Breaking News

The script is twisted and not exactly what you consider state-of-the-art in terms of European or American cinema. But it's Johnny To, so you know what you'll get. The cinematography is brilliant, the acting unfortunately mediocre, it isn't as intense as in Johnny To's last movie "Throwdown". But still I like this one better, for the Honk Kong pictures and the astonishing opening scene which was filmed uninterrupted for just about five minutes including camera elevations, camera entering appartments, a decent shoot out and a lot of 180° turns without any single cut. The staging of the action in the giant apartment building is tense and gives a disorientation that prepares you for any surprise. Gangsters on floor 9/C. Police on floor 8/B. But they need minutes to clash and one never knows what comes next. After short shootings everyone spreads in another direction and the situation is anything but clear. This is big cinema and gives a new idea how action and tension can be staged besides boring Hollywood standards. This movie owes greatly to the atmosphere of Hong Kong. Crowded streets, huge apartment blocks with the air conditions sticking out like giant bee hives, big limos... and not to forget all the different branches of HK police that always seem to quarrel with each other rather than fighting criminals. If anyone could explain the different branches of HK police and how they interact, feel free to send me an e-mail. There is no good and bad in this movie as the gangsters reveal sympathetic traits of character while cooking for the family taken hostage - they would have become rather cooks and own a restaurant than being "uncle killer" and "uncle bandit". The police appears to be completely disoriented and rather eager to get publicity than fighting the "bad" guys who are especially clever to use the media in their favor. The movie is probably ment as a satire on public organs such as the police and the manipulation of today's mass media to influence public opinion. As I'm no big philosopher I'm gonna stop evaluating right here. For all HK fans and everyone that enjoys a nice camera work including some shoot outs - you definitely have to watch this movie. I had the honor to attend a screening of this movie during the VIENNALE in Vienna on the giant "Gartenbau Kino" Screen.

Nice premise, nice looking but for myself it just doesn't completely fall into place for me.

Probably the most noticeable aspect to "Breaking News" is the cinematography.. No doubt about it, the cinematography of Siu-keung Cheng & editing by David Richardson are first class, but it is also the source of my greatest frustration with this film. For mine the camera moves around too often, too quickly & will come to a holt in a sudden jolt. The opening scene in particular is just nauseating despite the obvious skill in putting it all together.

Well worth checking out & I'm sure that we will see a Hollywood rip-off of this film some time in the next couple of years.

Have I missed something here? From the title I thought this would be a film full of suspense and a story that would engage me but in my opinion it has nothing new to offer. I wonder what director To wanted to express through this film. There have been so many movies made on similar subjects. The only difference is that here To tries to portray the media as more involved in the plot but hardly anything stands out. The pace is very slow. The performances are miserable particularly that of Kelly Chen. Cinematography is alright. Even though the long shot in the beginning is somewhat impressive, it's nothing new. well, maybe for a movie like this, it is but that hardly make the experience of 'Breaking News' worthwhile. Anyway, I don't want to waste my time on commenting about this so I'll just end it by saying that I found it boring.

"Breaking News (Dai si gein)" is one of the most urban crime thrillers I've ever seen, using the density and verticality of a modern city as an intense frame for the fast-paced action.

Hong Kong here seems to have visually become like the futuristic cities with satellite cameras of "Blade Runner" and "Code 46," with almost all the action taking place with 360 degree views of narrow streets, crowded plazas, dark hallways and elevator shafts. There's a door-to-door attack in a corridor that throws down the now classic scene from "Oldboy" as so much balletic nonsense compared to this gritty but very beautiful realism, with cinematography by Siu-keung Cheng.

Director Johnny To grabs our attention in the enthralling opening scene of a shoot-out on a Hong Kong street. With almost no dialog we can figure out that this is a stake-out going horribly wrong. While the scene dizzyingly must have been shot on a cherry-picker zooming up and down and around as if we are on on external elevator or hanging from windows with a zoom telephoto lens, the angles are always important as the camera swoops and narrows and broadens our view from shooter to victim to shooter to victim as we swivel to where the shots are heard. I felt like I was in the antenna of the aliens in "War of the Worlds." The visuals are always directly related to the sounds, as edited by David M. Richardson.

Though I could only infer some of the internal politics within the police bureaucracy with the significance of some using English names and others traditional Chinese names amidst the various competing levels of authority, some of whom spoke stilted English, it was easy enough to pick up on the techie criminalist statistician vs. the on the ground street cop (a terrific Nick Cheung, who is like a thinking cop's Bruce Willis), let alone the difficulties a woman cop (Kelly Chen) has on the force. Her need to prove herself and her modern approach is a driving theme in the film and gives it considerable difference from a more conventional crime drama. She may be a neophyte at being in charge, but she is not an idiot.

There are parallel old school/new school, gangsters vs. assassins with different rules and technology that get caught up in the siege though I wasn't sure of the details of all their intersecting plots. The criminals are considerably more charismatic than all the cops except "Inspector Cheung", and have a sense of humor during an amusing hostage taking.

The instant, real-time new and old media attention in what is as much a door-to-door war between cops and criminals as in "Black Hawk Down" becomes part of their battle plans. It is as violent as a Paul Schrader or Martin Scorcese film, but has the mordant cynicism and humor of Billy Wilder, as the violence mocks the continued blandishments we see from the government officials about the falling crime rate.

While script writers Hing-Ka Chan and Tin-Shing Yip may have intended the high tech PR-controlling official to be a satire like "Wag the Dog" in having controlling the press be an essential component of controlling crime, it is just a very small step beyond the NYC Police Department techniques innovated under former Mayor Rudolph Giuliani. So it's a running gag that a kid with access to the Web can outwit their media manipulations. Survival seems to be based more on the results of the battle for public opinion.

I wasn't sure if the Hong Kong police force always looks like storm troopers or if the production design was making a political point. Clearly there was some point to the hostages being surrounded by commercial symbols of Western capitalism and culture.

The music by Ben Cheung and Chi Wing Chung supports the tension very effectively, including electronica and traditional instrumentation.

Unfortunately, the film as distributed in theaters in the U.S. had the worst subtitles I have ever seen. Not only are they filled with spelling and quizzical grammatical errors, as well as frequently white on white, they seem to have been translated using an antique English dictionary. The most egregious distraction is constantly calling these bloody murderers the charming appellation of "bandits" -- how about thugs or gangsters or criminals or crooks or bad asses, and so forth. Why didn't a native English speaker look over these subtitles? At least the credits were mostly bi-lingual.

BREAKING NEWS is yet another JOHNNY TO film exploring the theme of honour among thieves. Earlier successes included THE MISSION and FULL TIME KILLER; others would certainly come to mind if I were to peruse his filmography but you can do that yourself on www.IMDb.com!

Mr TO and the CREATIVE WRITING TEAM of MILKWAY have a habit of not giving the viewer a lot of information, and letting the visual elements that define cinema take precedence.

The opening sequence is very tightly and cleverly shot and edited, so much so that it is a pleasure to sit back and play it over again.

That first sequence introduces most of the protagonists, at least those who will do battle; the subsequent act introduces the upper levels of policedom, who decide to stage a publicity coup.

The need for more effective policing to ensure the safety of citizens should be paramount, but the woman in charge (KELLY CHEN) is every bit as ruthless as the gunmen in her sights.

Caught in the middle is DETECTIVE CHEUNG, the police officer in charge of the initial, disastrous stakeout that sets the story in motion.

Every one seems to want to save face: the thieves refuse to surrender even when the odds seem insurmountable; DETECTIVE CHEUNG becomes more an avenger or a vigilante than a lawman, and refuses to back down, even when ordered to desist and give over to SDI, while CHEN in the safety of her control vehicle, uses technology and superior firepower to prove her worth to her superiors.

JOHNNY TO and his team must take pride in making films where the viewer must EXPECT THE UNEXPECTED (a superior policier starring the wonderful LAU CHING WAN). BREAKING NEWS is no exception: there are several twists; scenes of quiet humour, which manage to humanize the villains of the piece, and of course, those nice touches that ensure some memorable characterizations.

By the time the credits roll, everything has come together, and the muddle of the various conflicts is resolved, quite eloquently.

I cannot quite fathom the wide variety of music chosen for this film but it all seems to work.

BREAKING NEWS is an entertaining 90 minutes, and certainly does not wear out its welcome. Now that the anamorphically enhanced DVD is out, you can watch it more than once, to savour all its nuances.