電影評論



《無間道III終極無間》虛招多於實際

導演:劉偉強、麥兆輝
編劇:麥兆輝、莊文強
演員:梁朝偉、劉德華、黎明、黃秋生、曾志偉、陳慧琳、陳道明

強扭的瓜不甜,強扭的橋不鮮。《無間道III終極無間》在票房上應該計到是盤賺錢生意,所以雖然加料泡製,新加入黎明、陳道明以壯大聲勢,但仍然是個如意算盤。但從創作上來說,影片卻只能在一個很窄的範疇內打轉。雖然處理得已頗為用心,甚至玩了不少前後倒置、時空交錯的敘事手法,對一般看電影的觀眾來說應該是個頗起挑戰的處理,局部地方剪裁得頗用心,由這個場景跳到另一個場景具見心思,但劇情也失去了第一集基本做到的緊扣人心的張力。複雜的敘事方法卻沒有製造出複雜的內涵或通過複雜的敘事把一個老故事帶出新鮮感,這種複雜就有像《笑傲江湖》的衡山派劍法,虛招多於實際。




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.



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.



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

 



《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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