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Old 1st December 2022, 01:23 PM
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MacBlayne MacBlayne is offline
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Join Date: Sep 2010
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Default Hong Kong '97

HONG KONG '97 (1994)


Albert Pyun has left us mere mortals, and ascended to a greater plain. I always had a fondness for the B-movie legend (many in college couldn't believe me when I raved about him), and I think it's time for me to revisit his extensive (and often maligned) filmography. Starting with this political action thriller.

Hong Kong '97 is set during (the then future) handover. Just before Hong Kong joins the mainland, spy/hitman Robert Patrick is hired to kill a top Chinese operative. As soon as he does, he is stalked by multiple assassins, and needs to find a safe way out of the city before Chinese authorities march in.

It's fascinating to see this film now. Although the actual handover was relatively peaceful, the scenes of chaos and protest that Pyun presents is very close to what is happening in the city right now. That's not to say that Pyun has a serious political point to make. It's just intriguing that a throwaway DTV action film was more clairvoyent about it than bigger Hollywood productions.

What Hong Kong '97 is, is scaffolding for Pyun to create shootouts. Pyun was a very underrated action filmmaker. His careful use of movement and slow motion, as well as striking colours, inspire excitement that the script or acting fails to do. An athletic sex scene transforms into a nude gunfight when ninja assassins appear. This whole scene is lit with cool blues, with a neon red billboard outside the window to create contrast. The whole film is a visual marvel, with Pyun delighting in the Hong Kong setting.

The acting is a mixed affair. Robert Patrick is surprisingly wooden. I'm guessing he was trying for an emotionless killer performance. Mission accomplished! Ming-na Wen is okay for what she has to do. She's window dressing. Pyun regulars Tim Thomerson and Brion James fare the best, even if James is affecting that hideous English accent from Tango and Cash again.

Hong Kong '97 is a dour thriller that showcases a lot of Pyun's style, but little of his themes and interests. It's inessential for anyone wanting to brush up on Pyun, but it's competent enough to warrant a post-pub late night viewing.
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