The Viral Factor by Dante Lam

The Viral Factor by Dante Lam

I had plans to see this in January when it came out in Hong Kong. Due to being busy with my work, I did not get around to it till now. So hence this late review.

The direction of Chinese cinema is uncertain right now. Many Hong Kong directors and talent have been making movies in the mainland and there is a conundrum of how to balance the content of these co-productions. It has gotten quite experimental in trying to find a genre that can meet both Mainland and Hong Kong expectations. Comedy and romantic comedy so far rather difficult to cater to audiences as humor is vastly different between Hong Kong and Mainland China Mainland romantic comedies like If You Are The One or Love is Not Blind proves successful in Mainland but not Hong Kong. Making a comedy that balances both tastes such as Derek Yee’s The Great Magician have been attempted as well and failed. So far, only action movie and historical or wuxia epics have proven successful. So now about The Viral Factor

Okay, a plot summary… On a mission to protect a scientist who has stolen a copy of the smallpox virus in Jordan on an International Defence Commission escort mission, Sean (played by Andy On) betrays his IDC team in order to get the virus so he can mutate it into a biological weapon, develop a vaccine and sell it to a corrupt pharmaceutical company via an arms dealer. The failed mission leaves IDC member Jon Man (played by Jay Chou) injured with a headshot wound and his girlfriend Ice (played by Bai Bing) dead. With two weeks left to live, Jon Man decides to spend his remaining days with his mother (played by Elaine Jin) who reveals that he has a long lost brother, Man Yeung (played by Nicholas Tse) whom she left behind with his father, Man Tin (played by Liu Kai Chi). Jon decides to track Yeung down in Malaysia but upon arrival, he discovers that Yeung has become a wanted felon and is part of the plot orchestrated by Sean. Jon is drawn into the conflict, not only to protect his family but to ensure his brother does not go further down the road of unrighteousness and to take down Sean’s operation for good.

The story at times seem a little too coincidental and convenient for the sake of story (The bad guy Sean, who betrayed Jon Man, happens to employ Man Yeung, who is Jon Man’s long lost criminal brother?). It does work though because the plot moves quickly enough where you do not notice these flaws. This is the first time I saw Jay Chou in a more serious light. He has dropped a lot of his “pop star-isms” as Jon Man and brings something more human to his role of which the audience can root for. I’m pretty sure it’s not just the acting beard he is sporting. Ask me again later and I may give you another answer. That or it’s the fact that I cannot grow an acting beard. I do not know what to say about Nicholas Tse because it seems like he’s played this character before. Suffice to say, Tse delivers. It’s always great to see Liu Kai Chi employed. He looks ridiculous but adds a lot of the dramatic tension between the Jay Chou and Nicholas Tse characters.

With it’s foreign locales and big action set pieces,  The Viral Factor is almost reminiscent of Hong Kong productions in the mid-90s like Downtown Torpedoes (starring Jordan Chan and Takeshi Kaneshiro) or Enter The Eagles (starring Shannon Lee and the bilingual atrocity Michael Wong). What makes the movie vastly different from those previous movies is with an investment of $200 million Hong Kong dollars, The Viral Factor has Hollywood-level production values. And yes, the money is all on the screen: there are foot chases, car chases, a helicopter sequence in the sky and boat sequences in the ocean. They do not chicken out with lame shaky camera and there is no struggle to track what’s going on. They use tracking crane shots to cover the action appropriately. The opening action sequence in Jordan felt like a Hollywood war movie. I was both impressed and pondering how the film’s action was going to top itself with such a big opening battle. And boy, they do manage to top it.

The action set pieces do go on a bit long by the finale. Nicholas Tse’s character Man Yeung has this clumsy chaotic way of fighting and ends up brawling and rolling around with each and every henchmen and it drags the pacing a bit. That is a nitpick. I’m glad there was no pop song from either of the stars playing at any point during the movie which seems more refreshing. That’s the thing, it’s still a very fun action movie.

Dante Lam is a filmmaker that has dabbled in different genres through his career. Some have worked better than others. I liked Jiang Hu: The Triad Zone (a film not without it’s flaws but ultimately saved by good performances by Tony Leung Ka Fai) and Beast Cops. He’s found his place with the urban crime genre with films like The Beast Stalker and The Stool Pigeon. Now it seems like he’s found his niche. The Viral Factor felt fresh even though it shouldn’t have. I would like to see more action movies made with this level of budget using international locations. After all, we have seen enough of Hong Kong.

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Nightfall by Roy Chow

Nightfall by Roy Chow

The setup: When the horrible disfigured corpse of popular classical singer Han Tsui (played by Michael Wong) is found washing on a shore, Inspector Lam (played by Simon Yam) is called to investigate. The investigation leads to Eugene Wong (played by Nick Cheung), a recently-released ex-con who was responsible for the death of Tsui’s daughter, Eva (played by Janice Man). And basically, Inspector Lam investigates and more things happen.

Nick Cheung, after a long journey through of supporting and comedic roles, is now  praised for his acting since he won Best Actor in the Hong Kong Film Awards for The Beast Stalker, where he played a one-eyed criminal. His best performance is actually On The Edge, where he played an undercover agent recovering back to a normal life, but is ostracized by both the police force and the triads. In Nightfall, he genuinely brings some creepy moments as Yeung, the muted criminal.

Simon Yam is very watchable in anything. Playing a disheveled drunk cop does not play to his strengths. He is always better placed in roles where he can underact using the context of the scene. He doesn’t get to chew as much as scenery as he just brought in for a very normal unchallenging role. Janice Man is a very pretty girl, she brings a fine graceful presence and does a competent job. I hope to see more of her and watch her improve.

Now comes to the finale of this post, I must talk about the black hole, charisma vacuum of this movie, Michael Wong (Russell Wong’s dumber less talented brother) He is, for the lack of a better word, atrocious. He switches between English and heavily-accented Cantonese and it is sad to watch. I do not know how he is been able to sustain this for his entire career.

A mentor of mine had a theory on why Caucasian actors always seem to overact in Chinese films (i.e. the police chief in Ip Man 2). Language is not only a way of speaking, it also embodies a world view and its own set of emotions. Why English-speaking Caucasian actors overact is because a Chinese-speaking director lacks the ability adjust the emotionality of their performances because they are not familiar with the emotions of the language itself. It’s just merely a theory, but I’m bringing it up because it allows me to say that Michael Wong has proved that one can be a horrible actor bilingually. He is completely devoid of any emotionality and in every scene he proceeds to chew up the scenery by shouting his lines.

The set piece at the Lantau Island feels forced and stagey. I don’t see why a policeman would take a suspect on a scenic cable car ride to interrogate him. It ends up being a commercial for the Ngong Ping 360 Cable Car ride. It’s a fun scenic ride and all. I do recommend it if you are visiting Hong Kong, but it took me out of the film.

Story wise, the film makes a choice of putting the finale sequence before the reveal and it loses it wad. Part of the craft of telling a story is determining the order in how the events are revealed. After the grand finale, there is no dramatic weight to what’s happened before once the conflict is already resolved. It takes the audience out because we do not know the significance of the climax while it is happening. Telling the audience afterwards is just flatulent. Yes, they “M. Night Shyamalan-ed” it. I’m going to use that as a verb from now on.

It’s a passable thriller but I can see how a few more script meetings and hiring Russell Wong instead of Michael Wong would have improved the movie immensely.