Shock Wave 2 (拆彈專家2, Herman Yau, 2020)

“Anger can destroy everything” according to the voiceover opening Herman Yau’s Shock Wave 2 (拆彈專家2), a thematic sequel to the original Shock Wave once again starring Andy Lau as a Hong Kong police bomb disposal officer battling serious threat to the island’s transport infrastructure but also picking up themes from the pair’s subsequent collaboration White Storm 2 in which the veteran actor had starred against type as a Batman-esque billionaire vigilante fighting a one man war on drugs. The villains here claim they want “change”, but in reality want little more than to burn the world, enraged by its refusal to recognise or remember them consumed as they are by wounded male pride. 

The hero, Fung (Andy Lau Tak-wah), finds himself suffering from amnesia after encountering the second serious accident of his professional life. When we first meet him, he’s essentially playing the same role as the first film, a cheerful, slightly cocky bomb disposal expert with a potentially reckless streak born of his willingness to risk his own life to save those of others. When he’s injured on a job, tricked by a random booby trap while trying to free a trapped cat, and loses his leg he reacts with characteristically upbeat stoicism quickly adjusting to his new prosthesis and determined to get back to work, training intensely with the help of his friend Tung (Sean Lau Ching-wan) who was also injured in the same blast only not so seriously. Despite passing all the fitness criteria Fung is fobbed off with an offer of a desk job in police PR, refused a return to the bomb squad as the panel quite openly admit not so much because they feel his disability impairs his ability to do the job as they fear public blowback should something go wrong and they be blamed for having hired a disabled person in the first place. 

It’s less a sense of discrimination than unfairness that fuels Fung’s growing sense of anger and resentment not only towards the police force but towards society in general which he now feels regards human beings as little more than disposable tools. He rejects the sense of himself as “disabled”, internalising a sense of societal shame keen to remind everyone that he is not impaired proving himself capable above and beyond the force’s criteria but is still rejected while Tung, who suffered only minor burns, is permitted to return to duty and even gets a promotion. His friends later recount that he became a different person after the accident, angry and embittered as if at war with the world. 

Yet after encountering a second accident, Fung loses his declarative memory which is to say he still has his everyday skills such as walking around (including using a prosthesis), getting dressed, brushing his teeth, using a computer and presumably the mechanics of bomb disposal but no longer remembers his own name or how he ended up in hospital now at least implicated in an act of major terrorism. Without his memories, Fung is a blank slate, freed from all the trauma and resentment that may have pushed him towards the dark side and returned to the innate goodness of a soul untouched by the world’s cruelty. The question is, which way will he turn, back towards the darkness or further into the light as the Fung they once new who willingly risked his life for others? In any case, he finds himself potentially misused by his well meaning ex Pong Ling (Ni Ni) who engages in some dubious psychology involving false memory implantation to convince him that he’s been working for the Hong Kong police undercover, hoping to engineer a softer landing for him than the realisation that he may be responsible for the deaths of at least 18 people as a member of an anarchist sect going under the apt name of “Vendetta”. 

Like Fung, the leader of Vendetta is an angry man resentful of having been forgotten by someone he cared about who had simply grown away from him. He rages against the world partly as a consequence of his aimless privilege having discovered his wealthy family made their money peddling opium with the assistance of the colonial authorities, but also as a direct result of childhood bullying and frustrated male friendship. Vendetta claims it wants to stop the world from getting “worse”, but all it really has is anger and the intense hurt of wounded pride. These men refuse to be “KO’d by this sick society” but in the end all they want is to be seen, to be recognised and remembered. To ease their sense of belittlement and impotence, they plan to burn the world by literally severing connections with it. 

Yau takes aim at the various systems which generate this kind of anger, hinting at the shockwaves of ingrained societal discrimination even if Fung internalises a sense of stigmatisation in his intense need to prove himself free of “disability”. Robbed of his memories, Fung’s anger dissipates allowing his natural capacity for selfless heroism to resurface along with a healthy desire to reflect on his own behaviour, at least as much as can he rely on the sometimes duplicitous vagaries of memory both his own and that of others as he searches for the truth of himself and his “vendetta” with the world. Torn between risking his life to save others and blowing it all to hell, Fung ends up doing both, sending shockwaves throughout his society in a deeply ambivalent act of personal and societal redemption. 


Shock Wave 2 is available to stream in the UK until 12th May as part of the Chinese Cinema Season. It will also be released on DVD/blu-ray on 7th June and digitally on 14th June courtesy of Cine Asia.

UK release trailer (English subtitles)

Detective Chinatown (唐人街探案, Chen Sicheng, 2015)

detective chinatown posterCrime exists everywhere, but so do detectives. When one young man fails his police exams because of an unfortunate impediment, he seeks refuge abroad only to find himself on a busman’s holiday when the relative he’s been sent to stay with turns out to be not quite so much of a big shot as he claimed and then gets himself named prime suspect in a murder. Detective Chinatown (唐人街探案, Tángrénj Tàn Àn) is one among many diaspora movies which find themselves shifting between a Chinese community existing to one side of mainland culture, and a mainland mentality. This time the setting is Bangkok but second time director Chen Sicheng is careful not to surrender to stereotype whilst also taking a subtle dig at men like uncle Tang Ren who can unironically refer to Thailand as a paradise while indulging in many of the aspects which might leave other residents with much more ambivalent emotions.

Qin (Liu Haoran), a young man with a fierce love of detective fiction, has his dreams shattered when his interview to get into the police academy is derailed by his stammer and an unwise tendency towards reckless honesty. His doting grandma who raised him suggests Qin take a holiday to take his mind off things by going to stay with his uncle who is, apparently, a hot shot detective in Bangkok – Qin might even get some valuable experience whilst thinking about a plan B. Sadly, uncle Tang Ren (Wang Baoqiang) has been sending big fish stories back home for years and though he claims to be the best PI in Chinatown, he’s really a petty marketplace fixer with a bad mahjong habit and a side hustle in “finding” lost dogs. When Tang Ren accepts an errand to transport a statue from a workshop, he accidentally finds himself the prime suspect in the murder of the sculptor who is himself the prime suspect in a heist of some now very missing gold. Qin, tainted by association, vows to use his awesome detective skills to find the real killer (and the gold) to clear his uncle’s name whilst generally serving justice and protecting the innocent.

Despite the fact his secret is clearly about to be exposed, Tang Ran greets his long lost relative with immense enthusiasm (which is, as it turns out, how he does everything). Wang Baoqiang commits absolutely to Tang Ren’s cynical good humour attacking his larger than life personality with gusto though one has to wonder why Qin’s poor unsuspecting grandma thought Tang Ren would be a good guardian for her teenage grandson, especially as his first act is to take him to a strip club and spike what might actually be the first real drink of his life. Qin, quiet (that stammer) and introspective, is not a good fit for the loud and brassy world of insincerity his uncle inhabits, but forced into some very challenging situations, the two men eventually manage to combine their respective strengths into a (hilariously) efficient crime fighting team.

Meanwhile, Qin and Tang Ren are also contending with some serious political shenanigans in the local police department. Two Chinese cops are currently vying for a promotion and the job has been promised to whichever of them manages to identify the murderer and locate the missing gold. Luckily or unluckily, cop 1 – Kuntai (Xiao Yang), is a good friend of Tang Ren’s and doesn’t want to believe he is secretly some kind of criminal genius (but could well believe he killed a guy by mistake). Cop 2 (Chen He) is a hard-nosed (!) type who, for some reason, dresses like a cowboy and has a crush on Tang Ren’s landlady (Tong Liya) with whom Tang Ren is also in love. What this all amounts to is that everyone is stuck running circles around each other, trapped inside the wheel of farce, while the gold and the killer remain ever elusive.

Qin, finally beginning to overcome his stammer, puts some of his hard won detective nouse to the test and eventually figures out what’s going on but, by that point, he’s also warmed to his uncle enough to let him do the big drawing room speech. Filled with slapstick and absurd humour as it is, Detective Chinatown is also a finely constructed mystery with an internally consistent solution that offers both poignancy and a degree of unexpected darkness when the final revelations roll around. It is, however, the odd couple partnership between the sullen Qin (secretly embittered) and larger than life Tang Ren (secretly melancholy) that gives the film its winning charm, ensuring there will surely be more overseas adventures for these Chinatown detectives in years in to come…


Currently available to stream in the UK & US via Amazon Prime Video.

Original trailer (English subtitles)