Bangkok Dangerous

A good film with a great visual style. Although I kept finding it hard to overcome the problems a deaf\mute assassin would encounter, it was something that was easily overlooked. Revenge, death and love, what more could a story ask for, and this one delivers it well. As with a lot of good Japanese movies, there is a heavy emphasis on visual style to convey a feeling, action or even thoughts of the characters onscreen, and this is done well here. Added to that is the use of audio to either cover the sound in a scene, or totally ignore it, showing the problems of the assassins' deafness, and yet at no point is this made obvious to the viewer, it's something you just notice. There's no Hollywood here either, and it's well appreciated. Watch this film, it's a good one.

Bangkok Dangerous is the story of a lonely mute who becomes a hit-man, partly to avenge himself upon the world that has alienated him. Only when he finds happiness does he realize the full horror of his life.

The film boasts some great performances, particularly by Pawalit Mongkolpisit as Kong, the main protagonist. His face is beautiful yet impassive, and his large eyes convey all the strangled emotions of a person unable to communicate with those around him.

There are many excellent moments to savour in this film, but the contrived way in which Kong's partner is forced out of retirement is ridiculous. However, despite the generic plot - which at times has a square-peg-round-hole forced feel to it - and the thoroughly predictable narrative progression, the film is actually pretty rewarding. It has a tender humanism at the centre, which gives the film real depth, and there are many moments worth savouring.

Score 7/10 (6 is too low, but 7's maybe a little too high)

"Bangkok Dangerous" reworks many familiar themes - doublecrossed hit-man in love - in a mishmash of imitation John Woo and Takashi Miike, this time in Thailand. All that's missing are the white birds flapping around. Woo and Miike need not worry. The film school cinematography is highly irritating and the first half is slow and filled with labored flashbacks. The second half, however, succeeds in building suspense and interest, thanks to the affecting performance of the guy who plays the deaf and dumb hit-man. There is a scene towards the end that is remarkably original and powerful - you'll know it when you see it. Uneven but worth seeing, if only for the novelty factor - how many Thai films have you seen?

This movie is like "Ghost Dog: The Way of the Samurai", in that they are both films where the anti-heroes are vicious professional killers, molded by the circumstances of their youth, both awakened to the possibility of love. But I liked Bangkok Dangerous much more, in that the grit seemed less contrived.

The reference to Charlie Chaplin is significant. In Thailand, Chaplin is revered even more than the French worship Jerry Lewis. To the Thai people, "The Little Tramp's" struggle against the domineering authority figures of his world is something that the average Thai relates to deeply. In Bangkok Dangerous, Kong, the killer, is a little guy buffetted by forces he doesn't fully understand -- but ultimately ones he fights back against.

Don't be too critical when watching this. Just settle back and enjoy it; and you will indeed.

I thought it was actually a pretty superior 'hitman' film.

If you want full-on action in a style of early John Woo, then no, it is probably not perfect for you, but the directing is excellent, the character development is good, and the idea as original as any other.

I liked it, and liked the style particularly. It does borrow a lot from early Woo i guess, but it is borrowing and not stealing. There is enough originality of idea and of direction. The acting is pretty uniformly good as well. The critics in Toronto liked it too. (see awards and nominations)