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The story starts with small-time conman Cool (Nicholas Tse), whose undercover policeman half-brother (Phillip Ng) is murdered by Ko (Gao Hu), the head of an illegal gambling syndicate. Cool seeks the help of "Magic Hands" Ken (Chow Yun Fat), a legendary gambler turned casino security consultant, to battle Ko. Written by
The God of Gamblers series were the films of my childhood and were amongst the first films I binge-watched on television. Chow Yun Fat in a pompadour and tuxedo with unexplainable gambling powers walking in slow-motion was just the epitome of cinematic cool. The success of the first GOG spawned three spin off series, a sequel and a prequel. The gambling movies peaked with the Stephen Chow series when he took it to new heights with his brand of nonsensical humor. The trend started to die out in the late 90′s and eventually in the 2000′s became embarrassing rehashes starring Nick Cheung. The only interesting addition was 1999′s The Conman starring Andy Lau, a reboot of The Knight of Gamblers series, which interestingly rooted the gambling into reality. Sadly it was ruined by its lackluster sequel The Conmen in Vegas, which was a string of unfunny lewd gags.
Now here we are with From Vegas to Macau, the story starts with small-time conman Cool (Nicholas Tse), whose undercover policeman half-brother (Phillip Ng) is murdered by Ko (Gao Hu), the head of an illegal gambling syndicate. Cool seeks the help of "Magic Hands" Ken (Chow Yun Fat), a legendary gambler turned casino security consultant, to battle Ko.
As you may have figured, Chow is unfortunately not playing the Ko Chun character. The Ken character is more akin to Chow's silly comedic roles in The Diary of a Big Man or The Eighth Happiness, which is overall less serious. However much of Chow's cinematic allure is still there. I can watch Chow Yun Fat in a tuxedo walking into lobbies greeting people all day. When Chow sits at a gambling table, you just want him to win so much you don't even care how he is doing it. He is the warm bright sun shining onto this film, and every time he is not on screen, it starts to feel cold and stale.
Nicholas Tse looks bored playing the stone-faced romantic lead Cool. Tse plays it so straight it looks like he belongs in another movie. Jing Tian, having previously starring together with Donnie Yen and Jackie Chan, is getting on my nerves from overexposure. Her policewoman is bland. I would kindly suggest that she go fire a real gun and wear the police gear before the day of the shoot, because she always looks like she's playing dress up. As the comic relief, Chapman To does the most with he's given with delivering the cheesiest jokes in rapid-fire delivery. To does it with such earnestness that he just about gets away with it.
Even after 20 years, Wong Jing is still giving the same gags. I started guessing the punchlines to all of the gags. Even worse, I knew where they were all done before. To name a few tropes: the international water plot twist, staging a fake football broadcast, and the fat women being undesirable gag are all here. The most unforgivable thing is that there isn't a final gambling match at the end, and the anticlimactic nature of that left me empty.
The biggest con man is perhaps Wong Jing himself, who in the final shot of the film, teases the audience with a surprise cameo appearance and plays a hip hop cover of Lowell Lo's original God of Gamblers theme song in the end credits, which insinuates the good film that he could have made, the film that everybody came to see. And that is just mean-spirited.
Wong Jing, having seen him speak in interviews, has a very 'ends justify the means' approach to everything he does. As long as he makes money, everything he does is justified. That is the accountant-like approach to Jing's directing. What's most infuriating is the gambling film series feel stuck in time is not because of its nineties pastiche, but because Wong Jing has no interest of taking it anywhere by updating or adding a new modern angle to it. From Vegas to Macau just feels like reheated overnight food.
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