Du zhan

Police captain Zhang (played by Sun Honglei) partners with a drug lord named Timmy Choi (played by Louis Koo) after he is arrested. To avoid the death penalty, Choi agrees to reveal information about his partners who operate a cocaine ring. Zhang grows suspicious of Choi's honesty as several police officers began a raid on the drug ring.

Drug War is a crime film made and released in Mainland China by a Hong Kong film company. Naturally there is going to be an element of political compromise. All the policemen are Mainland Chinese and all the drug dealers are from Hong Kong (Take a guess which side wins in the end). Nationalism in movies has never really bothered me unless it borders on being disgusting (i.e. Michael Bay's Armageddon). That is not the case here and I don't have a problem with that. My interest is not the politics, but rather what Johnnie To will bring to drug film set in Mainland China. The answer? Not too much.

What's missing from Drug War are the Johnnie To quirks. The zany off-the-wall characters who have speech impediments and odd ticks are gone. The dramatic noir lighting, minimalistic stage-like blocking or themes of brotherhood are gone. Even the gunplay is less stylized and presented in a realistic fashion. I don't miss any of these specific quirks or tropes, but without the idiosyncratic Johnnie To stamp, what's left is a very straightforward police procedural.

The characters are servicing the plot, which is odd for a Johnnie To film because usually it's the other way round. We don't get insight into the distinct personalities of the drug dealers or police officers and their relationships (like in Election, an ensemble piece where it manages to characterize the supporting characters). We don't know if they have family members or girlfriends waiting for them at home or any backstory. The story is simply moving beat-by-beat linearly on the central question of how trustworthy Louis Koo's drug lord character is. There's nobody you're supposed to be rooting for, but things are continually changing and you simply watch awaiting the final outcome.

To, a director and producer with his own production company, has always been best when he has free reign. The limits of To's free reign authorship is that he is very culturally rooted to Hong Kong and possesses a firm voice regarding to its politics (Election), economic condition (Life Without Principle), daily life in Hong Kong (the office politics in Needing You), or even local nostalgia (Throwdown, Sparrow). As exemplified in 2008's Vengeance, a project which was co- financed by French financiers and starred French rock singer Johnny Halliday, To's directorial voice is weaker when he steps outside of his comfort zone. There is no sense of To's personal perspective on the topic of drug running, drug addiction, crime or how the police work in China through the film's story, themes or characters. That makes a bit tame because To has fared much better in the past.

In context to Johnnie To's back catalogue, Drug War will be remembered for pushing the boundaries with the Chinese Film Bureau. The Mainland police are shown working undercover and solving crimes, having gun battles with criminals and some even dying in the line of duty; these are all images that were previously not allowed to be shown in a Mainland theatrical release. Yet now we are seeing them on screen. So that is a proper achievement that's worth celebrating. The final product is probably more telling of Chinese film censorship than of To's directorial sensibilities. But I can't help but think that there is a grittier, nuttier version of Drug War lying in the corner of Johnnie To's desk that is stamped "rejected", namely the version of the story that he didn't get to make.

For more reviews, please visit my blog @ http://hkauteur.wordpress.com

I have to confess here in Canada I have no previous exposure to films by Hong Kong directors Johnnie To. Obviously he has done good work before but I just did not have the chance to see them. 'Drug War' was shown in a local art-house cinema and my like-minded friend alerted me to it.

Well, this was an interesting film experience - a Hong Kong director doing a police/drug dealer drama based in mainland China. Although other fictitious names were used for the cities, it is obvious the final, major shootout took place in a main street in Tianjin, a large city not far from Beijing. And much has been said about the long, protracted shoot-out scene toward the end, done in the John-Woo-ish manner.

I do not know if the version shown in mainland China - apparently the film did well in the box office there - is the same version that I saw in Canada. However, I suspected the China version has to be slightly edited. Still, (Spoiler Alert!) Johnnie To managed to get a film approved for the Chinese audience despite breaking one important rules: four desperadoes gunning down a large number of police officers, male and female. Now this used to be a big no-no in China. The police had to come up on top and the bad guys punished. The mass killing of cops was never presented to any screen in Chinese cinema. And then there is the lesser scene of RMB (Chinese currency) bills being burnt in place of 'ghost money' to honour the dead. Now this may just be part of drama but one can also argue about its possible political significance.

All in all, for a cops-against-bad-guys film this is well directed, with action scenes well staged and the cops and criminals well portrayed. There are also finer moments exploring humanity - e.g. a drug dealer's wife, fatally shot, still struggled to put her high-heel boots back on while dodging bullets. The ending is a tad depressing but is mostly likely closer to reality.

The drab, dusty, industrial backdrop of what is purported as the unglamorous metropolis of Tian Jin, China, tacky haute facades are the setting for Drugs War's series of raw, tension filled episodes. From a country riddled with censorship, Drugs Wars, a film by Johnnie To, is an unbridled glimpse of organized crime and crystal meth in China. Although perhaps a tad sensationalistic, the film delivers a bold statement: the Chinese the drug market is alive and well.

Louis Koo plays a busted crystal meth baron who has a choice, either help police bust a massive organized crime syndicate, or be executed. He chooses to help police.

In an elaborate tireless scheme, actor Honglei Sun dazzlingly plays a police officer portraying a criminal in the attempt to infiltrate this upper echelon syndicate. The best scene of the film is when Sun's character is forced to rail two massive lines of crystal meth as part of this act. The effects of the meth play out into a powerful piece of cinema. Post- OD, literally having come back from the edge death, the chase for the criminals continues with out a flinch.

At times this police tenacity is too exaggerated to be believable. The chase for the bad guys goes on endlessly for days. None of the cops ever eat or sleep. They seem to have inexhaustible resources at their disposal. They are able to commandeer an entire harbor just to put on a show of authenticity for the crooks. The cops risk their lives over and over, and for what? To rid the world of a few truckloads of drugs? The conventional divide between the good guy cops and bad guy criminals doesn't blur, until it does. After an epic final gun battle, we have no idea who's who.

Drug Wars attains excellence as an action movie and serves as a rare example of a controversial work to emerge from a country that produces so much state-approved propaganda. More @ getthebonesaw.blogspot.com

For the uninitiated, 'Drug War' marks acclaimed Hong Kong director Johnnie To's first crime thriller to be shot in Mainland China, an understandably wary prospect considering how his usual sensibilities in the genre are highly likely to run afoul of the Chinese censors. But fans of the auteur can rest easy – To is as sharp as he has ever been here reuniting with his regular screenwriter and producer Wai Kar-Fai, delivering a tense and engrossing procedural around a complex anti-drug trafficking police operation.

To be sure, the subject matter is an extremely risky one – after all, the tough stance that the country has adopted towards drugs means that the authorities are only going to scrutinise a movie about that hot- button topic very, very closely. It is therefore somewhat of a miracle that To manages to remain politically correct without ever being preachy, and even better, to mirror the authorities' no-nonsense approach while offering the kind of nail-biting entertainment perfectly accessible to mainstream audiences.

But then again, we should have expected no less from To, and right from the get-go, we are treated to both Wai Kar-Fai's elegant storytelling and To's classy direction. Cross-cutting seamlessly between two seemingly unrelated series of events, To introduces his audience to Louis Koo's Timmy Choi, who is seen driving away from a factory billowing in smoke while foaming at the mouth, gradually losing consciousness until finally he crashes in spectacular fashion through the glass walls of a restaurant. Meanwhile, Sun Honglei's Zhang is on a dilapidated bus going through a toll booth, whose commuters are really mules transporting drug-packed ovules within their body.

When his partner-in-crime panics after their overheated bus pulls to the side just after crossing the booth, Zhang reveals himself to be no less than the very captain of the narcotics squad. At the same hospital where Zhang and the other drug mules painfully excrete their smuggled goods, Zhang runs into an unconscious Choi, covered in skin lesions and bearing the unmistakable whiff of a drug-making operation. Immediately, Choi is put into surveillance, but Choi's identity only becomes clearer when he is brought into questioning, turning surprisingly compliant as he tells Zhang that he is but a middleman between a rich businessman turned drug dealer Boss HaHa (Hao Ping) and a powerful supplier named Uncle Bill.

Even then, Choi remains an enigma – we're sceptical of his plea to escape the death penalty in exchange for his cooperation – and yet a cautious alliance emerges between the tough grim-faced Zhang and the persuasively suppliant Choi. Keeping the proceedings entirely realistic, To unspools the action through a series of undercover infiltrations, surveillance and stake-outs filmed with the same breakneck urgency and unnerving tension of such real-life operations. Moving from posh hotels to lavish cabaret nightclubs to busy seaports, To switches from location to location without any let-up from a consistently gripping pace.

Yet despite the breakneck pace, each sequence is tautly choreographed. Particularly effective is the pivotal setpiece in the middle section, which sees Zhang masquerading first as Uncle Bill to meet Brother HaHa and then posing as HaHa (the character's signature hysterical laugh included) to meet Uncle Bill's representative. Both close-quarter setups ripple with edge-of-your-seat tension, with Zhang's charade threatening to unravel itself under the villains' scrutiny. Also worthy of mention is the film's climactic shootout in front of an elementary school, as Choi finally reveals his hand as a cool-blooded conniver interested only in his own self-preservation. Though less violent than the usual To actioners, the action is nevertheless exhilarating in its rawness, with To subverting genre expectations of who dies and who prevails.

In true alpha-male fashion, Zhang remains an inscrutable character throughout, defined only by his doggedness when hunting down his targets. Ditto for Choi, who doesn't get any backstory to explain how or why he got into the drug business. Like 'PTU', To keeps his focus singularly on the nuts-and-bolts of the police work at hand, deliberately refusing to let his audience get to know more about any of the characters aside from their relative positions in the unfolding mission. Such a clinical approach may frustrate some viewers, but anyone who's been a fan of his trademark understatement will embrace it – along with Xavier Jameux's pulsing score – as nothing less than To's brand of cool.

Just as certain to delight fans is a nifty twist late into the story that turns the movie into a reunion of sorts for To's regulars – Lam Suet, Gordon Lam, Eddie Cheung, Lo Hoi Pang and Michelle Ye. Of course, that's not to diminish Sun Honglei and Louis Koo's strong lead performances – the former bringing gravitas and an unexpected touch of humour when imitating HaHa's over-the-top behaviour to an otherwise stoic role; and the latter playing both cunning and desperate in thoroughly engaging fashion.

And so despite the Mainland setting, 'Drug War' remains a distinctly Johnnie To movie, using the bleak wintry settings of the Mainland city of Tianjin to lend the film and its subject matter a gritty sobering feel. Eschewing the visual aesthetics of 'Exiled' and 'Sparrow', it is also easily his most commercially accessible action thriller of late, with a documentary-like realism that mirrors Derek Yee's style in another drug-themed movie 'Protége'. Like we've said, To's fans will enjoy this as much as his previous works, and this is a movie that demonstrates once again why he is easily one of the best directors in Hong Kong today.

Johnnie To seems to be one of the most adept directors working in Hong Kong today; in the recent fifteen years or so he's built for himself an impressive body of work, concentrating almost solely in the thriller genre. His films usually involve cops or gangsters, all of them equally tough, and his detailed plots inevitably involve lots of death, betrayal, and bloodshed.

DRUG WAR is no different; it's the third To film I've seen, and by far the best. This is a pulse-pounding thriller that moves exceptionally fast, requiring the viewer to pay close attention throughout in order to keep up with everything that transpires. To's requirement above all else is for ultra-realism, making this a low key and often subtle piece of filmmaking, and an exemplary example for Hollywood directors keen to make their wham-bang thrillers.

Louis Koo headlines the cast in an intriguing role as a leading drug dealer who's caught by the police and forced to help them bring down some even greater criminals. What this leads to is a unique and fresh-feeling storyline, one that's hard to predict throughout, with the emphasis almost entirely on suspense sequences. Most of the action is limited to the climax, which stages a tense shoot-out on an even more epic scale than the one in HEAT. It's great stuff indeed and the perfect end to a great thriller.