Shun liu ni liu

I really thought I would like this movie. It's Hong Kong action, which I love, and it was directed by Tsui Hark, who has directed some really good examples of the genre.

However, I was sorely let down. Yes, some of the action sequences are creatively staged and shot, and are unlike any action sequences in American movies. They were entertaining - but I could only get so involved in them. For one thing, a lot of them are so confusing, that I wasn't sure who was who, who wanted to do what, and who was after who. The editing and zippy camera movements really make it hard to get a hold of things like that at times.

And speaking of confusing....the script provided the most confusion. I did understand the core plotlines enough. But subplots and character motivations were extremely jumbled. At times, things seem to be introduced with no explanation (like the opening robbery sequence - I wasn't sure who was on each side, and what they were exactly trying to do!) Some actions by the characters come with no explanation, and some characters exit the movie before their motivations are fully explained.

As well, I didn't care for the two protagonists - they just seemed like long-haired punks to me, with nothing that compelled you to see what they would do (unlike, say, the hit man in THE KILLER.)

Tsui Hark needs to look back on his earlier movies, where there were more understandable stories, and action sequences that didn't scramble your brain with rapid editing and breakneck camera moves. When he does that, I'll be first in line for his subsequent movie.

Most people will say I'm crazy but I actually liked this movie. I think Tsui Hark is a very clever action director. I seen his American efforts with Van Damme, even though I hated both movies i did like some of the action sequences. Like in Knock Off I really liked the last shootout and in Double Team, when Van Damme's character escaped from that island.

As for this movie Tsui Hark is really given the chance to shine and this time with better actors. I thought Nicholas Tse and Wu Bai did a great job with they're roles as did Candy Lo. I was expecting more screen time with Cathy Liu's character. The acting is pretty good for a Hong Kong action movie. In other words it seem more naturalistic than compared to many other Hong Kong movies where a lot of the time the actors overact. I really liked how the movie was shot. There was this one shot where Wu bai's character jumps from the window of a apartment building and the camera follows him as he decends. It just makes me wonder how they did that.

Now for the flaws, there are a lot of characters that just show up. The plot gets confusing at times and what could of really made this movie better was a better script. I wished they could of build of the Tse and Liu's story a lot more. It was a good attention grabber in the beginning but then it gets ignored at the end and maybe more of Tse's narration of the movie. Despites all these flaws this movie was still good because of the stylish action scenes. So basically look for the action scenes and good performances by Tse, Wu Bai, Lo, and Liu. It's a good popcorn flick to just enjoy.

The effect of music videos over the past two decades on the film industry has been phenomenal. Directors such as Spike Jonze ("Being John Malcovich") & Tarsem ("The Cell") started their careers in the music video game. Soundtracks and their accompanying videos are as much part of the advertising of a movie as the trailers themselves. Most importantly, techniques used in popular music videos are often mimicked in feature films. Economy has played a large part too, and now with the popularity and relative low-cost of digital cameras and effects almost anyone can create a visually alluring piece of eye-candy.

David Fincher upped the ante of digital effects with "Fight Club". A original storyline with an even more original script, it initially received a lukewarm response before becoming a cult favourite. Mr. Fincher is an example of a director using a new medium with a combination of precise care and wonderful abandon.

And then there is Guy Ritchie. A mostly talentless hack who in "Snatch" proved that fancy camera effects and funny accents will wear themselves out if there is nothing to support it.

"Time & Tide" by Tsui Hark is both a homage to the films that helped popularize a new visual style and it raises the bar a few more (large) notches. It is by turns brilliant, relentless, and breathtaking.

"Time & Tide" follows the interweaving lives of a pregnant lesbian cop, two mercenary friends and their underworld dealings, and a pregnant surrogate woman drawn into their world. Thematically it delves into issues ranging from mafia-like loyalty to Peckinpah-esuqe themes of man entering manhood through violence. But what is most impressive in "Time & Tide" is the delicate balance of tension and release. Something that flashy directors like Guy Ritchie should be paying attention too. The last two action sequences are phenomenal and take up a good half of the movie, but with Mr. Hark's careful direction you hardly notice. The first sequence is simply unequaled, taking place in three apartment towers in the tenements of Hong Kong. The second in a train station and stadium downtown. It is in these sequences that requires characters to hold back their flaring emotions in order to survive that Mr. Hark clearly flexes his directorial muscles. In a sequence which involves a young man trapped in an apartment slowly filling with gas, its conclusion is one of the most clever bits of action in recent memory.

"Time & Tide" is the real deal. An action film that delivers from beginning to end and doesn't blow its load halfway through. It is also truly cares about its characters and valiantly tries to delve into large issues. However, it never takes itself too seriously and for any action fan this is a must.

Highly recommended. Do not pass this up.

Tsui Hark is a great cinematographer. As a director, though, his movies tend to suffer from two things - jerkiness and confusion. The latter usually stems from the former, that is, scenes often lack any sort of transition, but are put together too abruptly. So it can be hard to figure out just what the heck is going on, nor does it let the plot sink in. He tends to focus more on visuals than trying to convey a coherent story.

Time & Tide definitely suffers from his trademark style. It's often tricky to follow just what is happening. That said, there is a very good movie in here, although the main character, the young punk bodyguard, is not particularly likable.

The action scenes are quite unique, especially the fight in the tenement apartment building. I don't think I've seen anything like that.

On the down side, some of the movie, the parts trying to fill out the lives of the 2 main heroes and their pregnant women was sort of a snoozer and something of a cheap way to make the characters more interesting.

Watching Time and Tide is akin to being in a taxicab with a driver, who knows what his final destination is but has no idea how to get there, drives around really fast and somehow makes it to the end--this is not to be said as an insult, but a testament to his skill. Hark works with energy and a sense of recklessness and brevity. He only shows what needs to be shown for the smallest amount of time needed to register with the viewer so that even the dramatic scenes have a kinetic energy.

I would try to give a quick synopsis of the narrative, but I lack both the PH.D in Ludicrous and the necessary drugs to do so without confusion. I have only watched the film a dozen times or so and yet there are still moments where I am puzzled as to the what's and why's of the narrative. There are double crosses, triple crosses, Hispanic speaking Chinese gangs, two pregnant woman, 2 would-be assassin/bodyguards/dead-beat dads to be, a theme of brotherhood and fatherhood and the most elaborate action set piece ever devised. While the plot may be overly convoluted, the themes are strong and add an emotional realism often lacking in action films.

The words "realism" and "Tsui Hark" are not often spoken together, but in Time and Tide he creates a realistic tapestry within to work his hard-boiled action fantasy. An emotional connection between the audience and the characters on screen is what separates the lasting impressions from the fleeting memories of a good movie. Hark gives the two male leads in Time and Tide a purpose for what they are doing; the purpose may be far-fetched, but there is a rhyme for the reason, which elevates the action to an emotional level.

The theme of brotherhood spanning two sides of the law is not an uncommon one for Hong Kong cinema. However, Hark decided to also examine the new trends of young parenthood and children born out of wedlock. This issue was at the time a sort of taboo subject in Hong Kong, especially in an action oriented genre film. But what it does here is give the characters an anchor that grounds them firmly in reality. Viewers can relate to a young father who would do anything for his future children. The worry, excitement, anticipation, and fears of the main characters come into play and really do dictate how the two male leads react to the given situations.

In Tyler's case, he wants to do the right thing and support his child and Ah Jo even if only financially. He works hard to earn extra cash and sneaks to Ah Jo's house to slide the money under her door—he does this because she wants nothing more to do with him but he still feels responsible. What he doesn't know is that nine times out of ten her dog gets to the money before she arrives home and rips it to shreds. Tyler continues to do everything he can to be there for Ah Jo even taking a dangerous job to earn money for their future.

So Hark has established that both the main characters, although not model citizens, are decent human beings who want redemption from their pasts and strive for a brighter future for themselves, their children and loved ones. With this said though, do the ends justify the means? For all their good intentions to make things right, a lot of people end up getting hurt. However, this is a typical kind of spiritual redemption for Honk Kong action heroes—redemption through blood and bullets, and heroic bloodshed.

Before the action starts rolling, Hark gives his characters an anchor with which to ground themselves in reality. The sole purpose of this is so that the audience can relate on an emotional level to the characters and their plights. But, what Hark does when the water starts boiling is firmly rip the anchor away and send the two heroes through a gauntlet of flying bullets, fists, chases and the most dangerous baby delivery ever put on screen.

Imagine this: Many large apartment buildings, dozens of stories tall, all connected with a sort of center court yard and doors and hallways intertwined like an urban maze. Now imagine our heroes being chased through this labyrinth by ruthless Triad hit men stopping at nothing to see them dead. Jack and Tyler sprint though out the complex of destruction, dodging bullets and fists, repelling down the side of the buildings, jumping from awning to awning, stopping only to trade fisticuffs with rival thugs or to pick up a much needed clip of ammunition.

Hark's heroes are not interchangeable, they do not occupy a scene only to be a human punching bag ready to be whisked away at a moments notice by a wire harness. No, Hark's heroes, although put in fantastic situations, occupy a realm of emotional realism. He gives them a sense of humor, passions, personalities and most of the time an enormous amount of skill to kick ass. It is this very fact that separates a Tsui Hark film from the multitude of other well-directed action films. Time and Tide occupies a unique place in the action-cinema genre: not only does it elevate the action and aesthetic value of the genre, but it also adds an emotional depth often lacking from like-minded films.

Time and Tide works on two levels, as a dramatic film and as an action film, both benefiting from each other. The action becomes more intense because the audience cares for the film's characters, and at the same time the drama is more emotional because the audience wants the characters to succeed in their redemption. Time and Tide is not only one of Tsui Hark's best films, it is also one of the best examples of the entire action genre and should not be missed by anyone.