Posts tagged ‘dante lam’
That Demon Within, which had a day-and-date opening in Hong Kong and the U.S. last weekend, is the latest in a series of overwrought and intense thrillers from director Dante Lam (Unbeatable; The Viral Factor; The Beast Stalker), The movie starts off with a bang with a bloody firefight in the streets of Hong Kong as a masked gang of jewel thieves shoots up the cityscape. Hon (Nick Cheung), the gang’s ringleader, ends up in the emergency room where Dave (played by the East Bay’s own Daniel Wu), the beat cop on duty at the hospital, volunteers to donate blood to the not-yet-recognized criminal. The transfusion saves Hon’s life and Dave is subsequently wracked with guilt and berated by his superiors for resuscitating the ruthless crook. The film follows Dave’s tribulations as the repercussions of his impulsively charitable act catalyze his increasingly disturbed responses.
True to director Lam’s recent output, TDW includes fraught family issues, extreme car accidents, and graphic violence with guns, clubs, blunt objects, pointed objects and other nastiness. Lam also ruthlessly exploits Chinese taboos about death as the ring of jewel thieves operate out of a mortuary and wear Chinese demon masks while perpetrating their heists. Lam makes good use of this creepy morbidness, pushing his primary audience’s superstitious buttons to heighten the film’s dark and fatalistic mood.
Lam also shows off his trademark grittiness, making good use of his mostly nocturnal Hong Kong locations and effectively utilizing his supporting cast of unglamourous character actors, as well as making the usually suave and pretty Daniel Wu look psychotically unbalanced. However, Lam’s recent box office successes and perhaps greater creative leeway have also brought his more melodramatic and overwrought tendencies to the fore, as this film’s storyline and direction at times veer far into Grand Guignol excess, with an overall sense of visceral unpleasantness resulting from Lam’s generous use of bloody violence including immolations, shootings, rape, beatings, and stabbings.
What makes the film more than a mindless shoot-em-up is Lam’s examination of a fatefully linked pair of antagonists, the guilt-ridden cop Dave and the smirking gangster Hon. Lam is known for his action set pieces but he also specializes in wounded souls who bear the collateral damage of the wreckage of their lives, such as Nick Cheung in Unbeatable tending to a traumatized mother mourning her lost child, or Cheung lamenting his lost wife The Stool Pigeon. In TDW Daniel Wu is a similarly troubled soul, looking disturbingly haggard and gaunt as he carries on the tradition started by Cheung in Unbeatable of extreme physical transformation as a badge of honor in Dante Lam films. Wu’s emblematic opacity here serves him well as his character has quite a few secrets to hide. However, it strains credulity that Dave would ever be accepted into the Hong Kong police force in the first place since it seems unlikely he’d pass the psych screening. But then we wouldn’t have a movie, I suppose.
In TDW Lam reunites with his current favorite actor, Nick Cheung, who’s fresh from winning this year’s Hong Kong Film Awards Best Actor statue for his outstanding turn in Lam’s popular MMA flick Unbeatable. Here Cheung plays a supporting role but he delivers another solid performance, as usual doing a good job as the evil gangster haunting Daniel Wu’s cop character.
Lam’s been one of Hong Kong’s most bankable directors of late and his recent successes have granted him a lot of leeway in his stylistic tics. In TDW Lam indulges himself quite a bit, at times to the point of caricature, with the film’s narrative detours and winding plot twists wandering through hypnotherapy, Chinese burial rituals, Jungian analysis, and other meandering explanations for the protagonist’s erratic behavior. However, TDW has an undeniable intensity that works more often than not and makes it eminently watchable. Hopefully it will find an audience in its U.S. theatrical release so that more Hong Kong product makes its way to the big screen in this country in the future.
San Francisco CA
and at selected theaters in the U.S. and Hong Kong
Just saw The Beast Stalker (Dante Lam, 2008) at the San Francisco International Film Festival and, although it held up pretty well and wasn’t an embarrassment, it wasn’t quite all that. Introduced by the Film Festival as “perhaps the best Hong Kong action film since Johnnie To’s Election,” this gritty thriller demonstrates that the former Crown Colony can still crank out hard-ass crime dramas. But the field has been mighty thin in Hong Kong of late and in other, more fruitful years, The Beast Stalker might’ve been just one of the crowd.
Former teen heartthrob Nicolas Tse plays a tough cop (!) haunted by the death of a child hostage he accidentally kills in a chaotic shootout/car crash involving malevolent gangsters, innocent bystanders and much shattered glass. Nick Cheung plays a kidnapper-for-hire in charge of snatching the dead girl’s twin sister whose lawyer mother is involved in prosecuting the crime. Their meshing stories play out in a dizzying spiral of guilt, honor, fate and obligation.
The Beast Stalker has several full-on child-in-extreme-danger moments and the cast realistically sports facial scars and other mementos of mortal peril, but somehow the film falls short of greatness. Nic Tse, further distancing himself from his youthful idol years, shrieks angrily at his subordinates, but he still can’t nail the crying scenes. Likewise, Nick Cheung, who won Best Actor statues from both the Hong Kong Film Critics’ Association and the Hong Kong Film Awards for this role, glowers menacingly but doesn’t quite bring the extra layer of pathos and complexity that might have deepened his portrayal. As my pal Laura, aka redbean, aka longtime Hong Kong movie fanatic, noted, “Anthony Wong would’ve eaten this role alive.” Unfortunately Anthony wasn’t cast and in this case Nick Cheung only makes a so-so substitute.
I recently purchased a copy of Ringo Lam’s brilliant crime thriller Full Alert (1997), which bears some similarities to The Beast Stalker in its depiction of the complex relationship between a cop and a criminal. But Full Alert has the inestimable actors Lau Ching-Wan and Francis Ng in the lead roles and their sublime skills breathe life into their stock characters and make the film’s cat-and-mouse story vibrant and believable. Francis brilliantly creates a strangely sympathetic yet reprehensible character and Lau Ching-Wan’s finely tuned fits of anger and frustration show a cop dangerously on the edge of sanity. The final confrontation between these two driven characters beautifully brings their fraught relationship to a stunning conclusion. On the other hand, The Beast Stalker’s antagonistic pair never fully reach the heights suggested by their intertwined destinies and their anticipated showdown is merely a tease.
Full Alert and The Beast Stalker both have magnificent car chases as their centerpieces, the work of car-choreography specialist Bruce Law. The action direction in The Beast Stalker, however, unfortunately succumbs to the closeups and nausea-inducing jerky camerawork now in fashion, whereas Ringo Lam understood the need for distance and framing in an action sequence. Attesting to its greatness, Full Alert more than stands the test of repeated viewings, even more than a decade after its release. The Beast Stalker is a exciting, smartly-made movie but if, as several critics have suggested, this is one of the best of recent Hong Kong films, then the bar has been seriously lowered.
Dante Lam will soon have another chance to make a great Hong Kong movie. His next project, Most Wanted Terrorist, has just announced its cast, which includes the dream team of Lau Ching-Wan, Anthony Wong and Francis Ng, along with Nick Cheung. Hopefully Nick Cheung can keep pace with his illustrious co-stars, as they’re widely held to be among the best actors of their generation. He did just fine opposite Anthony and Francis in Exiled, and even in The Beast Stalker he showed glimmers of potential. but if he’s not careful the rest of the cast is going to blow him out of the water.
Interestingly, Dante Lam has indicated that he will forgo any Mainland Chinese financing for Most Wanted Terrorist in order to preserve a Hong Kong sensibility in the film. Several recent HK/China co-productions, including Sammi Cheng’s recent Lady Cop and Papa Crook, have suffered from the restrictions of Mainland film censors, so Lam’s decision to avoid PRC money is an interesting one. With Hong Kong film financing languishing due to the economic recession it’s a bold and risky move, but Lam is determined to retain his artistic freedom without having to answer to the Mainland government.
Let’s hope Most Wanted Terrorist gives everyone involved the chance to strut their stuff to their fullest capabilities. With its killer cast and seasoned director, if all goes well, we could once again see greatness in Hong Kong films next year.
The Beast Stalker opens Friday, May 15 at one of the last places in the Bay Area to see Hong Kong movies on the big screen, the 4-Star Theater, 23rd Avenue and Clement Street, San Francisco.