Dog Bite Dog - Wie räudige Hunde

Those individuals familiar with Asian cinema, as a whole, are aware that Japan is renowned, or notorious, for it's hyper-violent films and Korea is now garnering a reputation for viciously brutal films. Dog Bites Dog, while not necessarily getting as hyper-violent as the craziest Miike film, nor is it as unapologetically brutal as some Koreas more ambitious efforts, it is a perfect in between with its own brand of brutality all it's own. The greatest strength this film has though, like the greatest of the Japanese or Korean efforts, is that the brutality, rather than detracting from the film, actually develops the characters, if not, pushing the story forward. The two main characters are both incredibly vicious individuals with their own motivations and emotional underpinning for being as such. Sam Lee's character, for instance, is on the edge from the very start and slowly and surely, amidst various encounters with Chang's character, it is revealed why he is. Without spoiling this part of the story too much, it involves the morally ambiguous nature of his father. Chang's character, on the other hand, has his most primal instincts honed to, if not perfection, brutal efficiency. Surprisingly, Chang's story arch, while not necessarily revealing a more human side, actually reveals a side to our animal nature which many forget about which is the natural ability to recognize a fellow broken animal (and no I am not talking about Sam Lee, rather Pei Pei's garbage dump girl character). Ultimately however, for the first 80 minutes or so, it is a, more or less, straight forward cat and mouse, or Dog chase Dog, film in which every encounter ends in at least one death (seriously, once Sam Lee and Chang Square off, some one will die) and the fun part of movie is you never know who hands will commit the act. Which brings us to the film's one weakness. Unforunatley to delve into it would be yet another spoiler but, to put it simply, it is guilty of pushing one of the main points of the film since, rather then letting the point be made as is 80 minutes into the film, the film goes on for another 20 minutes or so to further emphasize it. Don't get me wrong, if transitioned better from the 80 minute mark to the climax and if the final act wasn't filled with sweet music (in fact if it, like the majority of the film, kept the music to the barest minimum and let the disturbing sound effects do their job), it still could have worked and not detract from the film. As it is though, despite the third act having the most vicious and bloody of the encounters, the way it was handled made it feel tacked on, and almost, insults the viewers intelligence since it felt it had to go this far to get it across. Nevertheless, it is still a breath of fresh air from Hong Kong cinema since even the most bloody of the martial arts films never reaches the level of viciousness and brutality while keeping the the character archs in tact.

All the good reviews you're reading - those are from big HK cinema buffs, and they are correct from their point of view; it's a lot better than the majority of the cop/gangster films coming out of HK. The plot has already been reviewed, so I'll skip that. It's enough to say that this film does have a plot, much more so than I expected.

On the other hand, this isn't some fine piece of film making compared to what's available from the rest of the world. The characters are so totally unbelievable it will make you cringe. Informers are always scared wimps to be slapped around, cops are tough guys who do the slapping and the hit man is a super tough bad guy who talks little and kills a lot. If informers were so easily intimidated, why would other criminals have anything to do with them? If cops were that uniformly brutal they'd be arresting each other, because no one else would live in such a society. The hit man in this case at least had an excuse for being taciturn and psychotic.

If you really like Asian cinema, especially HK cinema, then you'll like this one a lot. If you're not a big fan, better go rent something else.

There's a bit of a story about the sins of the father tucked away underneath Gau ngao gau's (Dog Bite Dog in English) unrelenting violence, but it's small and wisps away like fleeting warm breath on a cold day.

The movie is about a Cambodian hitman played by Edisen Chen who gets hunted across the streets of Thailand for committing a brutal murder. Unable to speak the language and having no second thoughts about killing anyone in his path (e.g., man, woman, cop or otherwise) Chen's ruthless hitman attempts to make his way back to Cambodia. The road isn't easy and a small team of dedicated cops with their own dirty past attempt to stop him, almost by any means necessary.

Other reviews are right on the money that this film is absolutely nihilistic. It's shot well, but also shot to make Thailand look as filthy as possible. Large parts of the movie take place in dark alleys, landfills, and the slums.

There are no redeeming values to any of the characters save for one character who gets caught up in the middle of it, but this isn't a feel good movie and all logical conclusions would point to an ending that satisfies the movie's main themes while you're watching it.

There aren't many fantastical or too many outlandish elements about the movie. It mostly maintains a realistic pace and outcome for the encounters, but the grit, grime, and fatalistic overtones might easily put most viewers off.

I would say that if you have a happy movie lined up to watch afterward, definitely give Dog Bite Dog a go. If you're feeling depressed or down or sullen or nihilistic? Well, you might want to pass on this one until it's sunny outside and the birds are chirping a chipper tune.

Finally we have before us a Category III movie for the summer 2006 season. Made of equal parts cruelty, crime and passion, Dog Bite Dog benefits not merely from an apt title, but also flexible direction, superb cinematography and respectable performances from most involved. Of course there has to be a catch, manifested here in the form of several glaring inconsistencies, yet all told DBD represents the mature spirit we'd love to see more of in the HK mainstream.

It also marks the heralded return of Edison Chen, long absent since the Initial D debacle of a year ago. Chen's reserved machismo does wonders for the movie, yet would have had it rough without opposite Sam Lee, whose knack for alternating between physical comedy (Crazy 'N' the City, No Problem 2) and lunatic menace has culminated in the strongest role we've seen from him since Made in Hong Kong.

Together, the duo makes Dog Bite Dog, and hopefully Edison's going to get an easier break from now on as a consequence: his touch transformed projects from Princess D to the Infernal Affairs saga, and still he remains a rare occurrence.

Mostly upon commencing, DBD showcases some mesmerizing imagery, playing gorgeous tricks with light, shadow and perspective. The soundtrack boosts this atmospheric effect, adding to the overall unreal mood the film purveys. Much of the resultant combination probably has to do with writer Matt Chow, previously engaged in likewise gruesome Three Extremes. Dog Bite Dog retains numerous traits recalled from that horror project, namely rundown urbanscapes and a pervasive air of something eerie lurking round the corner.

Rest assured, though, this isn't a horror movie, instead following a path trodden before by classic One Nite in Mongkok, albeit from a miles more perverse angle. Replacing Daniel Wu's reluctant mainland assassin character we have Edison, playing a nameless killing machine hailing from Cambodia's underworld. Sent Hong Kong-way to execute a single target, the nearly silent assassin takes care of business immediately upon arrival, a process chillingly depicted courtesy of the film's brilliant visuals.

Although weaned from childhood to become a professional killer, Edison's eponymous wild dog still has human weaknesses and leaves a trail, picked up on by a CID team sent to investigate. This assembly features a nice cameo by mob-movie stalwart Lam Suet, and good support from TV star Wayne Lai. However, Sam Lee's renegade officer Wai leads the charge, revealing himself to be a highly disturbed individual but excellent cop nonetheless. We gradually learn Wai's inner-conflict stems from his father's police corruption background, evoking demons handy in the relentless pursuit that ensues.

A minor body count transpires, as Edison seems to consider taking prisoners a no-no. There's quite the violence quotient in store, even though gore per se feels toned down in places, and adult language only makes a token appearance. Once more, no nudity, leading one to conclude Cat III's are being handed these days a bit hastily. Still, DBD's a relatively mature theatrical release, and we applaud its arrival.

In between the fighting, stabbing , hacking and shooting, even a career murderer needs some romance, and just like Daniel Wu had Cecilia Cheung in One Nite, so does intrepid Mr. Chen get a sweetheart, done beautifully by new comer Pei Pei. Her unnamed character (lots of anonymity in this one) meets Edison's at a strangely deserted landfill, abused by her father to the point of repulsive madness and yearning for escape. When the killer ditches HK, he agrees to take her with him, and they go on the run together, love blooming en route. While the movie doesn't linger on lovey-dovey stuff, our hearts go out to Pei Pei's tragic character and her endless suffering. She renders the timid but valiant protagonist amazingly well, establishing that there aren't any good or bad guys here, evinced by the highly sobering finale.

Director Cheang Soi's portfolio includes recent suspense thriller Home Sweet Home and Love Battlefield with Eason Chan, two numbers likely surpassed in most accounts by Dog Bite Dog's sinister demeanor. Cheang manages to keep DBD flowing throughout, and considering the many parts in play here, stands up to critical standards erected by people like Johnny To in his watershed nocturnal epic The Mission. A couple of glitches do come about, to wit Edison miraculously shrugging off a shot to the chest, but these are highly forgivable.

Marking triumphant returns for two young, talented performers of the kind Hong Kong needs if we want the city's movie heyday to come back, Dog Bite Dog doesn't stand out for story. Its forte lies in strong portrayals and style, buoyed along on the strength of thespian muscle and a keen eye for visual and auditory finesse.

HK has a long, time-honored tradition of stories to do with the city's nighttime alter-ego, something Dog Bite Dog upholds lovingly, amounting to a solid run if not an outright masterpiece.

Rating: * * * *

One of the most nihilistic and brutal films I've ever seen, but also one of the most tragic and moving ones. This is an action-melodrama like the world has never seen it before. Sometimes the plot got me close to tears, while in the next moment delivering shocking revelations like a bone-crunching blow to the guts. Chilling performance by Edison Chen. The story of a HK-Cop and a Cambodian killer hunting each other down, while bit by bit losing their humanity, is a strong one. Featuring very little dialog in favor of haunting imagery and gritty camera-work, "Dog bite Dog" is pure HK-Bloodshed without the Heroism.