The White Storm 2: Drug Lords (掃毒2天地對決, Herman Yau, 2019)

132134ti38vkkj3p299ni8The war on drugs comes to Hong Kong care of Herman Yau’s latest foray into heroic action, White Storm 2: Drug Lords (掃毒2天地對決). In the grand tradition of Hong Kong movies adding a random prefix to the title, Drug Lords is a “thematic” sequel to Benny Chan’s 2013 hit White Storm, which is to say that it shares nothing at all with Chan’s film save the narcotics theme and the participation of Louis Koo who returns in an entirely different role. What Yau adds to the drama is a possibly irresponsible meditation on vigilante justice and extrajudicial killing which, nevertheless, broadly comes down on the side of the law as its dualist heroes eventually destroy each other in a nihilistic quest for meaningless vengeance.

A brief prologue in 2004 sees depressed Triad Yu Shun-tin (Andy Lau) abandoned by his girlfriend who can no longer put up with his gangster lifestyle and inability to break with his domineering mob boss uncle. Meanwhile, across town, flamboyant foot-soldier Dizang (Louis Koo) scolds one of his guys for supposedly selling drugs in the club, only to be picked up by Shun-tin’s uncle Nam (Kent Cheng) and severely punished for getting involved with the trafficking of narcotics. Nam orders Shun-tin to cut off Dizang’s fingers as punishment, which he does despite Dizang’s reminder that they’ve been friends for over 20 years. Conflicted, Shun-tin makes amends by driving Dizang to the hospital with his fingers in a freezer bag, but by this point Dizang has had enough. To teach him a lesson, the Triads also tip the police off to raid the club, during which the wife of squad leader Lam (Michael Miu) is killed by a drug addled patron.

15 years later, Shun-tin has left the Triads and become a successful businessman married to a beautiful lawyer/financial consultant (Karena Lam) with whom he has started an anti-drugs charity, while Dizang has become Hong Kong’s no. 1 drug dealer, operating out of a slaughterhouse as a cover. The trouble occurs when Shun-tin learns that his former girlfriend was pregnant when she left him and that he has a 15-year-old son in the Philippines who has become addicted to drugs. Drugs have indeed ruined Shun-tin’s life, if indirectly. His grandfather was an opium addict, and his father died of a heroine overdose (which is why his Triad gang swore off the drugs trade). All of which means he has good reason for hating drug dealers like Dizang, but his sudden admiration for Duterte’s famously uncompromising stance on drugs is an extraordinarily irresponsible one, especially when it leads to him embarrassing the HK police force by offering a vast bounty to anyone who can kill Hong Kong’s top drug dealer – a deadly competition that, like extrajudicial killings, seems primed to put ordinary people in the firing line.

As Lam tells him, the situation is absurd. Shun-tin’s bounty means Lam will have to spend more time offering protection to suspected drug dealers than actively trying to catch them while it also leaves Shun-tin in an awkward position as a man inciting murder and attempting to bypass the rule of law through leveraging his wealth. Indeed, as a man from the slums who’s been able to escape his humble origins and criminal family to become an international billionaire philanthropist he shows remarkably little consideration for the situation on the ground or the role the kind of ultra-capitalism he now represents has on perpetuating crime and drug use, preferring to think it’s all as simple as murdering drug lords rather than needing to actively invest in a creating a more equal society.

Meanwhile, Dizang continues to lord it about all over town and Lam finds himself an ineffectual third party caught between summary justice meted out by a man who thinks his wealth places him above the law and a gangster on a self-destructive bid for vengeance against the Triads he feels betrayed him, including his old friend Shun-tin. Truth be told, the “friendship” between Dizang and Shun-tin never rings true enough to provoke the kind of pathos the violent payoff seems to be asking for while the film is at times worryingly uncritical of Shun-tin’s vendetta, suggesting that the police are ill-equipped to deal with the destructive effects of the drug trade. Nevertheless, even if it’s to placate the Mainland censors, Yau ends on a more positive message that reinforces the nihilistic, internecine nature of the conflict while hinting, somewhat tritely, at a better solution in the sunny grasslands of the child drug rehabilitation centre Shun-tin has founded in Manila. That aside, Drug Lords is never less than thrilling in its audacious action set pieces culminating in a jaw dropping car chase through a perfect replica of the Central MTR subway station.


The White Storm 2: Drug Lords is currently on limited release in UK cinemas courtesy of Cine Asia. It will also screen as the closing movie of the 2019 New York Asian Film Festival.

Original trailer (English / Traditional Chinese subtitles)

Chasing the Dragon (追龍, Jason Kwan & Wong Jing, 2017)

chasing the dragon posterWhen it comes to Mainland China anything goes so long as you set your movie before 1949. In Hong Kong it seems the same thing is true only the cut off date is 1997. Wong Jing and Jason Kwan’s surprisingly glossy Chasing the Dragon (追龍) follows two giants of 1960s Hong Kong in Crippled Ho whose life was previously brought the screen in 1991’s To Be Number One, and crooked (but only in a nice way) policeman Lee Rock who is played by Andy Lau – the very same part he inhabited in a series of films over 25 years ago. Marking a first time collaboration between martial arts superstar Donnie Yen and veteran leading man Lau, Chasing the Dragon firmly points its finger at the rotten roots of colonial corruption which, apparently, allowed such lawless times to endure in order to reap their copious rewards.

In 1963, Crippled Ho (Donnie Yen) smuggles himself into Hong Kong from the Mainland along with three of his friends and his little brother Peter. The boys find it hard to get honest work and are largely existing as hired muscle – or rather they’re supposed to get paid $30 to stand at the back make the local gangster’s gang look more impressive than it really is. One fateful day they get hired by Will, Grizzly Bear’s fixer, to hang around at a supposed confrontation with rival gangster Comic only this time the fight, which has been organised to put a damper on the birthday celebrations of crooked police chief Ngan, breaks out for real. Crippled Ho and the guys are skilled fighters who’d really rather avoid getting involved so they steal some police uniforms and try to escape by blending in but they’re caught by vicious British cop Hunter (Bryan Larkin) and nearly beaten to death before being rescued by the less corrupt Lee Rock (Andy Lau).

This first confrontation sets the tone for the remainder of the film as Crippled Ho, a vicious, ruthless, and ambitious gangster is repeatedly plagued by Hunter – the typically racist, corrupt, incompetent, greedy, and amoral sort which seems to define British officialdom across the Empire. Empire is the big enemy here (though it’s easy enough for one Empire to stand in for another) as pictures of the Queen reign supreme and men like Hunter think they can do whatever they like because colonial life is cheap. Lee Rock knows his place with the system and is content to play it. He warns Ho that pretty much anything goes, but the Brits are off limits because it’s the authorities that are bankrolling this illicit economy and any attempt to bite the hand that feeds threatens to bring the entire system crashing down.

As revealed in Ho’s opening voice over, ’70s Hong Kong was a haven of corruption in which the authorities collaborated with the Triads partly as a way of appeasing them but also as a way to make money. Unlike his incorruptible buddy, Lee Rock is as corrupt as they come – setting himself a target of $500 million and becoming actively involved in the drugs trade. He does, however, have his limits and makes sure to always play within the “rules”. The rules go awry when Rock decides to try deposing an unpredictable gang leader in favour of a more stable one and gets trapped inside Kowloon Walled City only for Ho to come to his rescue in answer of their debt of loyalty.

Despite their positions at opposite ends of the spectrum, Lee Rock and Crippled Ho generate a genuine brotherhood during the ten years which see their ascent to the top of the Hong Kong criminal tree. The launch of ICAC in 1974 which aims to eradicate corruption across the board threatens to bring the party to an end with its obvious desire for efficacy in refusing to hire the same old stooges who will do nothing, and actually arresting some of the most notorious abusers of power. Wong and Kwan end the film with a frankly ridiculous statement that thanks to ICAC and the retreat of the British, corruption has now been completely eradicated from Hong Kong along with colonial rule. Yet, in keeping with censorship guidelines, both Rock and Ho are allowed to appear in an epilogue sequence in which they have an emotional conversation revealing the ways crime has not paid for them in the way they hoped it might.

Dripping with period detail and thankfully reining in some of the more outlandish elements and unwise comedy Wong is often known for Chasing the Dragon is also a surprisingly bloody affair as ears are sliced off, severed heads appear in boxes, and the gang engage in a series of action packed set pieces many of them set in the famed Walled City. Yen and Lau play two sides of the same game while their intense bond is shaken by the need for revenge and a suspicion of betrayal. Wong Jing redeems himself with the assistance of the ever reliable Kwan in a star studded tale of corrupt yet noble criminals daring to rebel against oppression by embracing its amoral rules.


Currently on limited release in UK cinemas.

International trailer (dialogue free)