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After yet another bullet wound from a tough job, Wong Chi-Ming decides it is time to quit the hit-man trade and decides to break off the business partnership with his agent, unaware that she loves him. Meeting the wild Baby offers him a chance at happiness but he soon finds that the Agent is not going to let him go so easily. Meanwhile the mute He Zhiwu makes his living re-opening closed shops overnight until he finds Charlie, who is trying to find her ex-boyfriend's new lover. Helping her sees He falling for Charlie himself and ending up hunting for her when she disappears.

Thanks to a really poor service recently from my cable TV provider, I had a poor reception on this film and that may be part of the reason that I found this difficult to really get involved in. I say this from the start because I think the film has major flaws and I suspect that newly converted fans of Kar Wai Wong will just dismiss my opinions as those of a fool (maybe they are right). With his newest film about to be one of his widest releases yet in the UK, I chose to step back for a minute and view an earlier film just to allow me to view his new film and see how he has changed (if he has) from early days, through Mood For Love up to his present state. The first thing that hits you about this film is really the thing that is the main reason for watching the film – the visual style. Kar Wai Wong is undobutably a great stylistic director and this film is beautiful to look at and features some really imaginative shots. Chris Doyle's vision of Hong Kong is excitingly fluid and works well with the direction and the film is visually consistently engaging.

The problem I had with the film was that the material didn't get anywhere near this sublime level and I found the whole thing to be rather messy and unengaging. The plot is delivered with energy but it still doesn't really hang together and it almost feels silly at times. I must admit that I gave it as much time as I could but after an hour I didn't care about the characters any more than I had before I saw the film; I still watched the film but was interested by the style a lot more than the story. Reflecting this I didn't think the cast had a great deal to do and that Wong, as he seems prone to do, stole the film from under them by becoming the reason for the film and not the deliverer of the film. Lai and Reis are good despite the material but for the most part I just didn't get into Kaneshiro or Mok at all.

Overall this is not a bad film and it is worth seeing; sadly it is worth seeing mainly because of the direction and cinematography. Outside of this we are left with characters it is hard to really ever understand or care about and a plot that is energetic and has some value but is too messy and unengaging. Wong has done better and there are examples of his films where his direction doesn't overly impact on the story – this isn't really one of them.

Movie is beautifully shot, cinematography is great, the atmosphere and colors, slow motion shots and visual effects are all great. Some parts are extremely boring but it fits the vibe of loneliness and sad lives the characters have. Film seems way longer than it actually is. I appreciate the visual side, characters are extrime but it still gets you tired from watching.

I love Chungking Express, and its "predecessor" Fallen Angels is okay, kind of like the prelude to Chungking Express. The night shots draw you into Hong Kong in a way the tourism promos don't for sure. You see Fallen Angels for the experience.

Wong Kar-wai's Fallen Angels dives headfirst into the cultural alienation and milennial dread of modern-day Hong Kong. The film has a distinctly detached feeling about it that is certainly close to what its characters must feel. Some scenes are hypnotic and dreamlike, while others seem brutally real. The film's characters always seem to be wandering, or, perhaps, simply going through the motions of life. The voice-overs - which Wong uses as effectively as any director since the heyday of Terrence Malick - effectively add an extra dimension to the characters. The ending of Fallen Angels is one of the most beautiful, poetic, and true ever filmed.

While this film's predecessor, Wong's Chungking Express is a wonderful, exceptional movie, Fallen Angels is ultimately superior - a masterpiece that Wong only surpassed with his last film, the astonishing In the Mood for Love. Still, while In the Mood for Love may be Wong's best film to date, Fallen Angels remains (as it probably always will) the quintessential Wong Kar-wai picture in that it perfectly embodies the bold, Godardian, recklessness that the name Wong Kar-wai immediately brings to mind. 10/10

Fallen Angels: like the companion movie (Chungking Express), it's a pure cinematographic gem born unexpectedly. Wong Kar-Wai and Chris Doyle were working on Ashes of Time, and the project was exhausting. They decided suddenly to put Ashes of Time on hold and to produce quickly something light, unpretentious, just to warm their spirits. There was no script, just a loose idea: some slices of life in today's Hong Kong, kind of romantic comedies with young heroes hanging around Chungking Mansions and Midnight Express. Two vignettes were made this way, with young cops falling in love, drug dealers wearing sun glasses and blond wigs, barmaids becoming flight attendants and flight attendants returning from San Francisco: this was Chungking Express, released in 1994.

As the third vignette was unfolding, it became clear for the director that the mood of the story was different, and it deserved a separate movie: that was Fallen Angels, released in 1995. Two completely distinct plots evolving in parallel, and intertwining only in brief moments and only by hazard. A young hit-man getting his assignments through a fax machine and a sympathetic and totally immature mute (played with irresistible charm by Takeshi Kaneshiro, who was also an irresistible cop-in-love in Chungking Express).

Well, a mute cannot talk, everybody knows it, but what happens in Fallen Angels is that actually nobody seems able to communicate through human speech. The agent (Michelle Reis - I saw her also in Flowers of Shanghai) who gives the assignments to the hit-man (and even visits his narrow apartment when he is out) is a gorgeous girl, unconditionally in love for his subordinate. However she never meets him and prefers to masturbate instead. It is a terrifying impression of loneliness in a frenetic city, everybody is alone there, on her or his own, deepened in her or his own thoughts and dreams, and everybody's dreams seem crazy while only dreams keep you there to not get crazy.

I remember the cabs in a region I used to live for many years: the driver had a small computer on board and all communication with the dispatcher was through the screen, no room for bargaining of any kind, no space for any human feeling, of joy or sorrow, of sympathy or sarcasm. Here in Fallen Angels it's the fax machine, the same sensation of alienation, of loss of humanity. Humans transformed in robots, keeping their human condition for themselves only, through masturbating dreams of impossible love.

And it remains the city itself. Mark Rothko has a great observation about the relation between foreground and background in an art work: sometimes the personages (or the objects) have only the function to glorify the background ("... may limit space arbitrarily and thus heron his objects. Or he makes infinite space, dwarfing the importance of objects, causing them to merge and become part of the space world"). The same observation is somehow made by Malevich when analyzing the way Monet had rendered the Cathedral of Rouen: "...when the artist paints, and he plants the paint, and the object is his flower-bed, he must sow the paint in such a way that the object disappears, because it is merely a ground for the visible paint with which it is painted." Is this movie about people alienated by Hong Kong, or is it here a meditative poem about the city itself? One of the personages in the movie has an unexpected sentence, "Buddha said, If I don't descend into hell, who will?" The sentence passes quickly and seems at first sight without any meaning in the logic of the story. Maybe it offers the clue: Hong Kong, this space of "hyper-sub-reality" (as one of the reviewers puts it), this "Űbertraumstadt of ultimate nightmare" (apud another reviewer), actually offers the image of hell, and the heroes of the story descend there, why? To follow the archetype? And if we go again to the observation made by Malevich on Monet and Rouen Cathedral, here in Fallen Angels subject and city disappear in the gorgeous cinematic language: a great movie pushing the cinematic language to its ultimate expression. A couple of great creators: Wong Kar-Wai and Chris Doyle. Let me add here that another great contemporary cinematographer was also part in the team: Mark Lee Ping-Bin.

And if I were to choose an image from Fallen Angels, this one would be: the city in the night with its endless traffic and movement and changing lights, near the narrow apartment where the hit-man inspects quietly the fax machine.