A cop is forced into early retirement due to retinal damage. But after witnessing a bank robbery along with a female inspector – who believes he has acute senses – they team up in hope to solve the case.
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film after film, to's style becomes colder, more removed; the core of the narrative more indistinct, the emotional central more abstract. here we have one of the few convincing romances of the modern era (abuse, despair, empathy, fear, work), but also a perfect shade of green in the color scheme, the rich shadows of a noir (that final birth scene!), movement not just as slapstick but (explicitly) dance.
A wonderful example of how To and Wai can intuitively float around between heartfelt slap-stick that make you laugh like a madman and burst of intensity that take away any physical safety for our protagonists so that we fear for their lives. And maybe the first film where Tos favorite motif (eating and cooking) becomes a sort of connective tool that guides us along the loose and playful narrative.
In which Johnnie To lets Wai Ka-Fai conceptualize to his heart's content and loosens his form in favour of spontaneity. One of the silliest good times in his filmography. Andy Lau matches and maybe even one-ups the film's spirited abandon.
A spiritual sequel of Mad Detective, but far more polished. Lau and Cheng obviously have a lot of great chemistry together, and make the whole thing work. It goes a bit too long, but i had a lot of fun.