Infernal Affairs 3

The last installment in the Infernal Affairs trilogy is surprisingly slow moving, but still has the high production values and intricate story of the first two, although as a whole it is slightly less engaging than the preceding films. There have been a lot of comparisons between this trilogy and The Godfather films, and the similarities in story-telling structure and the overall arc of the sequels are definitely there, although I have to admit that I think the Godfathers exist on an entirely different level as these films. The Infernal Affairs films are good, but they're not THAT good.

There is a lot of work in bringing together the stories of the first two films and it definitely adds to them, but I found this one to be too slow moving, although the pace picked up by the third act and the final scene is definitely impressive.

On the other hand, the trilogy ends on a serious downer - "Ksitigarbha Sutra - 'People of the like shall be cast into the Avinci Hell and will continue to suffer from Kalpas to Kalpas with no means of escape.'

I may as well just admit that I don't know the meaning or source of this quote, but it sure seems like a depressing note to end the trilogy on. Nevertheless, despite being just a little bit of a let-down (like countless trilogy finales), Internal Affairs 3 is a necessary closure, and Asian cinema fans are sure to eat it up.

While in the U.S. the 3rd movie of anything is suppose to be the large-scale, big-budget, battle-destruction-galore ending to a series, Infernal Affairs 3 shamelessly does the opposite and delivers an introspective look devoid of any "battle" scene at all. Now that IA has become somewhat of a cult following (ironically the story is not meant to go any further) it seems fitting that we are delivered a film as if the cutting-room floor pieces were placed together from the previous two movies and sequenced for the conclusion.

The story attempts to elaborate the most important details of the series and not presenting them in sequence, only a handful of present scenes exist which each are periodically given a large delve into the past. IA 3 explores what happened leading up to many scenes in the first Infernal Affairs which is really pretty neat for anyone who watches movies and seen the first. As a result its a jumble and mix of scenes giving you dates of when they occur (sometimes eliciting humor) and glimpsing every single character in the series as if they were the past but really filmed new for the movie. And in this way follows Yan and Ming's characters as they progress to their fates.

But it seems perhaps that by doing so, the movie is simply what was left out in the first film and anyone new to the series will obviously not understand the significance of what is going on other than the artsy cinematography of white-washed cool hues, steady camera work, and continual sponsorship of devices and products. This also includes the chaotic, dizzy feeling of progressing back and forth sometimes not knowing when you are (as with scenes that occur in Ming's mind only). Perhaps only the avid movie goer will realize Mo Gan Do 3 is a representation of hell in a high-tech world, the redemption of Yan and Ming's fall into insanity. But most will be confused about why until they see it all.

If you loved the first two 'Internal Affairs' movie, then you'll probably find it easy to also enjoy this concluding part: if not, you may find it more difficult. Part one was a tense thriller; part two, more epic in tone, a prequel that filled in the back story, concentrating on some of the secondary characters from the first film. But it's not completely clear where there's any plot left to fill a third part. What this film does is overlay the previous stories with an additional layer of romanticism and complexity; but there's a certain lack of focus to the plot, with almost all of our favourite characters already dead by the end of the second film (although, in flashback, there's a rebirth for the great Tony Leung, absent from part two). Indeed, the film works almost entirely by encouraging us to feel differently about scenes we have already witnessed. I still liked this third story about the quiet men of violence, and it did succeed in feeling like something more than just a repeat of the earlier films. But it's not so clear how much it adds to them.

Where Scorsese's recent version of Infernal Affairs all the loose ends pretty much got tied up during the film whereas with the original we were left with an open (but much more emotionally impacting) conclusion. The first sequel was a prequel so part III was left to pick up afterwards while also going back over the original film and filling in more detail. In doing this it marks itself out as one that is aimed at the fans rather than being just out for money. The downside of this is of course that if you are not a fan you might find this hard to follow along with (and if you have not seen the first film then just forget it totally). Personally I thought the first film was an enjoyable cop thriller but I didn't think it was brilliant or developed characters that well but the tension was great. With the third film the focus was very much on the characters rather than the tension – with the fate of Ming being the modern thread that holds the film together.

If you are into the characters and the parallels with the original film then it is worth seeing because it does do it pretty well. It does ask you to pay attention but it rewards you if you do and have been. There is action but mostly it is the Ming's ongoing struggle with who he is that the film pays most attention to. I quite liked this but must confess that this film still didn't do a great job of bringing out the characters that well and it is more the events and revelations that kept me interested rather than an emotional buy-in with the characters. Lau is perhaps partly to blame for this because I thought he was buttoned a bit too tight – it was understandable in some regards but the third film should have been the point where he shows more of a breakdown (which he does, but again it is events rather than emotion). Leung is good again but his scenes don't seem as relevant or as interesting within this film – again it is probably to do with the lack of emotional buy-in I felt with his character; his performance is natural and engaging though. Outside of these two the rest of the cast are pretty good. Again I didn't think much of the use of Chen but Wong and Tsang are both solid in their small returns.

Overall then an effective and enjoyable film if you love the series and the characters; an interesting one if you have seen the first two films and a pointless one if you are looking to join in at the last minute. Tying up the loose ends of the series, the film isn't tense enough or emotionally impacting enough to be worth a look unless you are really already into the characters but it is an interesting way to bring things to an end – with restraint and tragedy rather than excess.

I've watched Infernal Affairs I, II & III, in a year time. I loved the first one very much. It gave me a very unexpected feeling. It's simple but strong in impact. Though one could mention a lot of flaws in the plot, I just couldn't resist its charm. The second one made me disappointed because it lacked the kind of impact the first one gave me. Now after watching the third one, I realise why there needs to be a second one in totally different style than the first one. It's a preparation for the audiences adapting to the change in the third one.

I like this third one. Without the second one, probably I would have been like the other audiences critising the change of style from the first one. It's this kind of change, it's made the film more solid, full of human feeling. The first one indeed was touching only the surface of the hole. This third one is more into the content of it - the heart of the people.

I love particularly the part describing Andy Lau's psychological sufferings and changes. The shadowing effect he had with Tony Leung should deserve a credit for script writing, directing and editting. The interlacing of stories between that happened before and after Tony Leung's death has been editted great. I feel sorry for people who don't read this or who don't like it. It's certainly the best part of the film which should earn a credit rather than negative critics.

I would conclude that the first one is like spicy cuisine which is strong in taste and quick in making one like it immediately if you can stand it. The third one is somehow a French cuisine where you have to be patient, taste it slowly together with the wine before you appreciate the marvellous cooking skills and feel the heart of the Chef.