I don't like remakes, whether they are American remakes of "Asian" films or the other way around. It's even worse when the original film itself was a dismal piece of cinema to begin with, and this seems to be the case here.
Louis Koo plays a man who receives a random phone call on his cellphone from a woman (played by Barbie Hsu) claiming to have been kidnapped. He has to decide whether to try and help her or to ignore her and rush to the airport in time to say goodbye to his son, who is immigrating to another country with a relative. Apparently (and quite predictably), he has broken many promises to his son in the past, and if he does not fulfill this particular promise, the damage to their relationship may be irreparable. Predictably (again), he chooses the most implausible option, and begins a crime spree that involves reckless driving, vandalism, robberies, and more, in order to try and save the woman on the phone.
Sounds familiar? That's because this film is a remake of "Cellular", which I have not yet seen. But after seeing this remake, I don't think I want to see "Cellular", because the reason it sounds familiar to -me- is because it is ultimately very formulaic. At every "twist" in the film, the character will not choose the most sensible option because it threatens to endanger the people he is trying to save. In fact, you know in advance that the character will choose the most unlikely and implausible option, which often endangers not only himself but random strangers (for example, driving dangerously in busy traffic and causing multiple collisions), in order to stretch a paper-thin plot into a "film." Even the ending itself was foreseeable almost from the very beginning (guess where the final "showdown" will take place? Hmmm....).
Ye Liu's exaggerated performance as the villainous "Senior Inspector Fok" was particularly agitating to watch. Nick Cheung does his best to try and keep a straight face in what should really be a comedy rather than a thriller. Barbie Hsu is given no room to do anything except fulfill the stereotypical role of a hysterical woman who has just been kidnapped, even if she's basically MacGuyver and can build working telephones from smashed parts. Would Richard Dean Anderson just cry hysterically for the rest of the film after building a phone? No, he would have turned wooden planks and metal cans into a nail gun. That would have gave this film a pulse.
Louis Koo plays a man who receives a random phone call on his cellphone from a woman (played by Barbie Hsu) claiming to have been kidnapped. He has to decide whether to try and help her or to ignore her and rush to the airport in time to say goodbye to his son, who is immigrating to another country with a relative. Apparently (and quite predictably), he has broken many promises to his son in the past, and if he does not fulfill this particular promise, the damage to their relationship may be irreparable. Predictably (again), he chooses the most implausible option, and begins a crime spree that involves reckless driving, vandalism, robberies, and more, in order to try and save the woman on the phone.
Sounds familiar? That's because this film is a remake of "Cellular", which I have not yet seen. But after seeing this remake, I don't think I want to see "Cellular", because the reason it sounds familiar to -me- is because it is ultimately very formulaic. At every "twist" in the film, the character will not choose the most sensible option because it threatens to endanger the people he is trying to save. In fact, you know in advance that the character will choose the most unlikely and implausible option, which often endangers not only himself but random strangers (for example, driving dangerously in busy traffic and causing multiple collisions), in order to stretch a paper-thin plot into a "film." Even the ending itself was foreseeable almost from the very beginning (guess where the final "showdown" will take place? Hmmm....).
Ye Liu's exaggerated performance as the villainous "Senior Inspector Fok" was particularly agitating to watch. Nick Cheung does his best to try and keep a straight face in what should really be a comedy rather than a thriller. Barbie Hsu is given no room to do anything except fulfill the stereotypical role of a hysterical woman who has just been kidnapped, even if she's basically MacGuyver and can build working telephones from smashed parts. Would Richard Dean Anderson just cry hysterically for the rest of the film after building a phone? No, he would have turned wooden planks and metal cans into a nail gun. That would have gave this film a pulse.