Bringing with him the writing team behind the award winning The Log (1*), Derek Chiu's first out of three works for Milkyway (2*) not only remains an obscure entry in the production house's filmography (Johnnie To himself does overshadow most of the output) but it's an unusual genre mix, focusing largely on a thematic beneath the surface that speaks in an interesting manner. The design of Final Justice eventually turns to court drama esthetics and therefore loses some of the actual excellent steps taken prior.

Quite complex automatically as it deals with issues of religion, the central question of "how true do you stay to your beliefs" plants itself firmly inside the viewers head and rarely lets go. Having Lau Ching-Wan as the priest with a childhood friend turned gangster invited just like any other torn, immoral soul would into catholicism jeopardizes eventually the role of the church in the eyes of the law system but doesn't being true allow for so called ethic missteps? It's a thin line to walk, especially when the main plot kicks in and the title Final Justice expectedly begin taking on its conflicted meaning.

Derek Chiu, subsequently flashing fine intelligence in films like Comeuppance, turns out to have a fine grasp of the rampant symbolism surrounding Father Li's inner pressure and turmoil. Take such scenes of him washing not only his collar free of lipstick but obviously sin, that is on paper cringe inducing in its pretentious ways but Chiu steers well clear of trappings such as this. Especially so since he has Lau Ching-Wan very much in character to the subtle degree the film requires. A roller coaster ride of inner conflict lies ahead and it's easy to spot that so called proper storytelling outcomes won't come out of Final Justice. Furthermore in regards to Li's relationship with gangster Kim, it's not a stretch to believe that Li willingly takes confession upon confession about Kim's murder sprees and even at his lowest, doesn't betray the trust of the quite obnoxious Don Corleone of the piece. I'm doing that cliché comparison because Eric Tsang's performance is a fair bit problematic. Well capable of being menacing, Tsang sets his gear into high and the over the top behaviour doesn't fully do the favours it needs to for the relationship with Father Li to reach full viewer satisfaction. Sure Tsang showcases a distance to past goofiness but nevertheless...

Director Chiu does continue to do things right though, even taking his sweet time to kickstart the main plot and also adding a few humorous quirks of his own. His very apparent visual style does seem like an ill-fit however, choosing tired dissolves within dialogue scenes to say...well....nothing really other than attempting to distinguish himself and even though the reels of court room drama are devoid of this, Final Justice turns less interesting and more standard instead of ringing true to an attempt to further the thematic set up prior. Oh that is Chiu's intention but pedestrian is the key word here and while all things concerned receives a pay off, Chiu is never able to follow up some terrific mood and themes from earlier parts of the film.

Then again to his credit and Johnnie To's, Final Justice isn't like the Milkyway output of today and past. It deals in social debate, more specifically the ethic role of a priest and the film is easily worth a few minutes of panel discussion post end credits. The question is if viewers will remember what was the drawing power for roughly half this drama however.

(1) Co-starring with Michael Wong, Kent Cheng received a Hong Kong Film Award for his performance. Furthermore on the writers, Lu Bing had a hand in penning a number of cop movies in the 90s including Organized Crime & Triad Bureau and Rock N'Roll Cop for Kirk Wong. With John Chan, many commercial vehicles have come from the man such as King Of Beggars and the Fong Sai Yuk movies but his acclaimed work with Ann Hui on Eighteen Springs and being the director of Memory Of The Youth helps to create an aura of respect around John.

(2) Sealed With A Kiss and the hugely underrated, off-beat delight Comeuppance followed in 1999 and 2000 respectively.

Lau Ching Wan (Victim, Big Bullet, The Longest Nite, Running Out Of Time) is a devout Catholic priest who grew up with rising businessman and gangster Eric Tsang (Infernal Affairs, The Accidental Spy, Gen-X Cops). Tsang, Hong Kong's answer to Danny DeVito, kills those who stand in his way, then runs to his old friend Father Li (Lau) to confess so that he can go to Heaven when he dies. Sure proof that he's a smart businessman.

Father Li is conflicted over all of this, of course. He tries hard to make his old friend see the errors of his ways, but old friendships go deep. Although there are some things he will not do, turning his back on a friend is not one of them.

The good father also makes visits to friends in hospital and prison, spreading God's word wherever he can. During one such visit he is treated to an exhibition of extreme horniness by an inmate whose attractive young girlfriend, Donna (Almen Wong - Shanghai Grand, The Naked Weapon), is embarrassed by the boyfriend's pleading her to pull down her top and show her tits in front of the good father. Later, while waiting for a bus outside the prison, Lau runs into Wong again. She shares her umbrella in the rainstorm. Sometime later she comes to confession and begins to describe in sensual detail the way it feels for a man to be inside her. When he tells her to spare him the details and walks quickly off to his room, she follows and practically rapes the celibate priest. The temptation is too much for the good priest and they make love in his room. She returns to see him several times and, in frustration, he shouts for her to go and that he can never be with her. Jilted and confused, she spends several days moping about until she bruises herself and goes to the police, crying "Rape!" The ensuing scandal is devastating to the father, and he soon learns his best friends are his old buddy, gangster businessman Tsang, and his new lawyer, the very talented Carman Lee (Lifeline, Too Many Ways To Be No. 1).

Final Justice is an engrossing drama with excellent performances from all cast members. Producer Johnnie To (PTU, Fulltime Killer, Running Out Of time) and director Derek Chiu (Sealed With A Kiss) have done a fine job with this fictional account based on a true story. The only drawback lies not with the filmmakers or the actors, but with poorly executed subtitles. This is, sadly, the biggest reason many foreign films do not work well in the United States. With many HK action films this kind of thing is often regrettably laughable but rarely does a genre film suffer badly for it. With a drama, however, it becomes a very serious problem, as the true meaning of dialogue and voice-overs are easily lost when a meaning is misconstrued or confused altogether.

Final Justice is a strong little drama that is entertaining and pleasing. If you're looking for action, look elsewhere. But if you're looking for a good film, a nice little drama, and fine acting turns, then rent this one.