Combines “Seven”, Kim Ki-duk’s “Pieta” and Johnnie To’s motion aesthetics in essentially the most clever approach doable.
Simply once you thought that the type of HK motion motion pictures is lengthy since gone, right here comes “Limbo” to show the precise reverse, in a quite spectacular title that appears to mix “Seven”, Kim Ki-duk’s “Pieta” and Johnnie To’s motion aesthetics in essentially the most clever approach doable.
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The movie was initially reviewed again in 2021, when it premiered in Berlinale. Nevertheless, now that probably the greatest motion pictures of that yr is getting a a lot awaited bodily launch in North America, we thought it was time to revisit the article.
Rookie, dandy-looking policeman Will Ren has his work lower out for him, since his first case is pursuing an obsessive and particularly brutal assassin of ladies who has a fetish with chopping arms, and his accomplice is the just about ragtag, not-above-using-violence- to-get-what-he-wants, veteran cop Cham Lau. As Will quickly realizes that his colleague, opposite to him, enjoys the respect of their colleagues, he additionally finds out that he has an agenda with automotive thief Wong To, a younger woman who, within the midst of maximum bodily punishment within the arms of Cham Lau, can be revealed because the perpetrator of an accident involving his household. Finally, in an effort to atone, the woman presents to assist the 2 of their analysis, however quickly finds herself the goal of revenge from the folks she betrays, whereas the detective’s perspective in direction of her by no means tones down. Because the three discover themselves “misplaced” within the labyrinth of Hong Kong slums, the killer continues his spree, and nobody appears to be secure from his mania.
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The dynamics of the 2 cops, with the skilled lowlife and the idealistic rookie, is the primary level of excellence right here, because it permits for a pressure between the 2 that carries the movie in its starting, as Cheang introduces his characters by varied episodes that linger between the extraordinarily violent and the dramatic (the “Seven” reference).
The looks of the Wong To, and the impression it has on Cham Lau’s total demeanor and finally, on the connection of the three, additionally alerts the start of the motion within the movie, which, ranging from the chase between the primary two, signifies how relentless and brutal the film goes to be. This, quite prolonged sequence, which is far harking back to Johnnie To’s type of motion and notably the best way he edited his scenes, highlights each David Richardson’s job within the explicit facet, but additionally the quite spectacular monochrome cinematography of Cheng Siu Keung, which finds considered one of its early highlights within the scene the place hunter and hunted descend from the roof of a car parking zone.
Cheng’s glorious work additionally transitions to the subsequent level of artfulness, with the best way he makes the slim streets primarily a personality of the narrative, being among the many greatest property of the movie, much more so in the best way they mirror the dead-end the entire protagonists finally finds themselves in, each mentally and in actuality. This half, and notably the lifestyle of the slums is introduced is what most reminds of Kim Ki-duk’s portrayal of roughly the identical setting in “Pieta”.
The identical applies to the punishment Wong To receives, with the woman being the recipient of just about fixed violence from all sides, in a quite shockingly impactful efficiency by Liu Cya, whose braveness and resolve in entrance of all of the tragic issues that occur to her being one of many particular highlights of “Limbo” Even when her half just isn’t that vocal, it’s simple to say that she steals the present, in a side that really strikes away from the standard tendencies of exploitation movies, the place victims are often there simply to be paraded by the violent scenes.
The second spectacular efficiency comes from Lam Ka-tung as Cham Lau, whose despair, obsession to actual revenge, and unhealthy cop perspective kind a quite intriguing amalgam, which is significantly introduced by the Hong Kong veteran. Mason Lee as Will Ren principally reacts to the appearing of the opposite two, but additionally will get a lot of moments the place he shines, whereas his antithetical chemistry with Lam is likely one of the greatest elements of the narrative.
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All of the aforementioned components come collectively within the finale, which is likely one of the most brutal, stunning, but additionally well-shot motion sequences we’ve seen lately, and a greater than worthy conclusion to an amazing movie.
Lastly, this overview wouldn’t be compete with out referencing the nice soundtrack by Kenji Kawai, whose atmospheric music often supplies the one level of reduction in a film that grabs the viewer from the neck from the start, and by no means truly provides him/her a break. The identical stage of artistry additionally applies to the work completed by Kenneth Mak within the manufacturing design, with the best way the movie makes use of rubbish to current compositions that may solely be described as hellish being one other level of excellence.
Granted, the misogynistic tendencies of the basic exploitation movies (the place ladies have been getting violently punished in any alternative doable) are additionally right here, and one may interpret the identification of the killer as racist. Nevertheless, these elements are literally misplaced within the spectacular amalgam Cheang creates, whereas the firsts facet is finally toned down by the best way the story unfolds.
“Limbo” is an distinctive mixture of components that kind nice style cinema, and probably the greatest motion/crime thrillers we’ve seen lately.
