A cocky young cop on the city’s top-secret, high-speed pursuit squad must learn the tricks of the trade from a grizzled veteran (Hong Kong action star Anthony Wong) as he prepares to take down a getaway driver in this super-charged, high-octane thriller from Hong Kong action auteur Soi Cheang (Accident) and legendary producer Johnnie To. –TIFF
Soi Cheang has been working with Digital Video before making his first 35-mm feature with Diamond Hill, a film about incest and with some horror elements as he describes. Like Chow, he was also used to production sets since he’s been assistant directors for Ringo Lam, Andrew Lau and Wilson Yip. His second 35-mm film Horror Hotline… Big Head Monster, supposedly a real scary movie, is far away from any HK comedy-plus-horror package films. For this second experience as director he cast not less than the current biggest names in HK, e.g. Francis Ng, Josie Ho, Sam Lee, directors Wilson Yip & Alan Mak and scriptwriter Roy Szeto. —hkcinemagic.com
This is being compared to Drive, although I am not sure why as they both are entirely different movies. They both feature cars and car chases, they both feature escape car drivers but the story in this film is focused on a rookie cop trying to stop the driver. There are some great car chases in this film, and interesting camera techniques. Hong Kong action flicks are aways fun to watch, and this is one totally was. I did find it drag in some parts but more than anything it was pretty high octane.
Comparisons to "Drive" are inevitable and appropriate; though "Motorway" and Nic Refn's film couldn't be more different in light of their more glaring similarities in setting, and the way they bring us to appreciate the little things through minimalist stylization. Where "Drive" is a lush, charged tribute to American cinematography (particularly the vibrant 1980's pastels of John A. Alonzo) and classic American archetypes (whom it rectifies by humanizing in subtle fashion), "Motorway" is a grittier tribute to the balls-out action we've adored in Hong-Kong films for decades, and it both criticizes and celebrates the melodrama such pieces were also renowned for. Refn splashes flavorful shadows and reflections across the dash. Pou-soi smashes it into another car's bumper.