Chui lung

Just when you've come to hate him more than love him for truly frustrating duds such as 'From Vegas to Macau 3' and 'Mission Milano', Hong Kong's most prolific filmmaker Wong Jing compels you to take him seriously once again with the best gangster drama we've seen in a long while.

Written, produced and co-directed by Wong Jing, his latest period epic charts the rise and fall of two of Hong Kong's most infamous real- life characters from the 60s and 70s – the one-time most powerful drug lord in Hong Kong Ng Sik-ho (or better known as 'Crippled Ho') and the notoriously corrupt detective Lui Lok (or otherwise known as 'Lee Rock').

Perhaps because he had already previously told Lee Rock's story, Wong Jing anchors this movie around Sik-ho (Donnie Yen), who first steps foot in Hong Kong in 1960 as an illegal immigrant from Chaozhou with his three buddies (Philip Keung, Wilfred Lau and Kang Yu) and younger brother Peter (Jonathan Lee). Although engaged in odd jobs, the quartet find more lucrative means of employment by being paid to make up the numbers in street fights. One such fight is that purportedly between rivalling triad heads Comic (Jason Wong) and Grizzly Bear (Ricky Yi). Unfortunately, the fight turns ugly with the arrival of the riot police led by the British Superintendent Hunter (Bryan Larkin), and before the night is over, Sik-ho ends up in a run-in with the arrogant and supercilious 'gwei-lo'.

All that is witnessed by Lee Rock (Andy Lau) and his right-hand man Piggy (Kent Cheng), who spies Sik-ho's superior fighting skills and decides to recruit him and his buddies while they are in lock-up. As circumstances would have it, in order to save one of his buddies caught stealing from mafia boss Bro Chubby (Ben Ng), Sik-ho will end up working too for the former, running his drug business within the legendary Kowloon Walled City.

It is within this hotbed of lawlessness that Lee will venture into one day. Things go south obviously, and the subsequent turn of events binds Sik-ho and Lee in a complex brotherhood embrace – Sik-ho springs to Lee's rescue but ends up caught in the crosshairs of another parallel ambush sprung by Sir Ngan in collusion with Chubby. In the ensuing scuffle, Chubby breaks Sik-ho's right leg as punishment, thus birthing a hardened and even more driven 'Crippled Ho' upon his discharge from hospital.

Sik-ho's transformation comes at the midway point, and it is in the second hour that he truly comes into his own. Not only does he resist Lee's manoeuvres to alter the state of play, Sik-ho takes matters into his own hands against Lee's better advice in order to exact his own vendetta against Superintendent Hunter. There is a lot of plot crammed into a slightly-past-two-hour runtime, but its machinations consistently revolve around the dynamic between Sik-ho and Lee; an especially poignant scene near the end has a visibly embittered Sik- ho pointing out squarely to Lee the personal costs and consequences of the latter's actions over the decade plus on the both of them, and the duo coming to recognise how little of life, death, or anything in between they can truly control.

Oh yes, the movie is equal parts plot and character-driven, and Wong Jing's (rare) achievement is how he balances both perfectly to deliver a sprawling but constantly spellbinding account of the fates and fortunes of his two key male protagonists. Due credit also goes to his co-director cum director-of-photography Jason Kwan, who not only brings a vivid cinematic feel to the visuals but also imposes rigour in crafting and building up several pivotal sequences, both of which are too often lost on a frequently sloppy Wong Jing.

More prominently, 'Chasing the Dragon' has been sold as a showcase of Donnie Yen's acting chops, and sure enough, Yen doesn't disappoint; in fact, as Sik-ho, Yen probably makes the most significant breakthrough of his career since 'Ip Man'. His portrayal of Sik-ho is understated, nuanced and impressively authentic, especially in depicting his character's transformation from underdog to kingpin. Yen and Lau don't share as many scenes together as we'd have liked, but the duo have great chemistry when they do, embodying the genuine camaraderie between their characters as well as the seeds of distrust, suspicion and resentment sowed by their own respective ambitions, egos and greed.

It should also be said that this gangster tale is always careful not to glorify its socially deviant protagonists – principally for fear of running afoul of Chinese censors – and is therefore less unhinged than the early 90s flicks of Sik-ho and/or Lee. In fact, Yen and Lau aren't playing so much criminals as they are anti-heroes, so not only are there redeeming qualities about their characters in this movie, both will come in an epilogue set thirty years later to realise and regret the folly of their ways. Yet these politically (and commercially) savvy considerations aside, Wong Jing's latest is still a solid and solidly entertaining example of the genre that is bloody, violent and thrilling.

Indeed, there is much to enjoy in this period gangster epic, from the storytelling to the characters to the actors and as well to the richly detailed sets of Tsim Sha Tsui, Wan Chai and Kowloon Walled City. This dragon is one you won't mind chasing from start to finish, and we guarantee you it will leave you on a visceral high.

A good drama of wonderful collaboration of Yen and Lau. Telling the fans about mafia and corrupt cops back then in Hong Kong is something.

But definitely we may not find Yen's usual fighting scenes. As rumbles are here and there, we have seen how it is supposed to be by The Raid, so from that on, audience expect same thrill. But it is not. Yes this is not Yen's martial art film, but a brawl is always a brawl, should be depicted as real as possible. Using multi cameras and many takes like Hollywood does, would be better, to deliver the violence.

I also have no idea, why smoking scenes have to be the way to show the brotherhood. It is too much. Sharing one cigarette is weird for all the wealth they possess eventually. Unless it has been a habit since they were zero. Sharing weed makes sense more, but I guess there is certain reason, just a cigarette not weed.

My compliment is also for the western actors, they act so natural.

One more thing, the reunion of actors from TVB Hong Kong 1980's, "Kwee Cheng", "Ho Tu", "Oey Yok Soe" and of course, "Yo Ko" himself, is quite a fun.

Obviously, the movie "Chasing the Dragon" is not a remake of the 1991 movies "Lee Rock" and "To be Number One". Instead, it borrows their main protagonists and antagonists, and tells a completely different story. In some sense, "Chasing the Dragon" is a reboot of the gangster epics.

The production design, music score, action sequences and acting performances are most notably brilliant. The action sequences are unexpectedly brutal and bloody, and really stun me from time to time. Donnie Yen has long established himself as one of the best martial artists of all time, and here in "Chasing the Dragon" he gives an almost career-best emotional performance, even better than that in "Rogue One". The acting of Andy Lau, Kent Tong, Kent Cheng, and Ben Ng is fantastic as always.

On the other hand, the plot and the editing are not satisfying. Wong Jing is not a talented filmmaker. Some scenes simply lack consistency and credibility.

In a nutshell, the rating for this movie is 7/10.

I am remembering the days when i was watching at least 7-8 films from hong kong cinema each year and one or even two movies from these would have make my back-hair lift of excitement and awesomeness. But since 2008 or 2009 forward, i must say, the chinese/hong kong movie industry has become something without head and tale. The screenplays are at the lowest level of intelligence, the editing of every film is downright baaaad, they are trying so hard to copy american movies, that it makes me almost wanting to give up watching any movie from HK or the main land. Jackie Chan, Jet Li, Donnie Yen... it's been a decade since any of them had made a good movie (the last big HK movie beeing IpMan - first part from 2008). I am only hoping that someone will appear, someone new (a director and writer), although is hard; i think the audience in china is very uneducated and they love films that are so easy to swallow, and they are many, there strenght is in their numbers. But who knows, maybe with not so many money, but with conviction, a young writer/director will get his chance, you never know. Greetings from Bucharest, Romania! :)

Andy Lau in this film continued to play the role of Lee Rock, portraying his early rise in Hong Kong's police system under the colonial sovereign governing governing. Donnie Yen played a role as new comer and a new input of this Hong Kong generic and stereotyped underworld gangster who later associated himself and was manipulated by Lee Rock.

What I don't like too much of this film are the usual fatal flaws that almost every Chinese movie would always be unavoidable:

• Lousy screenplay with horrible dialog, making this film so painful to swallow.
• Bad acting that included Any Lau and Donnie Yen. The overly weight control

diet has deformed Lau into a skinny physical body with gaunt skeleton face, resulted him as a non-outstanding ordinary little guy without any special dominant aura to support his upper-echelon status in any job title, police or gangster organization. Any GREAT or POWERFUL role he played only gave me an impression that movie needed to make him being that role. There's not enough believability to convince me he could be that great or powerful person in that movie so far.

Donnie Yen is no exception in this movie with very bad acting with his bloated facial condition. He was also deeply affected by the bad screenplay to play a convincing enough character.

• Bad casting with many unnecessary clowns and jerks roles, such as Kent

Cheng, who played the sidekick and yes-man of Lee Rock. But in Chinese movie industries, returning favors or special relationship always needed to be considered from the cash-cow production groups behind the scene. So manuscripts would always have to be revised, added more unnecessary roles, thus unavoidably messed up the films. This trend and must-do is a tumor, an appendix that Chinese movie industries could never cut off clearly.

• Poor make-ups with funny wigs that included Donnie Yen's cosmetic extra

eye-lid liner surgeries and moving Botox on his face.

• Status-quo no brainer trademark directing. Jing Wong has produced and

directed so many similar genre film like this one. He never improved or evovled his directing technique and skill at all. Every film he directed or produced was almost the same, no new ground was ever broken.

This film, in my opinion, is just another shallow farce with lot of back alley fights typically in Hong Kong gangster films. Donnie Yen has been trying very hard to make him not just a martial-art fighting machine in his films but an actor with more depth, but with only such lousy screenplays lying around, with his aging process, the only choice he could do is making money first with his fighting skills whenever big payloads throwing his way like Jackie Chan.