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Although it is by no way, near To's best work, it is still a lot better than the best many other directors have ever achieved. And just because To tries something lighter (story-wise, violence-wise, although the latter isn't really happening), it doesn't mean it has to be bad.

Of course the To fan, might expect something else. But this is more a love story, even in the more important moments, it goes a completely different route, than one might expect. One particular action scene is more or less choreographed like a musical number (kind of "Singin in the rain" literally ;o) ). Talking about/of music, there are a few people who might be put off by the music. But I felt it suited the movie very good!

"Sparrow" was a fairly mediocre movie by the usual Johnnie To standards. While that is said, then the movie is interesting enough, but just didn't manage to rise beyond mediocrity.

With Simon Lam and Lam Ka Tung on the billed cast list, it was hard not to be thrilled about this Johnnie To movie. And while they performed quite well, they were severely limited by the storyline and script.

The story is about a gang of pickpockets prowling the busy streets of Hong Kong, whom are all trailing after a mysterious and alluring woman.

I will say that the storyline was fairly shallow and limiting to the entire movie. But there were some nice moments and turns in the story along the way. But the overall result wasn't particularly impressive.

Visually then "Sparrow" does offer some nice things and the camera-work in the movie was quite good and interesting.

"Sparrow" is quite a different movie compared to the many others coming out of Hong Kong cinema, and I do enjoy Asian cinema quite a lot. And, of course, director Johnnie To can't be hitting gold every time he directs a movie, and "Sparrow" was, in my opinion, a swing and a miss.

Thives with razors on their tongue, seemingly interesting characters. No credibility. I was reminded at all times that I was watching a movie. The lack of presence in characters and looseness between the scenes made me awfully aware about the acting. This is some times the case when a director makes something for himself and comes blind to his own work. He forgets to tell the audience the stories of the characters. Maybe he forgot the stories in his head. One is left to wander from image to image, carefully chosen pieces of Hong Kong city scape. Clever tricks and beautiful images though aren't enough to make the movie complete. Three years in making and it shows. Where is the focus? Scenes are loose and connection between feels like shorts put together without adding up or building anything. Johnnie To achieved a cool style but forgot the characters. I like fun light movies but with no connection to the characters and story, the movie left me numb. The Finale comes out of nowhere. The build is a joke.

A band of pickpockets all fall for the same woman - who targeted them secretly because she has a job for them .. To rob a wealthy man who once aswell was a famous pickpocket, and save her from his entrapment

Pieced together over three years, Sparrow is a short, sharp and wonderfully charming passion project and tribute to old French New Wave cinema. One that unfurls like an elegant ballet and excels at capturing a romanticised Hong Kong that feels particularly warm and inviting, yet comparatively rich in a relaxed sense of charm and play. While this one didn't immediately grab me as effortlessly as other ventures by Johnnie To, it won me over in the end, as gorgeous lighting and musical score by Xavier Jamaux and Fred Avril virtually dance across the screen. There is relatively little dialogue involved, so the music ends up providing much of the guidance with a series of witty and self-aware compositions that go a long way in making the funnier elements succeed. This near-silent treatment makes the film stand out from its contemporaries; without much in the way of talking, attention is re-directed to the physical performances, the music, and the beautiful photography. The film happily canters along, bathed in gorgeous lighting and drenched in atmosphere, but Sparrow equally feels like it comes with a sad and rather heavy dose of lethargy. It flies where it will, ever joyous and blissful as the slow-burn of a cigarette in a lip-glossed mouth and the languid sprawl of Hong Kong give the film an arty insouciance. There's sound and fury here, and while it may signify nothing, it's still something to behold.