會員影評



Infernal Affairs III - A New Way Out for Local Crime Thrillers

Infernal Affairs is a brave jump from clichéd undercover genre of fiery actions to the battle of wit like the Catch Me If You Can type. Instead of the overly familiar gang wars, this is more in the league of duel of professional grade hi-fi system. The sacrifice of Anthony Wong is truly heroic, and the 'three-year after three-year' trial of Tony Leung is a test of perseverance. Brain is preferred to brawn. It can't be more true when Tony Leung says in the film, "Listen to it, it sounds so empty." Infernal Affairs has become the pride of local cinema and high officials.



A Way Out in Internal Affairs III

Lau Kin-ming, Chan Wing-yan, Yeung Kam-wing: three Hong-Kongers. In Infernal Affairs, the death of Chan Wing-yan, an undercover (conflicting loyalties) commonly found in local cinema of the 80s and 90s, gives an option of making a way out to Lau Kin-ming, the new type of undercovers (triad mole in the police) of the new millennium. But in the end, in Infernal Affairs III, he fails to pass the hurdle in the form of Yeung Kam-wing, who doesn't have to be an undercover. He fails to find his way out and is trapped in the lawn outside the hospital.



The End of the Hong Kong Identity - Infernal Affairs III

Near the end of Infernal Affairs, Chan Wing-yan points a gun to Lau Kin-ming's head. It was the critical moment of the Hong Kong identity - in the end, Chan Wing-yan, who represents the common fate (serving two masters) of undercovers in local cinema, meets his demise in the hand of Lau Kin-ming who has chosen to turn good (return to the motherland). It declares the end of the Hong Kong identity.



香港意識之終結──《無間道III終極無間》

在《無間道》近片末的天台戲上,劉建明(劉德華飾)被陳永仁(梁朝偉飾)用手槍指著頭顱,香港意識面臨分化時刻──代表殖民時代所有港產片中臥底探員共同命運(雙重效忠)的陳永仁,最後由選擇做好人(歸化祖國)的劉建明送他一程,宣布了香港受殖意識的結束,陳永仁和黃志誠(黃秋生飾)三年又三年(影片公映時剛好是香港回歸後的第六年)的拖拖拉拉,終於成全了劉建明正正式式做一個警察,而這,宛如正正式式做個理想中國人,儼然是香港意識何所去的時代註腳。




The Portrayal of the Undercover Cop and Gangster Mole in Infernal Affairs

The plot of Infernal Affairs, admittedly, does not break away from local cop/mob or undercover genre conventions, but it does stand above others in character portrayal and story development. The underlying questioning the blurred cop/mob line, particularly, leaves something to ponder.



Infernal Affairs III - Style over Substance

Infernal Affairs III adds Leon Lai and Chen Daoming to its cast, which is a smart box office calculation. But creatively speaking, it has not been given much room to maneuver. Much effort has been put into the arrangement, as seen in the inversion and crosscutting narration. It should a challenge to the general audience. Part of the editing is painstakingly done, especially in the transition from scene to scene. But the development has lost the gripping suspense that marked the first film.



《豪情》──欠缺挑釁道德的力量

導演:陳慶嘉、林超賢
編劇:陳慶嘉

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Star-Runner and Lost in Time Each Has its Own Merits

As a director, Daniel Lee always means contradictions. He has displayed a distinctive style in image manipulation since his first film, What Price Survival, and his pursuit of melancholic romanticism is quite established. Comparing with his sharp and bold images, his clichéd story is almost unbearable, and the affected narrative style is equally exasperating. In this aspect, Star-Runner does not fare any better than his debut work; there are still the pursuit of melancholic romanticism and the bold and outstanding images.



《少年阿虎》及《忘不了》各有可取之處

導演:李仁港
編劇:鄺文偉、周燕嫻、李仁港
演員:吳建豪、金賢珠、莫少聰、安志杰、黃又南、劉家輝、錢嘉樂

 



失卻作者光芒的中國「西部片」──《天地英雄》

導演:何平
編劇:何平

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