2000 AD

With 2000 AD, director Gordon Chan cements his status as modern Hong Kong cinema's "King of Gun Battles". While his peers seem intent on putting together shootouts which are either a) amateurish and poorly edited (Extreme Crisis, Blood Rules), or b) oblique and artsy (The Mission), Chan proves there is at least one director left in Hong Kong who can deliver thrilling and explosive gunfights like nobody's business. He's not a John Woo clone though. Unlike the slow-motion beauty of Hong Kong cinema's most successful export, Chan prefers a hard-hitting and realistic approach. Think of the gun battle in Michael Mann's HEAT, and you will get an idea of how Chan likes to shoot and edit. Besides the action scenes, 2000 AD is an average Hollywood-style thriller. The story won't change your life, but you will be amused and that's enough. Best of all, the movie is WELL-PACED! That's one skill the current crop of HK directors seem to lack - Their films are too slow. Not 2000 AD. Well paced, good acting, amusing story, and awesome action. What are you waiting for?

2000 AD is a big HK 2000 Lunar New Year (February) movie release, made to capture as large an audience as possible with its story of a struggling video game designer (Aaron Kwok) who gets drawn into an Asian shadow world of spies, counter-intelligence and killers. An opening sequence involving the bad guy's way of delaying the arrival of some officials employs great visual effects, supplied in part by the technicians who worked on Independence Day and Gen-X Cops. Gordon Chan, the director of this action movie, does a good job choreographing the shoot-outs, fights and car chases. The story borrows some plot elements from The Net, but unlike Sandra Bullock, Aaron Kwok is the chaser, after the guys who murdered his brother in a bloody sniper attack. It is not Shakespeare, but 2000 AD moves fast, has colorful Singapore location shooting (no caning sequence here) and introduces great looking Singapore actress Phyllis Quek as key player in the action. Except for some ultra-violent sequences during the shootouts, 2000 AD is a fine, action packed movie.

This Chinese cyber thriller takes absolutely ages to get going. The entire first half of the film is filled with the machinations of a rather uninteresting cast of geeky characters, of whom there are far too many including lots of extraneous types (like the hero's girlfriend). Then, after a set-piece ambush, the story finally starts moving and it all gets rather better from that point in.

The plot, involving cyber crime at the turn of the millennium, is inevitably rather dated by today's standards, and watching people chase around and downloading data onto disk is a little cheesy. The inclusion of some ultra-low budget CGI effects, such as a plane explosion, doesn't help things. But when it comes to the action, director Gordon Chan doesn't disappoint, filling the latter half of his production with a series of hard-hitting shoot-outs that really make an impact, utilising bloody squib hits to their maximum advantage. Okay, so the ensuing martial arts fights aren't quite as well choreographed as the gunfights, but who cares? Young, dashing hero Aaron Kwok leads the proceedings, transforming from a geeky-type character into a rather unfeasibly tough, battle-scarred hero. A subdued Daniel Wu plays his friend, confidante and business associate, but doesn't have a great deal to do, although beautiful Malaysian actress Phyllis Quek is a welcome addition to the cast list. One of the best characters is an investigating cop, played by Francis Ng, who steals every scene with his layered performance of real depth. And watch out for Jackie Chan's former bodyguard, Ken Lo, playing an evil sniper.

Ever since John Woo, Tsui Hark, and Ringo Lam left Hong Kong for Hollywood, there's been other directors trying to fill their shoes (even though Hark and Lam came back to Hong Kong recently). Gordon Chan is one of the directors to fill in the shoes along with Wong Kar Wai to make Hong Kong films just as good as their predecessors.

I read an interesting article about Gordon Chan. It talked about the shooting a movie in Hong Kong is really quick and fast. A lot of the action movies would be heavy in action sequences but lacking in character development and story. For example Tsui Hark's "Time and Tide" and Benny Chan's "Gen X Cops". Chan wanted to bring back the slower approach of filmmaking that was done by John Woo. John Woo would take months compared to the other directors who would take a few weeks to direct a film. With the slower approach, there would be more depth in the story and the action scenes. This film is a good example of that.

The action scenes are incredible! The shootouts remind me of the shootout in Michael Mann's "Heat". The characters were very intriguing like Aaron Kwok's character Peter, who is introduced as a guy who doesn't seem to have direction in his life. Peter's computer company is failing, but doesn't seem to care because he spends his time playing video games and wasting his money. His older brother, Greg would look after him and from time to time give him money so Peter can get back on his feet again. Later in the story, Greg gets killed and you see the transition that Peter makes. He quickly grows up and becomes more responsible. What drives him is to found out who killed his brother and why. The other character I found intriguing was Francis Ng's character as a GSU agent. He's a cop with morals and has a lot of experience. The score really sets the mood of the movie and it reminds me a bit of "Heat". Overall very good performances by everyone.

The only flaws was the realism. I know it's a Hong Kong action flick but why does everyone seem to know Martial Arts in this movie? Peter who is suppose to be a computer programmer and how the hell does he know Kung Fu? The other thing that bugged me was it seem to be too many characters sometimes. It was a bit hard to follow what's going on but not as bad as "Time and Tide".

I really enjoyed "2000 AD" and I'm looking forward to watching Gordon Chan's "Beast Cops". I heard that it was better than this one. So I really can't wait. So if you wanna enjoy a solid Hong Kong action flick go watch this one.

Hong Kong used to be seen as the home of unintentionally comical chop-socky movies of interest only to kung-fu freaks and those too lazy to reach for the remote and, while that's not a fair assessment of that country's current output, it's not a totally undeserved one concerning its past. So it makes a refreshing change to see that Hong Kong – along with other Asian countries – has begun producing stylish and energetic efforts like 2000AD.

Hollywood is obviously a major influence on this film – not least in the fact that the writing credits are shared between director Gordon Chan and American screenwriter Stu Zicherman (Chan took Zicherman's English screenplay and translated it into Chinese, although chunks of English dialogue remain). The storyline is typical Hollywood high-tech nonsense, but it's engaging and exciting, and injects high-adrenaline action sequences that match anything that has come out of the States – or anywhere else for that matter – in the last ten years.

The complicated storyline focuses on Peter Li (Aaron Kwok), an immature, bespectacled computer geek, who quickly matures after witnessing the assassination of his older brother while in police custody, and finds himself sucked into an ever-widening morass of lies and deceit as he struggles to identify the killers. Able to trust only a handful of the numerous characters offering him support in the aftermath of his brother's murder, Peter soon finds himself the target of the assassins, and becomes immersed in a world that mirrors that depicted in the video games at which he is so adept.

The core of the plot regards the search for a computer program that can destroy the world's computer network with the press of a laptop button, but that's really just a plot device from which an explosive cocktail of explosions, shoot-outs, car chases and fist fights are developed. The story starts slowly, introducing us to a bewildering array of characters that take some little while to sort out, and it's only after the first thirty minutes that the action kicks in. Despite this, it has to be said there's not a lot of character development going on in those first thirty minutes: Peter transforms into a grim-faced avenger, mysteriously jettisoning his geeky spectacles, and adopting a sort of Bruce Lee persona that never quite rings true; but, apart from thirty-eight-year-old Kenneth Ng, who delivers a superbly understated performance in the regrettably small role of Officer Ng, a senior police officer approaching his sixties, the other characters are nothing more than cardboard cut-outs – especially Janet (the wonderfully named Gigi Choi), Peter's girlfriend, who is given absolutely nothing to do throughout the entire picture.

But, then, since when was characterisation allowed to get in the way of an action flick? Chan hasn't set out to create true-to-life people in a true-to-life world; he's attempted to recreate the breathless, high-speed pace of a video game, one in which his hero has to ascend various levels before the game can be completed ("This isn't a game", says Ng at one point, "you can't start over again").

Director Chan, an insolent little brother to the Hollywood high-rollers, delivers the breathtaking action sequences with no little style, eschewing the slow-motion ballet so beloved of John Woo and his many pale imitators (who now, ironically, count Woo amongst their number) for furiously kinetic displays of concentrated carnage. Chan's gun-battles somehow manage to illustrate the brutal violence and terrifying confusion of the moment without confusing the viewer, and he stages each massacre with flair and purpose and attention to detail that is unusual (the car park shootout is actually a homage to the notion of the samurai's sacrificing of their lives in Kurosawa's Ran). True, he overplays his hand, leaving little for the disappointing showdown with the villainous 'cowboy' (another dig at Hollywood?), and some loose ends are left hanging (presumably for a sequel that has so far failed to materialise), but if what has gone before hasn't left your appetite sated then you've probably never seen an action movie you've liked.