Li Man-Ho comes to Hong Kong after his father's death following a double crossed peace meeting at the hands of a rival gang. The family's business begins to crumble as rival organizations ... See full summary »
400 million dollars are hidden in a boat in some harbor in South America, hidden by Dani Servigo's brother. When his brother gets killed, Dani is a wanted man - by undercover DEA agent Cole... See full summary »
Mario Van Peebles,
Inspector Waipong Wong has to put his life and resignation from the Hong Kong police department on hold to investigate his former partner's mysterious murder. What he and his crack team of ... See full summary »
A martial arts instructor from the police force gets imprisoned after killing a man by accident. But when a vicious killer starts targeting martial arts masters, the instructor offers to help the police in return for his freedom.
Police Inspector Pao is trying to catch Mak Kwan, a gang member who is first arrested, but then escapes from the prison. By chance, Pao realizes that the target of Kwan's gang is the H.K. ... See full summary »
When his wife, also working for the the police, but in a different department, is being brutally murdered, a police officer begins to investigate the case on his own. Soon he has the ... See full summary »
Shanghai's good old days - weren't all that much fun
Kirk Wong has probably the darkest vision of any Hong Kong director working on crime thrillers; even Ringo Lam desperately clings to some hope that heroes actually exist and will prevail. But Wong's heroes are really very commonplace men, with all the faults and flaws we can expect of them, while his villains are as vicious as nay we could imagine. The high point of Wong's career has been "Crime Story", the only Jackie Chan film that can actually be considered depressing.
Gunmen is a very dark tale of Shanghai "after the Chinese civil war", and I put that in quotes because it is never clear whether this is directly after the intra-party strife between two Nationalist factions during the twenties and thirties, or the revolution of Mao tse Tung that ended in 1949. The identifiers that would clarify this (references to the Communist party) are entirely missing, and intentionally so; Wong doesn't want us to see this story in those terms, but rather in terms of cultural tensions that somehow run deeper than economic politics or historical theories. It is exactly this particularity - of people rather than parties - that drives the characters towards almost certain destruction.
Politics aside, if what the viewer wants is a tense, brutal, violent gunplay crime film, look no farther. Just don't expect a happy ending.
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