Tit sam gok

Very good effort from the three directors. The story were made so compact that the movie appeared too short to me. Because I am not a fan for either of them, I could not really tell which part was made by whom. However, the movie has kept quite a consistency in style, to me it is already an achievement for the three.

Great layout of stages and clues were provided to the audience. Some particular points may looked chance-medley, but there were also inevitability alongside (e.g. the crazy guy kept shaking his head seems odd, but he is the man who gives convincing enough reason to bring the wanted police, the three ghouls and the police officer together.).

The blackout section was the most exciting and breath taking part of the movie. When all the forces came meet together with interaction and conflict of interests. Very dramatic and humorous, with a touch of personal loyalty for covering each other.

There were also many choices available to characters, obvious one was when the antiquary guy throwing the treasure in the reed bush, when he had kill-or-not-to-kill option the moment before. Another example is when all 4 of them got out of the bush and looked back to the surrounded cop, they kept looking till confirming the cop is really good at shooting, and passed the option on to him.

Overall, with the discussion of the human nature against survival, the movie made itself outstanding.

With all the negative reviews and opinions I had read about Triangle before watching the film, I expected to be disappointed. Actually, I was pleasantly surprised.

Triangle is by no means a masterpiece that lives up to any of the three directors' names, but it is certainly not the incoherent mess some people make it out to be. Tsui's first third establishes too many subplots, but I thought that even in Lam's third, I was able to follow everything. Sun Honglei really shines in the film, and it would be great seeing him in other Milkyway films. But what's most important is that despite the slightly confusing plot, Triangle always remains an entertaining movie - from the great car chases in Lam's segment to the typical Johnnie To shootouts in the final third, it always kept me on the edge of my seat. Great music has become a staple in Milkyway productions since the last few years, but Zerafa's score here shows strokes of brilliance, adding to the mythical tone established by Tsui in the first third. And that piece playing in the credits is beautiful!

I also really liked the ending, which in a way comments on the theme of "fate" which I thought was illustrated pretty well throughout the movie.

Sure, you perhaps need to be a huge, huge fan of at least one of the directors present here (To's style seems to be prevalent, even in the segments not directed by him) to appreciate this film, but I thought it was pretty great. Maybe people just need to be a bit more open-minded and not expect a masterpiece from three legendary directors who are just having a bit of fun - and contrary to what others said, I felt I was able to participate in that fun.

A novel idea, originating in Tsui Hark I believe, to make a film based on the old game of incremental story-telling, passing the baton between 3 of Hong Kong's (once) top directors (they should have swapped Johnnie To for John Woo and called it "The Victims of Jean-Claude Van-Damme Rehabilitation Project"). The result is, sadly, almost as incoherent as a nay-sayer might expect it to be.

The first third of the film (Tsui) is kind of scatter-shot, throwing ideas out there for the other directors to pick up on, centred around a heist movie setup with 3 main protagonists (Simon Yam, Louis Koo and Sun Hong-Lei) - setting up a triangle that clearly hints where he really wants the movie to go. This section does suffer from that amphetamine-high lack of focus that sometimes afflicts Tsui Hark when he has too many ideas for a movie, and can't decide which ones are really important.

Ringo Lam takes over just before 30 minutes in, and the mood shifts - he evidently wants to create a psychological horror instead of a crime movie, and shifts the focus more to the characters played by Kelly Lin and Gordon Lam. This part is eerie and oblique, a little surreal at times but much more focused.

Then Johnnie To comes in for the final act, and decides that the film should really be... a farce! Perhaps it's his way of commenting on the baby he has been left holding. Every character that's been introduced so far is brought back into play, along with a couple of new ones (notably Lam Suet), and the plot plays itself out in an elaborate comedy of errors hinged upon a series of entirely implausible coincidences. The finale is a gun battle vaguely reminiscent of those in THE MISSION or EXODUS, but with a more comical coating. It's a bit Shakespearean, but falls short of The Bard's wit.

The shifting of tones, and the diverting focus of the narrative, is exactly the sort of problem you'd expect a movie with three directors and three script-writing teams to have. Perhaps that was the point, and each director deliberately took the movie into their own favourite territory when they took the reins. I guess that's how it usually happens when people play the game amongst themselves (I forget the name of it, never really saw the appeal), but they perhaps failed to factor in that the game is more fun for the people playing it than for somebody who simply gets handed the end result. The production process may be interesting to talk or think about, but probably makes for a less enjoyable film than a more conventional collaboration would have.

I did enjoy Ringo Lam's section though - hopefully it's a sign he's going to be doing more work in Hong Kong again!

The idea behind this film was to get three of the best Hong Kong action/crime directors today working together. The result was each did one segment (around 30 minutes each) in chronological order with Tsui first, Lam second and To finishing it off. This would be done differently than a film like Four Rooms (1995) where each segment was basically a separate story. In this movie each director would continue after the other to move the story and characters along from what happened previously. Like many conceptual films this movie sometimes seems a bit forced, sometimes clunky, some plot angles hang, disappear and seem a bit confusing, but I still found the movie quite interesting and entertaining.

Triangle (the Chinese title is The Iron Triangle) starts off with Tsui Hark creating the foundation for the plot. It is both good and bad that Hark creates tons of plot angles for the movie to go. It gives the Ringo and later To plenty of room to move with, but also will leave either a bit too much to be either ignored and some angles barely gone over that a tighter script would have just ignored. In fact it took me a few tries to get past the beginning.

Simon Yam (PTU, Election) is Lee Bo Sam a former race driver who is friends with Fai (Louis Koo: Throwdown) and antique shop owner Mok Chung-yuan (Sun Hong Lei: Seven Swords). Fai is trying to get him to acquiesce to a driving job for a jewelry heist. If he does not Fai will receive harm from some local triad members. All three need money though. In the middle of the meeting between Fai and Lee a strange man gives those three a small gold piece and states where they can find the rest of this treasure. His motives for doing this are a mystery to the bunch. Meanwhile Lee's wife Lin (Kelly Lin: Sparrow) is having an affair with policeman Wen (Gordon Lam), states that her husband is trying to have her killed off and wants Lam to get rid of Sam first.

When Ringo Lam takes over in the first film he has directed since leaving the production of Wake of Death (2004), he ups the psychological attitude of the film and enriches the characterization. The most effective change is how the love-triangle relationship between Lam, Lin and Sam no longer appears to be the stereotypical triangle in the beginning and takes on a new bizarre dimension. Ringo Lam does a homage to Reservoir Dogs which was based on his film City on Fire so you see a homage to an homage) by using a record player, a handcuffed cop and a few other scenarios in this middle segment of the film.

The last segment belongs to Johnnie To and from the beginning where we see Lam Suet (Lam is in a lot of Johnnie To movies) we know who is directing this. Suet plays a drug addicted epileptic who causes flats in both automobiles and bikes and offers to fix them. The area where he is in has no cellular reception and a conveniently located eatery where they can wait while their vehicle is being fixed. However, Wen is there as well as the triad members who are there to purchase firearms. This is another use of the triangle in this film. To offers his normal use of "Team Spirit" themes and Mexican standoff action in this conflict triangle to make the last half hour quite interesting.

While this film never fully jells together, some plot changes are just a bit bizarre like Lin's character change (or really non-use) in the third segment, I still ended up really liking this film. There are quite enough brilliant moments that make this movie a recommendation for fans of not only Hong Kong cinema and Johnnie To, but movie fanatics as well. You just have to get past the first 15 minutes.

I have the Magnolia pictures R1 release that has two extra features: a "Making of" and a Behind the Scenes. The "Making of" is solely focused on Johnnie To's segment and ultimately not that interesting. It is mostly standing around, saying a few lines and more waiting. Behind the Scenes actually has the most information with interviews from several of the cast and crew. The region 3 release of this by Mega Star has deleted scenes, TV spots and trailers in addition to what the R1 has. I was most disappointed that the R1 does not have the deleted scenes, but it is still a worthwhile release.

The much awaited Hong Kong movie Triangle has finally hit our shores. It's an interesting project, given that 3 HK directors - Tsui Hark, Ringo Lam and Johnnie To - are combining forces to tell a story in the "exquisite corpse" style, where each one takes over from where the other left off, each injecting their own narrative style and spin to the characters and story. It's friendly one-upmanship between the directors in their bout to demonstrate their innovativeness, spontaneity and resourcefulness, but what comes through is clearly a mixed bag, expectedly so since you have three distinct creative inputs.

Does it come across as confusing? You bet, at least for the first third when Tsui creates the characters and the premise. I thought Tsui had tried to bite off more than he can chew. Then again, being the one off the starting blocks, he might be trying to provide as many possibilities and directions that the narrative can choose to adopt and examine in depth or drop altogether. And he doesn't get involved in the chewing anyway, as that's left to Ringo Lam to digest, and Johnnie To to wrap up. Tsui creates a trio who are hard pressed for cash. In Mok's (Chinese actor Sun Hong Lei) antique shop, Fai (Louis Koo) proposes to Sam (Simon Yam) about a heist, which requires them to utilize the latter's driving skills. A stranger appears and provides them an ancient coin, and a puzzle on a website which directs them to treasure (which includes lingerie!) underneath a government legislative building.

Simple enough? Yes, until we also get thrown many other subplots, some of which involves the original heist gone awry because of Sam's backing out, Sam's wife Ling (Kelly Lin) having an affair with corrupt cop Wen (Lam Ka Tung), Fai being under Wen's payroll and their plot within a plot in the original heist to bump Sam off, so that the adulterous couple can lead a new life, gangland members screwball involvement in the whole scheme of things, and the list goes on. Ideas get thrown into the mix and tossed about, and you can almost hear Tsui's cheeky snickering at how Lam and To will be able to sieve through the mess.

But fret not, I believe Lam had managed to, given that he closed most of the open threads and decided quite cleverly, to focus on the individual motivations involving a love "Triangle", and examined some of the characters in depth. This created a much needed and deserved pause for your brain to filter through the noise Tsui had caused, and made the narrative henceforth more manageable, and it did have some rather creative scenes of violence. Fans of Ringo Lam will have known of his earlier movie City On Fire, which Quentin Tarantino's Reservoir Dogs was widely acknowledged to be inspired from. And in Lam's third of the movie, he provides a throwback to Reservoir Dogs, coming full circle with a scene within a warehouse, a character in bondage, everyone else coming over for their piece of the action, with music played over a turntable.

So what's left of Johnnie To to do? He cleared the mess, literally. I thought he provided the best possible last arc for what had transpired over the last hour, with shades from the Election movie (the hunt for an artifact) and a very, very complicated setup to Exiled styled Mexican stand-offs, together with themes of brotherhood, loyalty and honour all summed up beautifully. And I thought he just had to throw in Lam Suet for comedic purposes to provide one last, but short, complication to up the ante that he too can make things complex! To does what To does best, and by the time the credits roll, you'll be pondering over what had transpired, and no doubt, I believe the talking point will be its ending.

All in all, Triangle proved to be an enjoyable ride. Just endure the messy start to get to the meat, before lasting the final sprint to the finishing line where you'll get that rewarding yarn. I'm not sure if the three directors will collaborate again, maybe they should, but this time to rearrange the order for a different film, and if they're at it, why not make it a trilogy to complete the loop so that everyone has a chance to begin, sustain, and close.