Hard Boiled (1992) [Film Review]

Hard Boiled; or, Die Hardest
     Give a guy a gun, he thinks he's Superman. Give him two and he thinks he's God. Give a guy a gun, he thinks he's Superman. Give him two and he thinks he's God.
Cited by many as “the greatest action film of all time” and “arguably Woo’s masterpiece” which is “more exciting than a dozen Die Hards”, Hard Boiled was the last movie before John Woo’s departure to Hollywood in the early 1990s. Having seen it years ago (and being blown away by the action), I wonder how the movie holds up when revisited today. Without further due, let’s take a look at Hard Boiled.
Release Info
Directed by: John Woo Starring: Chow Yun-fat, Tony Leung Chiu-wai, Teresa Mo, Anthony Wong Chau-sang
Language: Cantonese Original Title: 辣手神探 Runtime: 128 min
 
Synopsis
Hong Kong, 1992. Police officer “Tequila” Yuen (Chow Yun-fat) tries to eradicate the gun smuggling business which is being controlled by rival Triad syndicates. However, this results in a brutal war between the police and the Triads. In the meantime, Superintendent Pang (Philip Chan) has placed his own trusted man, Tony (Tony Leung Chiu-Wai), as an undercover cop in one of the syndicates. Tequila is not aware of this and he quickly escalates the situation with one of the Triad bosses, Wong (Anthony Wong Chau-sang), while relying on info from his own informant in the syndicate. Soon after, Tequila crosses paths with Tony and learns about his true identity. The two cops discover that Wong has a huge weapons warehouse beneath Maple Group Hospital. They step into action, but the psychotic gangster does not let himself get busted that easily as he takes all patients hostage at the hospital.
 
Hard Boiled Action, Soft Boiled Screenplay
Without a doubt, Hard Boiled is a classic picture and a landmark of action cinema, praised by the critics and film scholars, which still looks impressive today. Nevertheless, I disagree with the claims that this film is Woo’s finest directorial achievement. Naturally, it cemented his reputation as the master of action genre and it also allowed him to break away from the label of a guy who can only make gangster epics, as this film definitely glamorises the police. Still again, apart from mind-blowing stunts, great ensemble cast, and jazz music score, Hard Boiled suffers greatly in terms of a screenplay.
 
Evidently the plot as a whole is not the issue, because it serves, similarly to Die Hard (1988), as an excuse to provide breathtaking action set pieces, but the very little connections here and there which tie the events together (getting the characters from point A to point B) are the excruciating disadvantages which negatively influenced my enjoyment of the movie. Here are some of the examples:
 
1. After finding the way to the gun warehouse, Tony closes the door behind him and Tequila. He just shrugs it off as if nothing happened and later they are forced to blast their way out with grenades. (Quick fix: the door automatically shuts behind them.)
 
2. Tequila informs Teresa (Teresa Mo) that he will send her flowers as a signal to begin the evacuation of the patients (after which he puts a flower in her pocket). (Quick fix: Wouldn’t it be easier just to tell her to begin the evacuation in about 20 minutes?) What would have happened if she had not found a flower in her pocket?
 
3. The ambiguous “dead cop” subplot: In the teahouse, it is clearly visible that Tequila does not shoot any cop, but his partner is killed by one of the gangsters. Later in the film, Tequila tells Tony that he “killed a cop” during the teahouse raid. How? When? (My guess: this scene was cut out).
 
4. Tequila takes Foxy (Tung Wei) to Maple Group hospital after he told him that the Triads stash their guns there! (Quick fix: Foxy should tell him that already in the hospital).
 
5. Putting out the fire with piss… This sequence is so hilarious that it’s forgivable.
Well, I have enumerated a handful of issues which result from incoherent script. I am not a nitpicker and I really hate calling out such things. Hard Boiled aspires to bring out the best out of visual entertainment and it certainly delivers on that front, but the plot holes make the memorable characters look like idiots running in a fog.
 
Yet, I guess that I should be grateful for what the screenplay officially became in the end, as John Woo and his team had so many difficulties with developing it (for example, the original plot about Tony Leung poisoning children was dropped). Then, the screenwriter Barry Wong passed away halfway through the rewrites and the teahouse raid was filmed without any script whatsoever.
 
Summing up, here is my conclusion about this movie: action-wise: it knocks off every competition; story-wise: it lags behind. Hence, I do not regard it as John Woo’s “all time best of the best”. This status rightfully belongs to Bullet in the Head (1990). However, Hard Boiled is still a wonderful fun as well a great lesson in filmmaking for any prospective action director. My praise goes especially to Chow Yun-fat and Tony Leung who work so well together on screen. It’s also great to see Teresa Mo, but she has only one shootout scene in the entire film. In addition, Anthony Wong shines as the bad guy, but he is significantly overshadowed by Philip Kwok as Mad Dog.
 
Recommendations
Hard Boiled is the equation mark between John Woo and action. Go ahead, grab the movie, and check it out for its stunning stunts, explosions, and shootouts. At the same time, make sure to suspend your disbelief during blatantly obvious plot holes which disrupt the flow of the picture. Upon further thought, it is quite a shame that we were given a sequel to Hard Boiled only in form of a video game. Officer Tequila deserves a movie comeback.
Overall score (screenplay: 4/10, action 10/10, thus ultimately): 7/10

A Better Tomorrow III: Love & Death in Saigon (1989) [Film Review]

A Better Tomorrow III; or, We’ll Always Have Saigon
     When Mun came, he told me over and over that if you find someone whom you truly love, never give them up, even if it means death. He said that you'd never betray me. But now I know what kind of person you are. Even if you aren't my enemy, I never want to see you again as long as I live.
The time has finally come for the review of the explosive A Better Tomorrow trilogy’s final instalment. However, in case of the third movie, John Woo dropped his gun and backed down, and it was Tsui Hark who served as the directorial replacement. In view of such a creative change, is A Better Tomorrow III a worthy conclusion of the bloody tale about brotherhood and friendship in the times of hardship?
Release Info
Directed by: Tsui Hark Starring: Chow Yun-fat, Anita Mui, Tony Leung Ka-fai, Saburo Tokito
Language: Cantonese Original Title: 英雄本色3-夕陽之歌 Runtime: 119 min (BR cut)
 
Synopsis
Vietnam, 1974. Mark Lee (Chow Yun-fat), before he became the living legend, arrives in Saigon with the intention of bringing his cousin Cheung Chi-mun (Tony Leung Ka-fai) and his father (unforgettable Shih Kien) back to Hong Kong before the city will plunge into chaos. The cousins accidentally encounter and help a woman called Chow Ying-kit (Anita Mui) who deals with smuggling and gun trading. She takes Mark and Michael under her wing and eventually helps them escape from Saigon. Nevertheless, Mun falls for Kit, but she becomes infatuated with Mark who does not want to get involved. When she joins them in Hong Kong, the romantic drama ensues. However, Kit’s true lover and mentor, Tanaka (Saburo Tokito), returns and forcefully takes her back to Saigon. Mark returns to Vietnam in order to save the love of his life.
 
Song of the Setting Sun
Even though being a prequel to the original movie, A Better Tomorrow III turns out to be much better than the second part of the trilogy. Most importantly, the screenplay does not go bizarre, but tries to play things safe in the long run. There is the purpose (getting out of Vietnam), well fleshed-out characters, shootouts, and explosions. In fact, I dare to think that in many ways, Love & Death in Saigon could work as an independent movie.
 
However, if you expected Chow Yun-fat to carry the weight of this prequel on his firm shoulders, then you are gravely mistaken. There are two words which make this movie work: Anita Mui. Portraying a character quite different from her other famous roles (see Rouge (1988)), Anita proves in ABT III that she can play a tough and independent woman who can handle herself in every situation. The scene where she guns down hordes of charging Vietcong soldiers is an excellent example of her onscreen awesomeness.
 
While her character perpetuates the first and second acts of the picture, only the finale is handed over to Chow Yun-fat as he grabs the machine gun and goes on a killing spree. Even though it is Mark Lee’s origin story, the movie does not seem to focus on him as the central character. Obviously, all of the main events revolve around Mark: we get to see how he is given glasses and a coat, but he feels as if cast aside for the purpose of building up this whole world of rotten smugglers in the times of war. Nevertheless, I do not regard this as the film’s disadvantage, but if you expect a similar tone as in ABT I and II, you may feel a bit disappointed.
 
What the movie suffers from is the noticeable lack of Ti Lung, but Tony Leung Ka-fai serves as a decent replacement. Mark and Mun have a good chemistry together and it really seems that they got through more than one action in their lives. However, the most gripping subplot is the one about Mun’s father, which could serve as the basis for a whole separate movie. Namely, Mun’s father took in to his house Pat (Cheng Wai-lun), a Vietnamese kid who lost his parents. Although they can’t communicate in one language, Mun’s father treats Pat like a son and, when he is due to depart together with Mark and Mun, his farewell to Pat creates a strong emotional scene. As a result, we get a very impactful foster parent/foster child stuff that the previous A Better Tomorrows did not even touch upon.
 
Saburo Tokito (at the beginning of his career) also provides a worthy addition to the film as the main villain. However, his role of Tanaka is quite limited so he does not manage to achieve the bad-to-the-bone rank of Waise Lee from the first movie. However, it is cool that at least his character was given a back story (a Japanese pretending to be Chinese in order to survive WWII), which makes his confrontation with Mark in the finale much more interesting. In addition, I have to mention there exists a full, uncut, Taiwanese version of the film that runs 145 minutes long, but it is quite difficult to track down.
Recommendations
While it moves away from the style set by the antecedent movies, A Better Tomorrow III is bold due to its strong characters and exotic setting, which provides opportunities for a tragic love story, slow-motion showdowns, and exploding tanks. Yet, it does not quite fulfil the premise of telling us “how Mark became Mark” and does not even live up to the status of a bloody adventure epic like, for example, John Woo’s Bullet in the Head from 1990. In other words, A Better Tomorrow III is a good prequel and I will definitely revisit it more often than ABT II, but the real A Better Tomorrow can be only one.
Overall score: 7/10