It's average, not bad, and not very exciting. If there is an accident, it is probably Wang Jing, the director of the series of bad films in recent years, who also made a feature film that did not rely on showing off eroticism and vulgar consumption. But in terms of the quality of the film, it is only within his level, and it is even very routine and not eye-catching. This is an old-fashioned fried rice theme. The content of the story is already familiar to me. It reflects the power and money transaction between Hong Kong Chief Inspector Lu Le and drug lord Wu Xihao in the 1960s. A lot of movies were made before. Andy Lau, Zeng Jiang, Zheng Zeshi, and Chen Huimin have all participated in the same type of movies, with similar roles. The boss is still the boss, the one who collects the bill is still the one who collects the bill, and the villain still sings a black face. The old horse knows the way and is familiar with it, the challenge is not difficult, and the audience is also very interesting. Especially the "fat cat" Zheng Zeshi, who shot from "The Lame Man" to "Chasing the Dragon", and also followed "Ip Man" in the middle, all of them are special collectors or white gloves. The old faces of these actors, I know who they are as soon as they appear, and I don't even need to read the character introduction. Donnie Yen, who is "the strongest in the universe", plays a lame man, a smuggler who came to Hong Kong from a mainland to a community thug in the Kowloon Walled City. Donnie Yen's boxing skills are already a personal signature, so I don't need to talk about it here, but as the boss, there are shortcomings in his temperament. Looking back at the images of the bosses in Hong Kong's underworld movies, there are a few well-known ones: Wu Zhenyu in "Young and Dangerous", Tony Leung in "Underworld", Lu Liangwei in "The Lame Man", Zeng Zhiwei in "Infernal Affairs", Wan Ziliang in Mong Kok Carmen... Are they very good at fighting? Not necessarily. But these people have a powerful and aggressive aura, even with a smile on their face, they can feel the sinister evil spirit of hiding a knife in their laughter. Donnie Yen in the movie, even if he wears a funny wig, speaks a half-salty dialect, and has a mustache, he still looks like the elegant Ye Wen, or "Fuse" and "Slay the Wolf". "The Lonely Hero." It's more than enough to play the club's gold medal thug with a double-flowered red stick, but to be the boss of both black and white, there is no such domineering and arrogant aura. Don't compare his "predecessor" Lv Liangwei first, just talking about the comparison, and even lost to his mortal enemy in the movie, another villain professional, Wu Yijiang. In the play, Andy Lau's suit is straight, his hairstyle is shiny and stylish, and he turns around and appears like he is about to walk on the stage. He is so handsome. Even playing the role of the 1960s, the clothes are fashionable to make people feel time-travel, and it is in stark contrast to the group of hippie-style long-haired curls that look ridiculous now. Compared. Andy Lau's acting skills aren't much of a problem, but the roles are too repetitive. This kind of high-level police officer, from "Infernal Affairs" to "Cold War", "Storm" to "Bomb Handler", good and bad, loyal, gangster, serious and funny, he gives people the same feeling. Faces go around the world. You can't say he didn't play hard, but it's hard to tell the difference between these characters. As soon as Andy Lau came out, he was the same Andy Lau, whether singing or acting, there was no big deviation, and there would be no big surprises. This is how he feels. This is a common problem of the "Four Heavenly Kings" in the early days. Li Ming appeared as the prodigal son, Andy Lau was the cool and handsome "Hua Zai", Aaron Kwok was a butter boy, and Jacky Cheung was the always nervous little brother. But in the past few years, the other three have each jumped out of the image frame. As an actor, the most eye-catching is Aaron Kwok. Digression, the best role Andy Lau has played over the years is "Rescue Mr. My", which is the most impressive because he played himself. Returning to the film itself, in order to pass the review, the mandarin version refers to the stowaways as overseas Chinese in Nanyang, but the protagonists' open-mouthed dialect "Push you em" seems to be concealed. Pointing the contradiction to the foreigners and Japanese, the patriotic feelings extended from it, from "Huo Yuanjia" to "Ip Man" and then to this one, has become a tried-and-true political correctness. Many people say that this film is full of Hong Kong flavor. Indeed, from the characters to the director to the photography, they are all acquaintances. The rhythm of the story is comfortable and smooth, which makes people see the shadow of the golden age of Hong Kong films in a trance. But I always feel that something is missing. After thinking about it, it should be the shadow of the characters reflected in the current events. The previous Hong Kong movies were about the events of the 1960s, but they reflected the heart of the 1990s. Now, let's not talk about the impact of the general environment, and keep silent. It is an indisputable fact that the content is pale and empty and lacks a sense of resonance. What makes the film boring is the lacklustre female characters. This theme, although it is about the bloody and bloody struggle in the world of men, women is also an indispensable bright spot. Compared with every movie before Wang Jing, even if it is a bad movie with shit and farts, there must be a new vase born. There are also a lot of female roles here. I don't know if the characters are not full of sensuality, or the director deliberately restrained (in Wang Jing's taste, I think it is the latter), which did not leave much impression. Lame Hao's wife drowned halfway before they could meet, and meeting in a dream was just one or two flashbacks. The new Xiaohua is more like the master of soy sauce. She hastily explained a few words and asked her to block the bullet and receive the lunch. A series of deliberate slow motions before dying also reminded me of the end of "Great Shanghai", which is slightly exaggerated. For the filming of "Chasing" Dragon", the crew also invested heavily in the construction of the Kowloon Walled City, and technically restored this famous siege from 32:38 seconds. The plane whizzing by at a low altitude landed at the nearby Kai Tak Airport. People have become accustomed to talking loudly to each other in the noise. There are finely arranged street businesses, pork stalls and tea shops, nostalgic and retro signboards, and dim yellow lights in the alleys along the way. The lights, the cramped houses, the people who are addicted to drug addiction and gambling, the real and appropriate sense of history comes to face through the long shot. This is the most delicate and delicate part of the whole film, and it is very attentive. These are the flash points of the movie, comprehensive evaluation, three stars. It is indeed Wang Jing's best movie in recent years.
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