Police inspector and excellent hostage negotiator Ho Sheung-Sang finds himself in over his head when he is pulled into a 72 hour game by a cancer suffering criminal out for vengeance on Hong Kong's organized crime Syndicates.
Three people - a criminal, a bank officer and a cop - end up in a catastrophic situation in the midst of a global economical crisis and are forced to betray any morals and principles to solve their financial problems.
Each director was solely responsible for one third of the film (about 30 minute long). They did not discuss their segments with each other, and each director had a different set of writers working on each segment, the most notable being Nai-Hoi Yau, Kin-Yee Au and Tin-Shing Yip, frequent scriptwriters for Johnnie To and his Milkyway Image films. All of the segments relied on the same editor, cinematographer and music for the sake of uniformity. See more »
LOVE IS LIKE A BALLOON
Performed by Xiu Qiong Pan
Composed by Yao Ming
Lyrics by Chen Di Yi
OP: EMI Music Publishing Hong Kong
Sound recording license courtesy of EMI Music Hong Kong See more »
With all the negative reviews and opinions I had read about Triangle before watching the film, I expected to be disappointed. Actually, I was pleasantly surprised.
Triangle is by no means a masterpiece that lives up to any of the three directors' names, but it is certainly not the incoherent mess some people make it out to be. Tsui's first third establishes too many subplots, but I thought that even in Lam's third, I was able to follow everything. Sun Honglei really shines in the film, and it would be great seeing him in other Milkyway films. But what's most important is that despite the slightly confusing plot, Triangle always remains an entertaining movie - from the great car chases in Lam's segment to the typical Johnnie To shootouts in the final third, it always kept me on the edge of my seat. Great music has become a staple in Milkyway productions since the last few years, but Zerafa's score here shows strokes of brilliance, adding to the mythical tone established by Tsui in the first third. And that piece playing in the credits is beautiful!
I also really liked the ending, which in a way comments on the theme of "fate" which I thought was illustrated pretty well throughout the movie.
Sure, you perhaps need to be a huge, huge fan of at least one of the directors present here (To's style seems to be prevalent, even in the segments not directed by him) to appreciate this film, but I thought it was pretty great. Maybe people just need to be a bit more open-minded and not expect a masterpiece from three legendary directors who are just having a bit of fun - and contrary to what others said, I felt I was able to participate in that fun.
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