A film about which a not so generous critic might accuse of pompousness and bombastic visuals. The color palette in the narrow corridors of Hong Kong has a dynamism that makes the film appealing, yet the excessive recourse to slow motion and hazy visuals vitiates any aesthetic force as there is ittle room for abstraction in each frame. The parodic element is a disaster but the resolution admittedly intriguing.
This film is everything. All the characters are a little lost, a little tired and a little crazy- but aren't we just all? Beautifully capturing the absurdity of existence, with an aesthetic which is captured so beautifully through Doyle's almost perfect cinematography, Fallen Angels is endlessly re watchable. Kudos to Kaneshiro for his performance too.
It oozes liquid cool. I <3 the aesthetic fever dream of the wide angle shots and really want to download the soundtrack. The weakness of the film is that its female characters, though sometimes badass, are a bit one note in comparison to the richer ones of Chungking Express and In the Mood For Love. A bit more genre subversion would have been beneficial. Still, Fallen Angels does really well at what it prioritizes.
FALLEN ANGELS is a spiritual sequel to the great CHUNGKING EXPRESS. This movie offered everything you'd expect from director Wong Kar-Wai. To me, it's hard not to compare this movie with CHUNGKING EXPRESS. FALLEN ANGELS isn't as fresh as the movie that I just mentioned. But I would be a liar if I didn't say this movie is exciting, intriguing, and quite entertaining. Maybe I should watch FALLEN ANGELS again. Someday..
47/100 (Wong Kar Wai'nin izlediğim üçüncü ve açık ara en kötü filmi. Oyunculuklar o kadar kötü, karakterler o kadar yapmacık-çocuksu ki başkasının yerine utandığım anlar oldu. Ha bide cool olmak için kasılan sahneler çok fazla göze batıyordu, can çekişiyordu o sahneler adeta. Chunking express'i çeken bir kişi böylesi bir filmi çekemez, inanmak istemiyorum.)
The older sibling to Chungking Express and just as good. The ending alone is one of my all time favorite. I would even say that it’s Wong’s most visually perfect film about lonely, melancholiac people in Hong Kong. Takeshi Kaneshiro massaging a dead pig is both the best and worst moment of the film.