PTU

I don't agree with Philay Chan at all. I mean, are you digging at the acting and minor stuff like score (score's not important in this movie. There isn't even a score in most of the scenes) just because everyone love this movie and applauded that night and you want to sound A LITTLE DIFFERENT?

I am not asking you to like this film when you don't, but the basis of your analysis is rather weak. I mean, I won't say the acting is brilliant, but it's definitely not spoiling the film.

Apparently, "P.T.U." is about the plot, the visuals, the humor, and most important of all, the minimalistic approach Johnnie To used to tell his story.

I will give it 4 out of 5 stars. Yes, it's not a masterpiece, but I was surprised to see that the only comment we have here is a negative one. This film is a great witty popcorn flick.

This Hong Kong policier is a classic of its kind, a technically updated version of what America has not produced in fifty years. Lloyd Nolan or Lee Marvin could walk on at any time. Tough cops and tough criminals beat each other up without whining. It is ultra cool and thoroughly enjoyable without asking any earth-shattering questions. The only way to not like it is to not like the genre.

I'm convinced that much of film is reverberation from the phenomenon of noir. The key element of noir was a capricious fate that both played arbitrary havoc with lives and flavored the eye of the camera.

I am not thoroughly steeped in Hong Kong work, but there seem to be three main communities: the deeply cinematic experimentalists led by Kar-wai, the stylistic ballet of Woo and company and the neo-noirists. Unfortunately, these can superficially appear similar in many respects. But I think here we have a clear case of the third.

The game is dark. Everyone seems to think they are in charge, but no one is. Luck plays the key role and many coincidences appear. The camera eye is based on the long lens.

I'm beginning to appreciate cinematographers who exploit either the long or short lens. I think it is impossible to do noir with a short lens because it is so obvious that the eye is within the space of action. But few noir films go so far, so long as this one.

Forget the story, which is only to convey the accidents and lack of control (except for the central scene where one character tries to get another to rub a tattoo off his neck). And forget the characters; they are just tokens borrowed from other movies. Just revel in the philosophy here: why does a world exist where everything is a matter of chance, but you as the viewer always, always happen to be in the right place to see everything?

Ted's Evaluation -- 2 of 3: Has some interesting elements.

Johnny To returns to THE MISSION territory, where style is of utmost importance, and dialogue is for weak directors who can't tell a narrative film. Or at least that's one of many conclusions to be drawn from PTU, a film that has less to do with telling a story than it is to look, feel, and be cool. And yes, it is quite cool to behold.

Simon Yam leads the cast, once more proving that any movie starring Simon Yam, Anthony Wong, or Francis Ng can't be bad. PTU further proves this theory of mine.

The ending deserves mention, because it will most likely be pointed out to by many people. The ending will only seem "weak" if one takes the film seriously up to this point. This is not a movie, this is a study of movement, of telling a movie without actually bothering with all the things that encompass the making of a "movie". I.e. Nothing of real consequence will have happened by movie's end.

7 out of 10.

A police captain assigns his unit to help a colleague retrieve his gun, lost in an altercation with a street-gang, before a reporting deadline expires.

Just as much as the style and the look, it's the choreography and orchestration - and the way To shuffles the characters and objects about on his late-night chessboard; and the sound-scapes, in addition to the glorious night-lit streets and skyline which delight almost to the extent that the opening restaurant confrontational, ultimately tragic, musical chairs and climactic set-piece shoot-out serve as mere book-ends for what comes between. Or even, as brief irritants.

The characters don't particularly matter either - although there are some particularly wonderful-looking villains - because they're all just pawns for this visual, and aural feast.

You've seen plenty of tyre-squealer car-chases - maybe you've seen too many of them; To's come up with a new angle: the cars that glide at intervals through city streets, unobtrusively, apparently disinterestedly, and almost noiselessly - perhaps just to get you thinking "now I wonder what they're up to'? A crime film where all the cars keep within the speed limit? Shurely shome mishtake?

And then there's the kid on the bicycle: by the time of his third sighting you're wondering is he a midget gang member, or undercover cop - or afterhours drugs mule, even; and will it be his fate to be ripped apart with bullets, by all sides? How cruel could that be, for somebody so young? It's all about building tension, and keeping you on edge - or maybe filling in the spaces on that chessboard.

There are some great scenes and ideas, too - of course: as with that opening restaurant scene where various customers get re-assigned according to their place in the hierarchy, and phone messages that we only later become privy to, have fatal consequences. Then there's the tense confrontational scene in the video-game arcade, with the array of flashing video screens vieing for our attention with a synchronised symphony of unanswered cell-phones; and there's the men in cages, bent over almost triple.

Thematically, it reminds me of Kurosawa's 'Stray Dog' - and there may have been more than one scene of that classic referenced; visually; and to a certain extent narrative-wise, it reminded me of Scorsese's 'After Hours'. The boy on the bicycle reminded me of the boy in 'The Third Man', and also of 'M'. But these were only in passing: To obviously has his influences, but his style is all his own. And, sometimes, style matters.