Motorway

I am not particularly interested in cars of any type, and with the over exaggerated things in "The Fast and the Furious" movies, then it was nice to see "Motorway". It is a lot more realistic than many other car movies, and best of all, it has proper actors in it who actually possess an ounce of acting talent.

The story is about Cheung (played by Shawn Yue) and Lo (played by Anthony Wong) who work in a specialized department of the Hong Kong traffic police department. When they learn of a planned heist, all bets are off, and their driving skills are put to extreme limits.

Story-wise then "Motorway" was alright, although the story did lack a more comprehensive depth. But it was easy to follow, straight forward and right to the point.

The movie was full of car chases, and does put "The Fast and the Furious" to shame. It was elegantly filmed and it was as if the audience was right there in midst of the gasoline-injected action.

But the acting in the movie was really outstanding. And what made me buy this movie, aside from my love for Asian cinema, was that Hong Kong heavyweighter actor Anthony Wong was in it. And he performed very well, and together with Shawn Yue, they managed to make an otherwise flaccid movie genre interesting to watch.

If you like Asian cinema, and if you like cars, of course, then you should most definitely sit down to watch "Motorway".

Review by Neo (Andrew Chan) FCCA

"Motorway" is well directed, produced and possesses some exhilarating car stunts, but leading star Shawn Yue fails to make his character interesting to follow My personal interest in director Soi Cheang's works dates back to my 2004′s "Love Battlefield" review. Quoting myself in the 2004: "Director Soi is a brilliant director that knows how to 'cheat' the audience but not in a bad way, but rather a terrific way." Back then, Soi was only starting out in his career and that movie took me by the storm and by the end of the film, I was overwhelmed by how much I cared and emoted with the characters and the situation. Since then, Soi continued to venture further into this path and made some wonderfully dark and character driven thrillers like "Dog Bite Dog", "Home Sweet Home" and his first encounter with Shawn Yue in "Shamo", before Soi began his association with Johnnie To's Milkway Films beginning with 2009′s "Accident". In many ways, "Accident" is Soi's first half-hearted crack at commercial cinema before going full on commercial for the first time in his latest corroboration with To in "Motorway". It is not necessary a bad thing, as there is still a certain degree of emotional core in his work, but it lacks the character of his earlier films. Despite, "Motorway" comes off engaging and entertaining, but with a team of Soi and To, one cannot stop the flow of greater expectations and in turn, "Motorway" comes off as one of the pair lesser works in comparison.

Having met Shawn Yue earlier this year at the "Love in the Buff" world premiere, you can tell that he is a man full of confidence and is now at a stage and age where he is ready to really carry the film and burden the shoulders of the male leading roles. Therefore, it is all the more disappointing to see him fail to add anything to his character and to be totally honest, he is fast becoming more wooden and stoic than ten years ago. In the Hospital scene, which was supposed to be film's most dramatic moment, Yue failed the audience by covering his faces when he is weeping in tears. For god's sake, it is his only moment in the film where he can display genuine emotions and set up a finale where the audience can actually care about. Instead, we are left with the audience starring at how cool the car drifting in tight angles is rather than caring about the person driving the car. If Yue continues to act like this, he is simply wasting his time and opportunities to become a truly long term box office draw card or acting award nominations. However for the sake of the future of Hong Kong cinema, I sincerely wish to be proved otherwise.

On the other hand, Anthony Wong is simply amazing in his role as the retiring cop who has done it all before. Wong is the reason why the film possesses an emotional core and in many ways it is him, not Yue that carries the burden of engaging the audience along for the ride. He is the perfect example of an actor in a car chasing scene, where the audience cares more about his well-being and safety rather than how fast the car is going or how cool the next drift will be. In many ways, the film relies so much on Wong, that the film essentially ended when his involvement with the film departed as well (trying my best to avoid spoilers).

Adding to the mix is a strong supporting cast of Johnnie To's regulars. Michelle Yip stands out in a miniature role as Wong's supporting wife. Yip's teary eyes and expressive emotional face in the hospital scene is a perfect example of how Yue should have approached the situation. Another actor that Yue should take a page out of is long time supporting actor Gordon Lam as their police boss. Lam despite being stoic in the role is able to portray a level of depth in his character and the way he handled himself at the hospital with unspoken words and his red watery eyes tells a thousand words. In many ways, Lam is probably due for some recognition and his hard work throughout the last decade has not been gone unnoticed. Others like Barbie Hsu are wasted in a paper-thin doctor role.

All in all, "Motorway" is an entertaining and fun movie ride that will most likely satisfy anyone who enjoyed "Initial D" or to a lesser extent the Cannes Film Festival's favourite – "Drive". However, as a complete cinematic experience, the film lacks character, script and emotional depth. It is impossible not to expect more from talented director Soi Cheang, producer Johnnie To and the Milkway Team. Still, "Motorway" works because of its slick production values, quality direction, sharply edited, comprising of some well-choreographed car stunts and an excellent acting turn by Anthony Wong. It may not win any awards, but for the targeted audience, it is probably good enough (Neo 2012)

Neo rates it 7.75/10

I'm not a fan of the "Fast and Furious" style, but this honconguês conquered me, engaging, good chases, but the touch is the relationship between the policeman of the past and the future in opposition, the veteran and novice, one being a mirror of the other, lovely, it sent me deeply to the department in which I work and became personal and special, a good drama, tragic, full of action and good accelerations...

Having watched many Asian and 'Hollywood' movies about cars / street racing etc..I found this movie quite entertaining and better than many Asian 'car' movies I seen, so basically about a cop (or bunch of them) hot on a trail of a couple of robber who purposely got himself arrested to free his mate that was already captured by police - involving car chases and stunts/techniques and a planned escape routes by using very very narrow roads and the robbers proceed to do a heist / being double crossed by a rival gang etc...The police not being happy from the events of what happened, of course masters some driving techniques and skills, maybe he's been watching too much Tokyo Drift ! Title 'Motorway' itself yeah not very original and a few obvious blunders in that movie like the finale - the car chase Audi A4 (driven by the cop) and the Nissan Skyline (driven by the robber) by the time the chased had stopped the 2 wrecked cars were a Mazda 323 sedan and a Toyota Corolla Levin !!!

The classic tale of a veteran cop teaching a young rookie the ropes of the job gets a stylish and at times exhilarating twist in Soi Cheang's long-delayed 'Motorway', a movie that aims for 'Fast and Furious' thrills delivered in the understated cool of 'Drive'. It is an intriguing combination to say the least, set against the distinctive backdrop of Hong Kong with its skyscrapers, neon lights and winding Peak roads and cast with two of the best actors from the territory- Anthony Wong and Shawn Yue.

Yue plays the twenty-something brash and hot-headed rookie Chan Cheung, part of an unconventional group of police officers known as the 'Invisible Squad'. Lo Fung (Wong) is his partner, laidback, nonchalant and waiting for his retirement. Their mission? To masquerade as ordinary drivers in their police-issued Audis and go after those caught speeding on the roads and highways. An early run-in with a cocky driver who gives them the slip shows their differing attitudes towards their job- and Cheung's disdain towards Fung.

Their dynamic quickly changes when a daring breakout by serial criminal Jiang Xin (Guo Xiaodong)- whom Cheung had taken into custody- of his partner in crime, Huang Zhong (Li Haitao) at the police station leaves the impulsive Cheung biting the dust and almost losing his life. Not only is Fung responsible for saving Cheung's life, but it comes to light that Fung had once pursued Jiang Xin into the same cul-de-sac and managed to manoeuvre his way out of that very tight corner.

Though Cheung is too proud to ask Fung to coach him, the latter eventually relents after he sees in Cheung a younger version of his own self. The trick is a perfect combination of acceleration, control, steering and patience- each one of these elements useful in their own right when both Cheung and Fung are drafted into a task force formed to apprehend the two fugitives before they strike again. The plotting is that straightforward, but then again, Cheang knows that the story is meant as a device to string together the many and varied car chase sequences beautifully designed by Chin Kar Lok.

And indeed, each one of them is gripping to say the least, eschewing the usual theatrics that Hollywood is too fond of for genuine detail, precision and most of all realism. Flawlessly executed is the film's first major setpiece, the cat-and-mouse chase between Jiang and Cheung that gets the latter into the tight spot in the first place- and Kar Lok never lets the baton drop as the action shifts up onto the narrow winding roads leading up and down the Peak and finally to the iconic roads around the Sheung Wan and Central areas.

It's an exhilarating ride once the gears start pumping, with both Kar Lok and Cheang consummate drivers in keeping the tension and excitement impeccably calibrated to keep their audience on the edge of their seats. Their dedication to ensure that every one of the car chases feel authentic is truly admirable, with Cheang and his cinematographers Yuen Man Fung and Kenny Tse shooting most of the action guerrilla style without the proper permits that they probably would not have gotten.

Given the adrenaline rush it delivers, it's easy to overlook the performances of Wong and Yue. Wong's role as the reluctant mentor is archetypal, but he brings class, charisma and coolness to the role that few actors in Hong Kong can. Next to Wong, Yue is at his assured best playing the impetuous newbie who progresses from naivety to maturity. There is a low-key chemistry that Wong and Yue share, and their scenes together ooze machismo like the best Milkyway Image genre productions do.

It should come as no surprise then that 'Motorway' indeed comes from that Hong Kong factory of cool- produced by Johnnie To and featuring a whole list of To regulars from supporting actors Josie Ho and Lam Kar Tung, to composers Xavier Jamaux and Alex Gopher, and last but not least to editor David Richardson. This is easily Soi Cheang's classiest work to date, the director better known for gritty stuff like 'Dog Bite Dog' and 'Shamo' maturing into one of style and finesse under the tutelage of To.

'Motorway' may seem like Hong Kong's answer to Hollywood car-chase thrillers, but its ability to deliver adrenaline-pumping thrills with its own signature of cool is what sets it apart and makes it one of our favourite movies of the year.

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