| Fred Challa | ... | John | |
| Risa Junna | ... | Miki | |
| Anita Mui | ... | Michelle | |
| Shaun Tam | |||
| Simon Yam | ... | Dr. Tong |
Directed by | |||
| Chi Leung 'Jacob' Cheung | |||
Writing credits(in alphabetical order) | ||
| Tsz-chun Tang | screenplay | |
Original Music by | |||
| Shigeru Umebayashi | |||
Cinematography by | |||
| Ping Hung Wong | |||
Film Editing by | |||
| Ka-Fai Cheung | |||
Production Design by | |||
| Tat Wah Fok | |||
Production Management | |||
| Fred Challa | .... | production manager: Morocco | |
Second Unit Director or Assistant Director | |||
| Yann Le Borgne | .... | second assistant director | |
| Partho Sen-Gupta | .... | first assistant director: France (as Partho Sengupta) | |
Camera and Electrical Department | |||
| Guillaume Leturgie | .... | gaffer | |
Costume and Wardrobe Department | |||
| Abdelkrim Boulane | .... | costumer | |
| Khalil Boulane | .... | costume supervisor | |
Other crew | |||
| Yoshimitsu Yoshitsuru | .... | production consultant | |
|
|
|
|
|
| The Devil Wears Prada | Notes on a Scandal | Frida | Before Sunrise | Lost in Translation |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Hong Kong section |
This film has a beautiful package--gorgeous settings, beautiful stars, astonishing photography--but surprisingly void of content. Suspending disbelief at the plot's central conceit is nigh on impossible, for starters... then, the contrivance of the kidnapping--which plays into many foreigners's worst prejudices and fears about the Arab world, and is relatively unfounded in fact--is laughable. Not as laughable as R. Junna's performance, though: basically, she utters dry English lines without conviction, or screams/cries/wails hysterically. Anita Mui's embers smolder and flame, but she seems out of place in a film of (poorly directed?) second-rate actors. I was bored silly through most of the Morocco sequences: the characterization was stereotypical (who is Mike, and why should we care about him? why on earth would any woman be interested in the callow Chinese doctor, is unimaginable, etc.) and the plot painfully predictable. A voyeur's paradise, maybe, but a critic's nightmare.