From Vegas to Macau by Wong Jing

From Vegas to Macau by Wong Jing

 

The God of Gamblers series were the films of my childhood and were amongst the first films I binge-watched on television. Chow Yun Fat in a pompadour and tuxedo with unexplainable gambling powers walking in slow-motion was just the epitome of cinematic cool. The success of the first GOG spawned three spinoff series, a sequel and a prequel. The gambling movies peaked with the Stephen Chow series when he took it to new heights with his brand of nonsensical humor. The trend started to die out in the late 90’s and eventually in the 2000’s became embarrassing rehashes starring Nick Cheung. The only interesting addition was 1999’s The Conman starring Andy Lau, a reboot of The Knight of Gamblers series, which interestingly rooted the gambling into reality. Sadly it was ruined by its lackluster sequel The Conmen in Vegas, which was a string of unfunny lewd gags.

Now here we are with From Vegas to Macau, the story starts with small-time conman Cool (Nicholas Tse), whose undercover policeman half-brother (Phillip Ng) is murdered by Ko (Gao Hu), the head of an illegal gambling syndicate. Cool seeks the help of “Magic Hands” Ken (Chow Yun Fat), a legendary gambler turned casino security consultant, to battle Ko.

As you may have figured, Chow is unfortunately not playing the Ko Chun character. The Ken character is more akin to Chow’s silly comedic roles in The Diary of a Big Man or The Eighth Happiness, which is overall less serious. However much of Chow’s cinematic allure is still there. I can watch Chow Yun Fat in a tuxedo walking into lobbies greeting people all day. When Chow sits at a gambling table, you just want him to win so much you don’t even care how he is doing it. He is the warm bright sun shining onto this film, and every time he is not onscreen, it starts to feel cold and stale.

Nicholas Tse looks bored playing the stone-faced romantic lead Cool. Tse plays it so straight it looks like he belongs in another movie. Jing Tian, having previously starring together with Donnie Yen and Jackie Chan, is getting on my nerves from overexposure. Her policewoman is bland. I would kindly suggest that she go fire a real gun and wear the police gear before the day of the shoot, because she always looks like she’s playing dress up. As the comic relief, Chapman To does the most with he’s given with delivering the cheesiest jokes in rapid-fire delivery. To does it with such earnestness that he just about gets away with it.

Even after 20 years, Wong Jing is still giving the same gags. I started guessing the punchlines to all of the gags. Even worse, I knew where they were all done before. To name a few tropes: the international water plot twist, staging a fake football broadcast, and the fat women being undesirable gag are all here. The most unforgivable thing is that there isn’t a final gambling match at the end,

The biggest con man is perhaps Wong Jing himself, who in the final shot of the film, teases the audience with a surprise cameo appearance and plays a hip hop cover of Lowell Lo’s original God of Gamblers theme song in the end credits, which insinuates the good film that he could have made, the film that everybody came to see. And that is just mean-spirited.

Wong Jing, having seen him speak in interviews, has a very ‘ends justify the means’ approach to everything he does. As long as he makes money, everything he does is justified. That is the accountant-like approach to Jing’s directing. What’s most infuriating is the gambling film series feel stuck in time is not because of its nineties pastiche, but because Wong Jing has no interest of taking it anywhere by updating or adding a new modern angle to it. From Vegas to Macau just feels like reheated overnight food.


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.