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Film Review: Young and Dangerous (1996) by Andrew Lau

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Film Review: Young and Dangerous (1996) by Andrew Lau

“I’m Chicken of Hung Hing Society. This is my brother Nam.”

Written by Man Kai Ming, nicknamed ”Cow Man”, and inked by main artist Lun Yu Kwok, ”Teddy Boy” was a very successful Hong Kong comic series about the life of the Hung Hing Society triad member Chan Ho Nam. This very impressive comic with a print run of 2335 issues, was first published back in April 1992 and lasted 28 years when its production came to a stop in April 2020. ”Young and Dangerous” was the first live-action adaptation of Man’s work which became so successful that it spawned five sequels, numerous prequels and spin-offs.

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The film kicks off in Hong Kong, 1985, as members of a local triad headed by Ugly Kwan are harassing and beating up a group of five teenagers, Chan Ho Man, “Chicken” Chiu, Dai Tin Yee, and brothers Pou Pan and Chow Pan from a poor housing estate. However, after rescued by another more understanding triad leader, Uncle Bee, they decide to follow him and thus become the new recruits of his Hung Hing Society. Fast forward ten years, apart from drinking, gambling and harassing the locals like the triad members do, Chan and his best friends have also worked their way up and become Uncle Bee’s trusted enforcers.

As Chan progressively rises up in ranks, the jealous and overly ambitious Kwan tries to persuade them into working for him but without success. While Chan and his mob are on a mission in Macau to assassinate a rogue triad leader, Kwan makes use of the opportunity and attacks them in an ambush which results in Chow Pan’s brutal death. Furthermore, he has Chan and Chicken’s girlfriend kidnapped and drugged into having sex which is against the triad code. Back in Hong Kong at the Hung Hing meeting, Kwan is able to put the blame on Chan, Uncle Bee and even Chairman Chiang for the failure in Macau. He then successfully nominates himself as the new Chairman and expel Chan from their society while Chicken seeks shelter in Taiwan. A few months later, Kwan has Bee and his entire family killed which prompts Chicken’s return to team up with Chan to take down the ruthless Kwan.

Director Andrew Lau Wai Keung started his film career as a cinematographer and is well known for his creative use of lighting and the hand-held shaky camera technique which he continues to explore in this production, especially during the action scenes to emphasize the chaotic violence. This actually works well and makes the action seem more brutal due to the use of cleavers, hatchets and knives by the triad members as their preferred weapons. Also by incorporating some of the original comic book images into the film’s scenes, he is able to give it a refreshing and cool look. Furthermore, the Hong Kong cityscape like the neon lights and backstreets are all put into great use to create the overall mood.

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Singer Ekin Cheng and dancer Jordan Chan are surprisingly good at portraying the young and low-level triad members; both are charismatic enough to command likable presence on the screen. However, Chan, with his unconventional looks and approach, seems to display more acting skills, including some humor, than Cheng who is definitely lacking when displaying emotions. Nonetheless, they both fit their characters and share good chemistry on screen as the pair of main leads. Ultimately, the film belongs to the amazing Francis Ng, playing Hung Hing Society’s most ambitious and cruel leader Ugly Kwan. No doubt Ng is having a ball chewing up the scenery while upstaging just about everyone on set in a performance that resulted in his own spin-off, “Once Upon a Time in Triad Society” in 1996.

The adorable Gigi Lai lands the role of Smartie, a car thief who also serves as Cheng’s triad member character Chan Ho Nam’s love interest. Though Simon Yam appears briefly as Chairman Chiang, it is still a welcoming presence which also adds a bit of star power. Shaw Brothers veteran, Wang Lung Wei turns up as a gang boss and the father of Chicken’s girlfriend while comic writer Cow Man himself shows up as another gang leader at Uncle Bee’s funeral.

Although “Young and Dangerous” is basically about the triad culture and therefore condemned as glorifying their lifestyle, the story also touches heavily on brotherhood, friendship and royalty. In addition, it is a decent and entertaining watershed production with arresting visuals which was also a box office sensation that continued to spawn many sequels and moreover, made both Ekin Cheng and Jordan Chan into huge stars.

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Movie Reviews

‘Black Rabbit, White Rabbit’ Review: Disqualified for the Oscars, Tajikistan Drama Is an Inviting, Meandering Meta-Narrative

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‘Black Rabbit, White Rabbit’ Review: Disqualified for the Oscars, Tajikistan Drama Is an Inviting, Meandering Meta-Narrative

Selected by Tajikistan but ultimately not accepted by the Academy to compete in the Oscar international feature category, “Black Rabbit, White Rabbit” begins ambitiously, with a famous quote from playwright Anton Chekhov about setups and payoffs — about how if a gun is established in a story, it must go off. Moments later, an inviting long take involving a young man selling an antique rifle ends in farcical tragedy, signaling an equally farcical series of events that grow stranger and stranger. The film, by Iranian director Shahram Mokri, folds in on itself in intriguing (albeit protracted) ways, warping its meta-fictional boundaries until they supersede its characters, or any underlying meaning.

Still, it’s a not-altogether-uninteresting exercise in exploring the contours of storytelling, told through numerous thematically interconnected vignettes. The opening Chekhov quote, though it might draw one’s attention to minor details that end up insignificant, ensures a heightened awareness of the movie’s artifice, until the film eventually pulls back and becomes a tale of its own making. But en route to this semi-successful postmodern flourish, its character drama is enticing enough on its own, with hints of magical realism. It begins with the tale of a badly injured upper-class woman, Sara (Hasti Mohammai), discovering that her car accident has left her with the ability to communicate with household objects.

Sara’s bandages need changing, and the stench of her ointment becomes a quick window into her relationships. Her distant husband rejects her; her boisterous stepdaughter is more frank, but ultimately accepting; her gardener and handyman stays as diplomatic as he can. However, the film soon turns the gunfire payoff in its prologue into a broader setup of its own, as a delivery man shows up at Sara’s gate, insisting that she accept delivery for an object “the deceased man” has paid for.

Mokri eventually returns to this story (through a slightly tilt-shifted lens), but not before swerving headfirst into a seemingly unrelated saga of extras on a film set and a superstitious prop master, Babak (Babak Karimi), working on a shot-for-shot remake of an Iranian classic. A mix of rapid-fire Tajik, Persian and Russian dialogue creates dilemma upon dilemma when Babak’s ID goes missing, preventing him from being able to thoroughly check the prop ammunition for an assassination scene.

Danger begins to loom — a recent Alec Baldwin case even warrants a mention on-screen — as the notion of faulty firearms yanks Chekhov’s wisdom front and center once more, transforming it from a writing tip into a phantasmagorical inevitability. In keeping with the previous story, the props even communicate with each other (through subtitles) and begin gossiping about what might come to pass.

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After establishing these narrative parameters through unbroken, fluid shots filmed at a sardonic distance, Mokri soon begins playing mischievous temporal games. He finds worthwhile excuses to revisit scenes from either different angles or with a slightly altered aesthetic approach — with more proximity and intimacy — in order to highlight new elements of his mise-en-scène. What’s “real” and “fictional,” even within the movie’s visual parlance, begins to blur in surreal ways, largely pivoting around Babak simply trying to do his job. However, the more this tale engorges through melodic, snaking takes, the more it circles around a central point, rather than approaching it.

The film’s own expanse becomes philosophically limiting, even though it remains an object of curiosity. When it’s all said and done, the playfulness on display in “Black Rabbit, White Rabbit” is quite remarkable, even if the story’s contorting framework seldom amounts to much, beyond drawing attention to itself. It’s cinema about cinema in a manner that, on one hand, lives on the surface, but on the other hand, invites you to explore its texture in ways few other movies do.

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‘Christmas Karma’ movie review: A Bollywood Carol with little cheer

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‘Christmas Karma’ movie review: A Bollywood Carol with little cheer

Kunal Nayyar in ‘Christmas Karma’
| Photo Credit: True Bit Entertainment/YouTube

Christmas jumpers are all I can remember of this film. As this reimagining of Charles Dickens’ A Christmas Carol dragged on with sickly-sweet sentimentality and song, my eyes constantly tried to work out whether those snowflakes and reindeer were printed on the jerseys or, if knitted, how complicated the patterns would have been.

Christmas Karma (English)

Director: Gurinder Chadha

Starring: Kunal Nayyar, Leo Suter, Charithra Chandran, Pixie Lott, Danny Dyer, Boy George, Hugh Bonneville, Billy Porter, Eva Longoria, Mia Lomer

Storyline: A miserly businessman learns the true meaning of Christmas when visited by ghosts of Christmas past, present and future

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Runtime: 114 minutes

Gurinder Chadha, who gave us the gorgeous Bend it Like Beckham (who wants to make aloo gobi when you can bend the ball like Beckham indeed) has served up an unappetising Bollywood song-and-dance version of Dickens’ famous Christmas story.

A still from the film

A still from the film
| Photo Credit:
True Bit Entertainment/YouTube

A curmudgeonly Indian businessman, Ishaan Sood (Kunal Nayyar), fires his entire staff on Christmas Eve—except his accountant, Bob (Leo Suter)—after catching them partying at the office. Sood’s nephew, Raj (Shubham Saraf) invites him for a Christmas party which he refuses to attend.

He returns home after yelling at some carol singers for making a noise, the shopkeeper (Nitin Ganatra) at the corner for his business decisions and a cabbie (Danny Dyer) for being too cheerful.

His cook-housekeeper, Mrs. Joshi (Shobu Kapoor) tells him to enjoy his dinner in the dark as he has not paid for heat or electricity. He is visited by the spirit of his dead business partner, Marley (Hugh Bonneville), who is in chains with the spirits of all the people he wronged. Marley’s spirit tells Sood that he will be visited by three spirits who will reveal important life lessons.

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A still from the film

A still from the film
| Photo Credit:
True Bit Entertainment/YouTube

The Ghost of Christmas Past (Eva Longoria), with Day of the Dead makeup and three mariachis providing musical accompaniment, shows Sood his early, happy days in Uganda as a child and the trauma of being expelled from the country by Idi Amin.

Sood comes to Britain where his father dies of heartbreak and decides the only way out is to earn a lot of money. He meets and falls in love with Bea (Charithra Chandran) but loses her when he chooses paisa over pyaar even though he tries to tell her he is being ruthless only to earn enough to keep her in luxury.

The Ghost of Christmas Present (Billy Porter) shows Bob’s twee house full of Christmas cheer, despite the roast chicken past its sell-by date, and his young son, Tim, bravely smiling despite his illness.

The Ghost of Christmas Future (Boy George, Karma is sure a chameleon!) shows Sood dying alone except for Bob and Mrs. Joshi. He sees the error of his ways and throws much money around as he makes everything alright. He even ends up meeting up with his childhood friend in Uganda.

Apart from the mixed messages (money makes everything alright, let us pray for the NHS but go to Switzerland to get well) and schmaltzy songs, Christmas Karma suffers from weak writing and wooden acting.

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Priyanka Chopra’s Hindi rendition of George Michael’s ‘Last Christmas’ runs over the end credits featuring Chadha and the crew, bringing back fond memories of Bina Mistry’s ‘Hot Hot Hot’ from Bend it Like Beckham. Even a sitar version by Anoushka Shankar is to no avail as watching this version of A Christmas Carol ensures bad karma in spades.

Christmas Karma is currently running in theatres

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Dust Bunny

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Dust Bunny

An orphaned girl hires her hitman next-door neighbor to kill the monster under her bed. This R-rated action/horror movie mashup has lots of violence but surprisingly little gore. However, there are still many gruesome moments, even if they’re just offscreen. And some language and a strange portrayal of Christian worship come up, too.

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