are left to wonder if anything has really changed. The problems are exactly the same – neither one is willing to trust the other enough to make a real go of things. Cherie, still a little over sensitive about the (very small) age difference between herself and Jimmy as well as her ticking clock, resents being made to feel like the old ball and chain when Jimmy plays the coward in lying to her to go out drinking with friends. Jimmy still fears confrontation too much talk to Cherie in a straightforward way and so they’re locked in continuing cycles of passive aggressive drama.

Once again Jimmy and Cherie are the main draw though their friends take on a slightly larger role. Eunuch (Roy Szeto) remains Jimmy’s worst enabler as he urges him to make a series of bad decisions in making a life in the mainland capital, though there is a potential happy ending for Cherie’s “plain” friend Brenda (June Lam) whose lack of looks was the butt of such mean-spirited humour in the first film. Transposing the action to Beijing Pang takes another look at modern love with its marriage markets full of old women sitting in parks with signs selling the virtues of their sons not to mention the terrible blind dates but even if the actions of the central couple lean towards the sordid as they re-engage in accidental adultery, the romance is always gentle, innocent, and sincere. Jimmy and Cherie bonded in a puff, but now they have to learn to love each other “in the buff”, warts and all or call it quits.

Pang wisely drops the documentary conceit though maintains the laid-back aesthetic and whimsical music as the ballad of Jimmy and Cherie continues. The various cameo appearances threaten to derail the low-key style of the drama but once again Pang manages to capture something youthful, fresh, and heartfelt even if not moving very much beyond the original.


Original trailer (Cantonese with traditional Chinese/English subtitles)

Love in a Puff (志明與春嬌, Pang Ho-cheung, 2010)

love in a puffSmokers. Is there a more maligned, ostracised group in the modern world? Considering the rapid pace at which their “harmless” pastime has become unacceptable, you can understand why they might feel particularly put out – literally, as they find themselves taking refuge in designated smoking areas or perhaps back allies where it seems no one’s looking. For all the nostalgia about how easy it was to strike up a friendship with a stranger just by asking for a light, it is also important to remember that smoking is not so “harmless” after all and there are reasons why smokers are asked to keep their activities amongst those who’ve also decided to ignore the warnings. The Smoking Ordinance, oddly enough, may have accidentally boosted the social potential of a smoke as those eager for a puff are given additional reasons to spend time together in an enclosed space, building a sense of community through nicotine addiction.

Pang Ho-cheung’s landmark romantic comedy Love in a Puff (志明與春嬌) takes this idea to its natural conclusion as recently dumped ad exec Jimmy (Shawn Yue) and trapped in a going nowhere relationship cosmetics girl Cherie (Miriam Yeung) begin to bond over a cigarette or two taken in a back ally near Jimmy’s office. Actually, Cherie doesn’t event work here, she’s wandered over and found a collection of kindred spirits whilst trying to avoid being spotted by her boss who thinks smoking is bad for your skin (not great when you’re supposed to be a walking advert for the makeup you’re pushing). Whilst the other guys and girls gossip about Jimmy’s great failed romance – his girlfriend cheated on him with and then left him for a Frenchman who has a better job in the company, Cherie listens patiently even though she’s clearly outside of this tight social circle. For Jimmy, this might be just what he needs – a breath of fresh (well, differently perfumed) air that has almost nothing to do with his current circle of work based friends.

Nothing in particular happens but the pair grow closer as they both attempt to escape the less satisfying elements of their lives. Relying on text messages delivered in a mix of text speak English and Chinese, Jimmy and Cherie message each other when they get bored – he eating hot pot with colleagues, she trapped at a fancy dress karaoke party, getting together to waste time but each unwilling to consider what any of this means. Eventually Cherie decides to make a real decision, but predictably enough, Jimmy freaks out and jumps on the brakes only to realise his hasty reaction might have been mistaken.

The tone is light and playful as Pang trolls the audience by beginning as a horror movie complete with dripping blood credits and scary music. The sequence turns out to be just one of the silly stories they gang entertain each other with during their cigarette breaks – in fact this one is a staple of Indian pizza delivery boy Bitta who tells it every time a new girl shows up. The grisly opening sequence even makes a fun return as Jimmy uses it to prank Cherie bringing them closer together whilst also highlighting his boyish, irreverent character. These same qualities which help Jimmy get through to Cherie may also be among the reasons his previous girlfriend ended the relationship, becoming bored with his familiar antics such as his strange love of buying ice-cream in a convenience store solely for the dry ice which likes to put in the toilet to enjoy the incongruous smoke effects.

Laid-back in style, Pang allows the back and forth between the leads to take centre stage whilst peppering the edges with a collection of background details about their friends and social lives. Cutting to a series of direct to camera documentary-style interviews, Pang adds a layer of commentary about modern love and relationships which extends right into the end credits with a hopeful man’s strange story about a girlfriend’s dog, all of which has the ring of authenticity even if occasionally mean-spirited as in its mocking of a plain girl stood up by an online date deceived by her overly flattering profile picture.

Love comes creeping and Jimmy and Cherie dance around each other, unable to speak plainly but occasionally moving forward through grand gestures. Each assuring the other they’re “in no hurry”, the great gateway to future happiness appears not with the traditional declaration of love but the “simple and straightforward” “I miss you”. Surprisingly cute and innocent for a Cat III comedy, Love in a Puff is an inconsequential tale of love blossoming in smokey city backstreets between a girl who’s tired of waiting and a guy who doesn’t know where he’s going but together they might just be able to figure it all out.


Love in a Puff was screened at the 19th Udine Far East Film Festival.

Original trailer (Cantonese with English/Traditional Chinese subtitles)

Shock Wave (拆彈專家, Herman Yau, 2017)

shock wave posterRecent Hong Kong action cinema has not exactly been known for its hero cops. Most often, one brave and valiant officer stands up for justice when all around him are corrupt or acting in self interest rather than for the good of the people. Shock Wave (拆彈專家) sees Herman Yau reteam with veteran actor Andy Lau turning in another fine action performance at 55 years of age as a dedicated, highly skilled and righteous bomb disposal officer who becomes the target of a mad bomber after blowing his cover in an undercover operation. These are universally good cops fighting an insane terrorist whose intense desire for revenge and familial reunion is primed to reduce Hong Kong’s central infrastructure to a smoking mess.

Some years prior to the main action, J S Cheung (Andy Lau) is undercover with a gang bomb loving bank robbers. When they decide to load up a few taxis with explosives, Cheung just can’t let innocent people and fellow officers get caught in the crossfire and so he blows his cover and tips the cops off to the weaponised motor vehicles. Head honcho of the gang, Blast (Jiang Wu), is not best pleased especially as his younger brother Biao (Wang Ziyi) gets himself arrested. Flash forward to the present day and Blast has come up with his plot for revenge – placing large amounts of explosives in the Cross Harbour Tunnel and taking everyone in the general area hostage until the authorities agree to release his brother and he’s satisfied himself in outwitting Cheung.

In this at least Shock Wave fits neatly into the mad bomber genre as Blast goes to great lengths to terrorise the public for irrational and entirely selfish reasons. Blast’s original twin motives centre on a need to get his brother out of prison and the need to destroy Cheung but Biao has decided one of the reasons he quite liked being in prison was that Blast wasn’t there and Cheung isn’t really interested in playing Blast’s game. Blast, as his brother points out, is someone who rarely considers the thoughts or emotions of other people, acting selfishly and assuming his own desires are the only ones which matter. This essential selfishness is echoed in a fairly subtle point about the financial impact of the tunnel crisis and how others stand to profit from it while hundreds people remain terrified and captive inside a giant tube surrounded by water which may soon collapse if Blast loses his temper.

Th mad bomber may be a cinematic staple but Shock Wave relies too heavily on familiar genre elements to make much on an impact of its own. Characterisation is often shallow in the hero cop vs insane criminal set up with supporting characters reduced to a single prominent emotion. The inevitable romantic subplot gives Cheung an emotionally fragile, recently divorced school teacher as an angelic girlfriend only to have her experience sudden qualms about getting involved with someone who does such a dangerous job.

Even if the narrative fails to impress, Yau produces an exciting visual spectacle reportedly spending vast sums of money building an exact replica of the Cross Harbour Tunnel. Filled with explosions, gunfights, and high octane action Yau keeps the tension high by turning the dial right down as Cheung and his gang do their thing with cool, calm military precision disarming everything from C4 to unexploded World War II bombs.  At two hours, Shock Wave is pushing the ideal for an action thriller but largely makes its lengthy running time count despite a number of underdeveloped subplots.

A vehicle for Lau who also takes a producer credit, Shock Wave is defined by his performance as the dashing and heroic member of the bomb disposal squad. Jiang Wu’s mad bomber provides hearty support but is never given much to do other than emphasise his villainy with sneering taunts and occasional acts of cruelty. Cheung’s schoolteacher girlfriend Carmen, played by Song Li, is about as generic as they come seeming only to exist for the classic girlfriend in peril plot device but Song and Lau have good chemistry and the relationship does at least help to up the otherwise absent emotional content. Simply put, Shock Wave is an excuse for the ageing Lau to play the action hero once again and he plays it to the hilt. At times frustratingly formulaic, Shock Wave does manage to maintain the tension until the grippingly explosive finale whilst also paying tribute to those who run towards the crisis rather than away from it in full knowledge of the price they may pay in coming to the defence of ordinary people.


Shock Wave was the closing film of the 19th Udine Far East Film Festival and will also be released in UK cinemas from 5th May.

Original trailer (English subtitles)

Kung Fu Killer (一個人的武林, AKA Kung Fu Jungle, Teddy Chan, 2014)

kung fu killerKung fu movies –  they don’t make ‘em like they used to, except when they do. Kung Fu Killer (一個人的武林, AKA Kung Fu Jungle) is equal parts homage and farewell as its ageing star, Donnie Yen, prepares to graduate to the role of master rather than rebellious pupil. What it also is, is a battle for the soul of kung fu. Just how “martial” should a martial art be? Is it, as our antagonist tells us, worthless with no death involved or will our hero prove the spiritual and mental benefits which come with its rigorous training and inner centring transcend its original purpose? Of course most of this is just posturing in the background of a lovingly old fashioned fight fest complete with a non-sensical plot structure motivated by increasingly elaborate set pieces.

Yen plays Hahou Mo, a martial arts master and instructor to the HK police who hands himself in one day covered in blood and confesses to having killed someone. Three years later Hahou is a man of peace, paying for the accidental death of an opponent by patiently waiting out his prison time. However, when he sees a news report about a serial killer with martial arts ability targeting fellow martial artists he goes on a violent rampage trying to get the attention of the police. If they’re going to solve this crime, they’re going to need someone who knows the martial arts world intimately and Hahou spies an opportunity to earn his freedom through helping someone not so unlike himself realise the error of their ways.

In keeping with the genre, its not so much of a whodunnit as a whydunnit and so the crazed murderer is unmasked fairly quickly. Fung Yusau (Wang Baoqiang) is determined to be number one in each and every discipline, taking on the accepted masters and besting them every time, even going to far as to leave a sarcastic trophy on every body. Hahou once shared his ambition, his reckless need to prove his skill is the reason his life has gone the way it has after all, but the two men share fundamentally different beliefs about the nature of their art. Fung Yusau believes martial arts exist for the reason of killing people – fights in which both challengers live are, to him, pointless and incomplete.

Even if Hahou once harboured the same desire to prove his skills superior to all others, his was a more internal quest. For him, at least now, kung fu is a sacred art of self improvement which can be used for self defence but is essentially about learning to live a harmonious life. Having learned from his own misfortune, he knows the folly of being no. 1 – in that it’s an essentially lonely and insecure place to be. Martial arts should be used to kick down walls and build bridges, his desire is to move forward in togetherness teaching people how to be happy rather than working against each other in an unnecessary and artificial kind of competition.

The police need Hahou’s help because the martial arts world is so essentially alien to them. Despite a shared culture, this insular universe is something which they know nothing about and is so dependent on interpersonal knowledge that no degree of wikipediaing is likely to help them understand it. Only by learning from those with direct knowledge and able to guide them through the particular thought processes of the killer will they stand any chance of being able to catch him. However, the strangely alternative nature of the martial arts universe also makes trusting Hahou and the veracity of his information a big ask for hardheaded cops.

Yen wisely cedes most of the action to Wang Baoqiang other than in the early prison riot sequence and final showdown. The fight scenes are innovatively choreographed and always exciting, except perhaps for going overboard with CGI especially during the motorway set finale during which the additional speeding cars become an unwelcome reminder of just how much less is at stake than during the heady Hong Kong heyday of death defying stunts. Still, the relative quality of the action goes a long way to covering for the otherwise under developed story elements.

A nice fusion of the classic and the modern, Kung Fu Killer wears its love on its sleeve with a final credits sequence celebrating the various Hong Kong greats who’ve all contributed to the film in some way even if in more of a spiritual capacity. Necessarily an exercise in genre, Kung Fu Killer makes no claims to breaking new ground or doing anything particularly interesting, but does provide ample scope for a celebration of Hong Kong action cinema as well as the handing of the baton from Yen to Wang as each showcases their respective martial arts prowess.


Original trailer (English Subtitles)

Justice, My Foot! (審死官, Johnnie To, 1992)

Stephen Chow has always been a force of nature but even before making his name as a director in the mid-90s, he contributed his madcap energy to some of the highest grossing movies of the era. Justice, My Foot! (審死官) is very much of the “makes no sense” comedy genre and, directed by Johnnie To for Shaw Brothers, makes great use of the collective propensity for whimsy on offer. Even if not quite managing to keep the momentum going until the closing scenes, Justice, My Foot! succeeds in delivering quick fire (often untranslatable) jokes and period martial arts action sure to keep genre fans happy.

Chow plays unscrupulous lawyer Sung Shih-Chieh who has built himself quite the reputation as a silver tongued advocate, able to talk his clients out of pretty much anything by bamboozling the judges with crazy logic offered at speed. However, his talents have a downside in that he and his wife (Anita Mui) have sadly lost 12 children already which he attributes to a karmic debt for all his finagling. She’s convinced him to retire and move to the country but Sung keeps getting himself involved in other people’s affairs and when his reckless to decision to defend the son of a wealthy man who has caused the death of a pauper in a street fight results in the death of their own infant son, Mrs. Sung has had enough.

That is, until she encounters a series of injustices of her own as a heavily pregnant woman visits her tea shop along with her shady seeming brother. Soon enough the brother tries to convince a random stranger to marry his sister, only to suddenly run off with all of the guy’s money leaving him alone and confused with the mother to be Madame Chou (Carrie Ng). The man gives chase but unfortunately Madam’s Chou’s brother falls off a cliff and creates a whole lot of problems for everyone in the process. Now feeling sorry for a pregnant woman who has been left so completely alone after her own brother tried to sell her and her in-laws murdered her husband, Mrs. Sung changes her mind and convinces her husband to return to the law in defence of this extremely desperate woman.

For a “nonsensical” film, there is actually quite a lot of plot which occasionally becomes hard to follow as it moves freely between set pieces. The jokes come thick and fast and are often of the idiosyncratic Cantonese variety which does not translate particularly well though the delivery helps make up for any lack of understanding. Aside from that Chow packs in as much of his trademark slapstick as possible as he cedes the spotlight to his co-star Anita Mui who provides the martial arts action whilst proving why Mrs. Sung is the more dominant partner. Accordingly there is some typically sexist humour in which Sung is criticised for his “effeminate” cowardice by Mrs. Sung as she dresses him in her clothes, makeup and hairstyle while he escapes. A running joke about two gay servants doesn’t really go anywhere but is actually sort of refreshing in its ordinariness.

Nonsense it may be but there’s a persistent layer of darkness from the throwaway references to the deaths of the Sungs’ children, to the violent punishments inflicted by the court which include both beatings and eye gouging, and then there’s the attempted suicide of Madame Chou apparently gathering enough energy to hang herself from the rafters mere minutes after unexpectedly giving birth in another extended gag. A judicial farce, the film mocks the very idea of justice as the judges are all corrupt noblemen, well known for taking bribes and looking after their own to further their positions. Sung is no better as he plays the system for his own gain, cynically affirming that there is no rule of law and it’s everyman for himself when you live in such an anarchic system. To’s direction is typically ironic with his canted angles and balletic camera even if he is, to a certain extent, playing the Shaw Brothers game. Justice, My Foot! is not a first rate Chow effort, sagging in the middle and getting bogged down in its own manoeuvring, but does bring both the laughs and the punches with a standout performance from Anita Mui to boot.


Celestial Pictures trailer (English subtitles)

Heartfall Arises (惊天破 / 驚心破, Ken Wu Pinru, 2016)

Sean Lau Ching-wan and Nicholas Tse are together again after being denied the opportunity to reteam for a sequel to the acclaimed The Bullet Vanishes but if Heartfall Arises (Mainland China – 惊天破  / HK – 驚心破) was intended to repeat the successful buddy cop pulp of Bullet it sadly fails. A very modern tale of chess playing genius detectives, Heartfall Arises tantalises with some bizarre B-movie antics but remains intent on becoming this year’s big arthouse leaning crime thriller. Unfortunately Wu’s highly stylised approach, though often impressive, only serves to highlight the weaknesses inherent in the film’s construction.

Taking the lead this time, Tse plays snappy dresser and maverick cop John Ma who, when we first meet him, is busy giving a chess lesson to a little boy on a park bench while the rest of the Hong Kong police department is hot on the trail of a serial killer, The General (Gao Weiguang), who’s been targeting “evil” corporate big wigs. Ma wades in to save the day but, tragically, he and the killer are caught in a face-off in which both fire their guns at the same time with Ma securing a headshot only to be shot in the heart. Luckily Ma is saved by medical science thanks to a heart transplant from, you guessed it, The General.

Whilst in the hospital Ma meets police psychoanalyst, Calvin Che (Sean Lau Ching-wan), who (besides being another chess expert) has a theory about cell memory and the possibility that personality traits can be inherited through organ transplant. Ma has been relegated to desk work since returning to the police force but gets a chance to return to active duty when a spate of incidents occur eerily mimicking The General’s crime spree. Could his new heart really help them catch a killer, or will Ma too find himself crossing the line from law enforcement to vigilante avenger?

Though the personality transplant logic sets us up for a series of silly B-movie shenanigans, the idea is never treated with anything less than total seriousness. Thus when Ma realises that he suddenly likes spicy food we’re supposed to be worried – doubly so when he starts having visions of a pretty girl he doesn’t know frolicking on a romantic beach, especially as his nice doctor girlfriend has already gone out of her way to tell us she doesn’t mind very much about Ma’s new tastebuds. Figuring out the girl becomes key but, it seems, Ma is incorruptible when it comes to love making this particular drama ally a dead end.

Drama is where Heartfall Arises truly flatlines. Despite having played such a large part in the success of The Bullet Vanishes, Tse and Lau never generate the same kind of chemistry which made their previous collaboration so enjoyable. Both characters are hugely underwritten with Tse bundled into expensive looking fashionable outfits proving a mismatch with his cerebral policeman persona whereas Lau sports a scrabbly chin beard more in keeping with a hipster hacker than an uptight shrink. The cardinal sin is that Heartfall Arises actually pinches one of its central twists from The Bullet Vanishes but does it so clumsily as to completely undermine everything which has gone before.

Heartfall Arises wouldn’t be the first Hong Kong thriller to get away with a nonsensical plot but its relentless pretentiousness robs it of the possibility of escaping rigour through style. Slickly shot, Wu aims for a swanky, upscale noir from the well appointed office blocks to fancy apartments and Ma’s strangely dapper attire but the elite cops vibe remains decidedly low stakes as Ma and Che swap philosophical quotes and talk chess until the potentially explosive finale. A buggy chase in Thailand proves particularly unexciting as Wu fails to make the action scenes compensate for the weakness of the plot, and though he has some intriguing visual ideas they’re often ones which don’t serve the film. Taking itself far too seriously, Heartfall Arises would be more fun if it allowed itself to revel in the ridiculousness of its premise but becomes far too caught up looking at itself in the mirror to notice that the villain has escaped by grapple gun and taken the audience’s suspension of disbelief with him.


HK Trailer (English subtitles)