Sparrow

Taking almost 3 years to make, and finally making its way to our shores, Sparrow is worth every moment of waiting, and again cements Johnnie To's reputation as a living maestro who conjures up magical cinematic moments from the tired Hong Kong crime genre. This time though it's totally sans violence and elaborate gunplay, and what came across was a short film idea that's brimming with class, injected with well placed humour, postcard picturesque framing and the unflappable Simon Yam who can do no wrong as the lead.

Clearly this movie plays up on the sparrow motif, of a bird trapped in a cage, and one from the avian family associated with, as this story goes, ill fortune that will soon befall. The figural bird here refers to Kelly Lin's Chung Chun Lei, a mysterious, statuesque beauty who baits our gang into unlocking the cage that's trapping her in a life of misery. The first act plays out like a little mystery, weaving in a deeper introduction of our gang of pickpockets, played by Lam Ka Tung, Kenneth Cheung, Law Wing-cheong and led by their leader Kei (Simon Yam). Thinking they got lucky individually when they each encounter Chun Lei, they soon realize the hard way about who they're dealing with, and realize that they stand a better chance as a group, with unity in strength rather than playing individual lone wolf.

Here's where you'll find the quintessential To movie dripping with camaraderie and brotherhood, written by Chan Kin Chung and Fung Chi Keung. The story unfolds in a rather unconventional manner that leaves you guessing, before it even keels into a mid-section, all the while avoiding big sets and big action sequences. They allow for Yam to play up on his well known photography hobby by working it into the story, and Yam delivers what audiences and fans would have expected, that of a charismatic leader.

Unlike To's previous movies like Exiled and the Election series which were rather heavy in nature and tone, Sparrow, like the bird, is very much light and breezy. It doesn't try to cram too many subplots into its close to 90 minute running time, and provides you a main thread to focus your thoughts on. As mentioned, it is like a short film idea extrapolated effectively into a feature film length, allowing moments of To's signature style of stand-offs to enter the fray, building much needed anticipation, with good natured humour. Some however, might want to draw parallels with Feng Xiaogang's World Without Thieves given its subject matter and its core one-upmanship challenge.

There are two gems in Sparrow that makes its ticket price more than worthwhile. First, the wonderful original music and score by Fred Avril and Xavier Jamaux, whose theme for Sparrow will definitely linger in your mind for quite a while after the end credits roll. With a jazzy feel and a combination of western and eastern musical instruments, the score has a life of its own, and elevates Sparrow to a higher plateau with something memorable to take away, emphasizing the lightness the general tone of the movie takes.

The other gem, will be its fantastically designed major action piece that occurs in the last act. Probably the only "action" you'll see in the movie, it decompresses normal time into slow- motion, in order to exaggerate the lightning quick reflexes all the operatives in the movie possess. The rain, the umbrellas, action designed around them and all done at a single traffic light crossing, remains a cinematic marvel which deserves a second, third helping, and more. Just thinking how it's done technically will already send you into a frenzy, and this likely served undoubtedly as a showpiece for Sparrow.

Sparrow is an elegant movie, which reminds us that while To might have his off-days with movies like Linger, he's back at the top of his game again delivering a movie with deftness in skill, and adding to his already glowing repertoire of movies defining the new wave of crime genre stories that speak volumes of his signature style.

Thives with razors on their tongue, seemingly interesting characters. No credibility. I was reminded at all times that I was watching a movie. The lack of presence in characters and looseness between the scenes made me awfully aware about the acting. This is some times the case when a director makes something for himself and comes blind to his own work. He forgets to tell the audience the stories of the characters. Maybe he forgot the stories in his head. One is left to wander from image to image, carefully chosen pieces of Hong Kong city scape. Clever tricks and beautiful images though aren't enough to make the movie complete. Three years in making and it shows. Where is the focus? Scenes are loose and connection between feels like shorts put together without adding up or building anything. Johnnie To achieved a cool style but forgot the characters. I like fun light movies but with no connection to the characters and story, the movie left me numb. The Finale comes out of nowhere. The build is a joke.

A band of pickpockets all fall for the same woman - who targeted them secretly because she has a job for them .. To rob a wealthy man who once aswell was a famous pickpocket, and save her from his entrapment

Pieced together over three years, Sparrow is a short, sharp and wonderfully charming passion project and tribute to old French New Wave cinema. One that unfurls like an elegant ballet and excels at capturing a romanticised Hong Kong that feels particularly warm and inviting, yet comparatively rich in a relaxed sense of charm and play. While this one didn't immediately grab me as effortlessly as other ventures by Johnnie To, it won me over in the end, as gorgeous lighting and musical score by Xavier Jamaux and Fred Avril virtually dance across the screen. There is relatively little dialogue involved, so the music ends up providing much of the guidance with a series of witty and self-aware compositions that go a long way in making the funnier elements succeed. This near-silent treatment makes the film stand out from its contemporaries; without much in the way of talking, attention is re-directed to the physical performances, the music, and the beautiful photography. The film happily canters along, bathed in gorgeous lighting and drenched in atmosphere, but Sparrow equally feels like it comes with a sad and rather heavy dose of lethargy. It flies where it will, ever joyous and blissful as the slow-burn of a cigarette in a lip-glossed mouth and the languid sprawl of Hong Kong give the film an arty insouciance. There's sound and fury here, and while it may signify nothing, it's still something to behold.

I really loved this one. From the beginning to the end it is bittersweet and charming. Even though they are supposed to be pickpocketers but it is so light and there is barely any reality and maybe it was something like dancing but there isn't any. Four of them on a bike and it was silly but lovely and especially when there are people crossing the road in the rain and those big umbrellas, we have to smile and for sure we really think they will turn into a dance but they have razorblades each within their grin. There are many little moments, obviously the sparrow and the alleys, the tree in the hillside street and pouring rain with those amazing neon but probably the best moment as a couple share a cigarette, even though, or maybe because, there is some lipstick on his and he puts it to his mouth it was surprising and mesmerising.