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This contemporary Chinese martial arts crime flick is a perfect vehicle for its two male leads - Donnie Yen and Nicholas Tse. Yen plays the good cop. Tse is his former good-cop buddy, who has become really good at being really bad for reasons we learn along the way. Many of these films are thrown together with a muddled plot that exists only to set up their action sequences. Here we have a shining exception, as main characters and their backstories are fleshed out to fine advantage, making for a production that satisfies the brain as well as fulfilling the desired adrenalin quota.

Yen has nearly 80 acting credits and handful of directing stints, including fight-scene choreography. He comes by his art honestly, as the son of a martial arts master (Fun fact - that's his mom, not his dad.), trained from childhood in multiple disciplines. Although I've only seen about a fourth of his films, I'm inclined to think that at this stage of his career, Yen may be incapable of cranking out a bad movie. (I specify the present because after writing the previous sentence, I caught one of his flicks from 1991, showing he didn't always have good scripts to choose from.) He's perhaps best known for starring in the history-based Ip Man series. There, as here, Yen embodies the stoic integrity of a Gary Cooper, with the bonus gift of kicking butt like a Jet Li.

The Raging Fire plot involves a cop-killing band of robbers, motivated by both grudges and gains. Yen is in charge of catching them; we learn early that Tse is the ringleader, with his motives unfolding throughout. The tale plays out more coherently than is often the case in Asian cops vs. Gangs flicks (actually, the same is true for many Hollywood entries, as well), magnifying the emotional impact of its splendidly-staged action sequences, stuffed with all the fights, shootouts, chases and explosions genre fans crave. A couple of Yen's one-on-ones are particularly exciting and creatively staged.

Late director Benny Chan deserves credit for not only pacing the action flawlessly, but editing and lighting those scenes for clarity of who's doing what to whom that's way above the norm from both sides of the Pacific, in what is, lamentably, his final project. Tse is also superb as a more complex villain than usual, with an understandable, almost sympathetic, transition from valued colleague to nemesis. That all adds up to a gem within its genre.

The movie has ample amount of action and some good hand to hand combat but somehow i cudnt care about any of the characters and the movie aint engrossing enuff.

Hong Kong police are well known to be -and always have been- as corrupt as the politicians and criminals they mix with. At least that was the case way back when in the time of this 19080's style Cops & Robbers outing (and I very much doubt it has changed any in this day and age). Anyway what we get is an action filled manic paced bullets and blood thriller. What little script there is for the actors is all really by the by and of no importance whatsoever. I say that because this is meant to be nothing else but a pure 100 mile per hour action gobsmacker. Its not a brilliant film actioneer (if you have seen any John Woo films you'll know what I mean) but it is certainly not rubbish either. Its just what it is and its very engrossing and entertaining.

Donnie Yen's fight choreography, for all the cast, is superb (and I'm sure he'll pick up an award or 2 for it) and the camera work is flawless in its accentuation of the vicious array of martial arts mayhem.

Its a great finale to a very good man of Asian Cinema and guarentee's that Benny Chan went out with a monumental big bang! R. I. P Benny and thankyou for all your input to the cinema of Asia!

Yen Smolders in 'Raging Fire'. Donnie Yen has clearly established himself as an international, bankable action star. He is not only a dynamic martial arts action star, but a highly watchable screen presence.

In Raging Fire, Benny Chan's final Directorial work, Yen combines the elements of his persona as an action star and dramatic actor for a successful result. His dramatic engagement equals his action prowess, and these elements combine to make this film superior.

Shan (Donnie Yen) is a highly respected hardline cop with a long history of success on dangerous cases. However, his past unexpectedly comes back to haunt him when a sting operation is attacked by a mysterious group of criminals led by Ngo (Nicholas Tse), his former protégé, a talented former officer who had once respected and admired Shan. However, a terrible mistake three years prior landed him in prison, quickly turning the once rising star into a furious man with a grudge, and the will to destroy everyone who had wronged him-including his former mentor.

Many East Asian action films have a common theme showcasing the blurred line between police officer and villain. This film is no exception. While Yen is clearly the protagonist, Nicholas Tse is a sympathetic, albeit ruthless, adversary.

The film's story is not necessarily original, but it is engaging. Both Yen and Nicholas Tse bring a deep gravitas to their performances that makes them sympathetic, despite the circumstances. Nicholas Tse' performance is a strong counter-balance to Yen's. Yen's does not have as much depth and meaning without Tse.

This film is unusually deep for an action film, and perhaps, that is defining signature of a Benny Chan film. Here it is executed on a high level.

While the film has dramatic elements, there is no shortage of action. The knife fight choreography is about as exciting as you will see in any film. While I could write on about the dramatic undertones for paragraphs it is the final Yen-Tse showdown that puts this film among the top of the year's martial arts action jewels. The fight choreography is sensational.

I am sentimental; so I couldn't help but feel sad that Chan will not have the chance to see the international acclaim this film will likely garner. The closing credits feature behind the scenes clips of BennyChan in action, directing this one. He is clearly all-in.

The film is subtitled.

There is nothing to be picky about at the production and action levels. The overall completion is very smooth. It is also a good work in Hong Kong action films in recent years. It is gratifying that in recent years, Hong Kong directors have become more and more brave in shaping the characters in the gray area. After Infernal Affairs, many directors have been assimilated or hidden by capital and began to make some relatively safe works. In recent years, because of the change of the general environment, the "anger" in the creators' hearts has been aroused again, so there are very representative figures such as pan Chengfeng and AO. They can't be defined by a simple dualism of good and evil. This is the most real place of human nature. From the perspective of Chen Musheng's own works, it can be regarded as an upgrade of the new police story. In essence, there is no great new idea. There is little ink on the inner struggle of the characters, which can only be defined by cool films. However, as a creator, it is a happy thing that the posthumous work will be so widely recognized. I would like to pay tribute to the director and thank him for creating so many romantic and warm dreams.