Limbo

The whole plot is ambiguous and out of focus. The lines between characters were cringy and stupid. It's supposed to be a crime thriller, but the directors made it about how to torture a woman until she can be forgiven. Noted that she already served her crime by admitting to jail. For some reasons, she was willingly destroyed and endangered herself so the cop will say forgive her. The characters kept contradicting themselves in their beliefs. There were also lack of logics such as trying to stop 7-8 men to beat up a woman by trying to yell at them, which lost the gun in the end. When confronted with a serial killer, one decided to go without a gun; when the killer was captured and passed out, the idiot cop put a gun in front of his chest resulting him opened fire. Make it make sense. Otherwise, the filming was good and cinematic. I give a 5 for that. 0 for the story and acting.

Limbo is a gritty stylized noir Hong Kong thriller from Soi Cheang, director of SPL 2 and Accident. Adapted from a Chinese crime novel by Lei Mi, the film features beautiful black-and-white cinematography, impressive production design, and solid performances from its three leads, especially from actress Yase Liu.

Will Ren, a rookie cop is assigned with Lau, a veteran cop, to investigate a series of brutal murders across east Kowloon.

Lau runs into Wong To, a down-and-out car thief on parole with whom he shares a dark past with, and recruits her to be an informant to search for the murderer.

Milkyway veteran Cheng Siu Keng's digital black and white cinematography is gorgeous and rich in contrast, creating a moody nihilistic atmosphere and transforms familiar Hong Kong locales into an unfamiliar Asian city where only bad things happen.

Kenneth Mak's production design is meticulous, sculpting the Hong Kong cityscape into a hyper-stylized setting that's something out of an adult graphic novel. For instance, the police station was fashioned out of a local Hong Kong market, creating an underground cavernous office, desks full of unsolved cases and cluttered with wornout cops.

There is so much garbage everywhere littered throughout the entire film. My first thought was, "That's some beautifully arranged garbage. Look at the contrast and texture!" Eventually, watching endless scenes of people rummaging through garbage makes it feel like the rubbish is on you. I took a shower before watching Limbo and wanted a second immediately after the end.

The grimness, while stylistically engaging, paints the film into a corner that does it a disservice. It is like Soi Cheang is squeezing out every last bit of the Grim brand toothpaste and there's no speck of hope in a literal garbage dump of a world. By the finale, all the grimness got tiring and I was yearning for another emotion to take over.

If there's no ray of hope for these characters, what's at stake then? The atmosphere is trying to choke them all to death.

What kept the film together was Yase Liu's performance, who steals the show as the film's unofficial protagonist. It is a well-written redemption arc that Liu plays with earnest and commitment, performing her own stunts in a lot of the film's chase scenes. Yase Liu becomes the ray of hope the film needs, despite all the surrounding nihilism trying hard to extinguish it.

Limbo is a heavy somber film and I could see it being hit-or-miss depending on whether your proverbial glass is half-empty or half-full. In the end, it was entertaining but I don't fully buy Soi Cheang thinks the world is utterly hopeless as he vehemently portrays.

For this reason, SPL 2 is still my favorite Soi Cheang film as it's where he kept both the grittiness and heart in better balance.

Two dim-witted, bad-tempered, violent cops - one of them with a toothache - run around the rubbish-strewn back alleys of Kwun Tong looking for a violent killer with some serious mental health issues. Some triads run up some stairs. Then they run down again. Among all this silliness, two street-tough young women are put through some deeply harrowing experiences. Yase Liu as Wong To gives by some distance the best performance in a story that provides very limited context or background to the characters. It all just about makes sense despite each character acting inexplicably to help move the plot along. But, hey, it all looks absolutely stunning. No HK film I've seen has looked this magnificent since Wong Kar Wai's heyday. 10/10 for the production design, 4/10 for everything else. Let's call it a 5.

This is a dark Chinese black and white film noir which is vicious. I would put it in a category with both Seven and Kalifornia. Two detectives, a rookie and a salty veteran investigate the murders of junkie prostitutes. The killer has cut off their hands and the police are stumped by the crimes. The cinematography is excellent and the two leads credible. A completely unpredictable ending make this a must watch film.

Hackneyed narrative that is mercifully saved by some visually inspired production design. The richly constructed look and feel of this film cannot be overstated. From the opening frame, One's senses are immediately assaulted, if not drowned, by the reek and penetrating decay of some saturated underbelly where these token, yet serviceable, characters aptly inhabit. The performances are as effective as the thin and woefully predictable writing will allow, but with as many highly-successful film-making paragons(Wilson Yip, Kin-ye Au, etc.) attached, one might expect a bit more. Nevertheless, the technical team and its bravura display of visual mastery more than successfully manage to compensate for the film's more than obvious weaknesses.