Konterr Brilliant and touching

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Logan By the time the dramatic fireworks start popping off, each one feels earned.

J_Charles Mongkok - usually cited as the most densely populated neighbourhood on earth. Having visited there a few times I concur. Even at 11 PM the area seems to be wall-to-wall people, all in a rush.Amid this setting is the story of several characters whose fates are all intertwined. The assassin, the prostitute, the gang members, the police, they all have their stories told in bits and pieces. At first they seem to be all separate, unrelated, a jumble of characters. But as the film progresses you start putting the pieces together and eventually you can see almost predict how this is going to end before it finally does.The filming is superb. The gritty look matches the story. This movie is intent on showing the ugly side of HK, the human trafficking, corruption, drugs, and the triads hold on the entire island. And the shots reflect that.The acting is uneven but overall does not distract from the story. I gave it 8/10. It wasn't a pleasant film to watch (most of my memories of Hong Kong are very positive). But it tells a story that's all too true to many of the residents in the underbelly of Mongkok.

benjamin_lappin Set over the course of three days and two nights, One Night In Mongkok sifts through several stories weaving together the joint themes of fate and sin coupled together with the violence that is inevitably associated with the genre. While being heavily praised, and winning various awards at the ever increasingly dubious Hong Kong Film Awards, One Night In Mongkok is a pretty timid affair, which sacrifices continuity, gripping characters and more over a worthy plot for pretty cinematography and an over inflated sense of self important philosophy.Throughout the duration of its two hour course, Mongkok shows promise sporadically as it never maintains the gritty integrity that it does eventually manage to capture in varying moments. The distaste for the film derives from an extremely languishing start which crescendos into a severely incoherent plot that will make the most ardent Tartan Asia Extreme fan scratch their heads in bewilderment. That's not to say the plot is incomprehensible, merely that it jumps around from scene to scene veering off at random tangents away from established story lines to eventually, and only just, making 'a' point of sorts, but never arriving at the destination from which it set off from in the first place. The director does show that he has a penchant for framing a shot, and indeed highlights his ability to create stirring and gripping moments which do provide something fresh to the crime thriller genre. However, fifteen minutes of footage is not sufficient enough to compensate for a severely Luke warm story which sets itself out as a different prospect from its contemporaries, but comes across as severely generic.That which is most infuriating about the film, is the fore-mentioned sense of self importance. While ostensibly a crime drama, Mongkok quickly descends into a morality tale of quite obvious proportions, and chooses to opt for brashness instead of subtlety when it comes to sledgehammering its point across. What point you ask? Again, the point is fairly well devised to an extent, but is extraordinarily generic, as it claims that 'good guys' are not always righteous as they appear, and that nor are the 'bad guys' as unemotional as they may be perceived to be. It also throws around a sense of karmic justice as the "it's fate would have it....and so would sin" line resonates off key throughout the films latter stages, therefore providing a justification for the director to cram home the 'twists' and 'turns' (the apostrophe's denoting a sarcastic appraisal of the terms).The director, Tung-Shung Yee comments on the social failings of the police force in Hong Kong, which culminates in a wonderfully constructed scene involving a bungled arrest turned cover-up by the police. Unfortunately his spoken text, the passing down of 'wisdom' from senior police officer to his junior proves to be a double edged sword, as it provides for the irony in the films closing moments. The problem with Mongkok is that Yee wishes to have his cake and eat it. He cannot decide whether or not he should be praising the police, or condemning them, making the audience sympathise with Lai Fu and then be forced to feel little for him. It's indecisive cinema which aims high but punches well below its weight.The main problem with Mongkok lies in that it does try to be a successful piece of cinema, it tries to be a blistering affair, and to be fair it does succeeds, but to the annoyance of the viewer only momentarily. There are unnecessary moments throughout this film like the battering ram philosophical approach or the unnecessarily chrome start to the film when the cinematography throughout is crisp and well composed. Its chopping and changing story is severely unrefined, and while the story itself can be perfectly understood it provides for rather static viewing when the story need be flowing. One Night In Mongkok sets its aims high, and that cannot be taken for granted, for rather a failed film with noble intentions than a profitable success which will forgo the integrity. But what really grates is the incessant comparison by Film Review, lower brow newspapers and certain IMDb reviewers with the simply brilliant Infernal Affairs. Having been swayed initially by the extract on the front which compared Mongkok to Infernal, I find myself not disgusted just severely disappointed with the effort. I steadied myself for a rip-roaring epic, a film worthy to be mentioned in the same breath as Infernal, and I got an Infernal Affair for all the wrong reasons. To be frank there are much grander films in the Tartan Asia collection which supercede this effort, A Bittersweet Life springs instantly to mind, and while the film may appeal to some it lacks the longevity to truly compete with which it sets out to emulate. By all means have a look but you'll be checking out once you realise that one night truly is too long a stay in Mongkok.

wongsaur While long-time Hong Kong residents dismiss Dan Dan & Lai Fu as mainland country bumpkins, Dan Dan portrays herself as being a tough & sophisticated pro to Lai Fu. She mocks Lai Fu's sweetheart as a prostitute and at the restaurant she also brags about her own earning power where she claims she has already made $8,000 in 3 weeks. Of course all the while she is showing what a gold digger she is too. However after the purse snatching incident when Lai Fu says that he will pay Dan Dan for her trouble and time as his guide in Mongkok, she asks for $3,500 and is promptly paid. Dan Dan later suffers cramps during that fateful night and asks Lai Fu to buy Panadol at the drugstore and to get some smaller bills in her purse, Lai Fu goes to get the money and sees that she doesn't have a huge wad of $8,000, only the small bills and what money he had previously paid her. At the end of the movie when she departs HK territory, she looks in her purse and realizes that Lai Fu had given her all the money that he had. It basically raises the possibility that Dan Dan had never even turned a trick while in Mongkok, that she was exaggerating her own past history, or that at the very least she may have prostituted herself but never made any substantive profit to take home to her village.

Libretio ONE NITE IN MONGKOK (Wong Jiao Hei Ye)Aspect ratio: 2.39:1 (Panavision)Sound format: Dolby Digital(Color & black and white)A frazzled police squad searches the Mongkok district of Kowloon for a hired killer (Daniel Wu) whose latest assignment - the targeting of a drug lord responsible for another criminal's death - could ignite a horrendous Triad turf war.Terrific crime drama, filmed in near-documentary style by director Derek Yee (PEOPLE'S HERO, LOST IN TIME), and featuring Alex Fong (FULL THROTTLE) and Wu (ENTER THE PHOENIX) as characters on opposite sides of the law, each drawn in shades of grey by Yee's gritty script. In something of an ironic twist, Yee paints a remarkably humane picture of villains and good guys alike, using Wu's sympathetic character (and his fraught relationship with Cecilia Cheung's unlikely 'tart with a heart') to portray a world in which people are driven to dark acts by circumstances beyond their control, an approach which serves to highlight the thin veneer of 'respectability' separating the police from those they pursue on a daily basis. This being a HK film, however, tragedy is never far away: Fong pursues his quarry with relentless dedication and Wu flees for his life, but Fate throws them together for one of the most devastating finales in recent memory.Combining action, drama and character development in equal measure, the narrative moves at a rapid clip (except for a brief lag in the middle) and explodes into frenzied activity at regular intervals. Production values are immaculate, and there's a stunning transition from black and white to color during the first ten minutes. Yee draws strong performances from a superb supporting cast, including Chin Kar-lok (the film's action director) as Fong's right-hand man, and Anson Leung (AB-NORMAL BEAUTY) as a trigger-happy rookie whose inexperience leads to a terrible disaster.(Cantonese and Mandarin dialogue)