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| The original novel has a strong affinity for the man on the edge. The hero lives in the marginal world of the underground, experiencing all kinds of absurd adventures, creating a unique esthetics that gels with a certain tradition of Japanese manga. To a large extent, the filmed version follows this path in both plot and staging. The characterization has also managed to repeat the mold, especially Kaneshiro Takeshi, who has been such a hot property lately that anything he does seems interesting. This is certainly true of the ronin-like character in this film. At once cool and stylish, the approach fits Kaneshiro Takeshi and his devoted fans will definitely get their money'sworth. But when it comes to plots and characters, I must beg to differ. The film still cannot escape the practice of distortion, if not downright demonization. Taken to the limit, it's even a little hysterical. Under the dark photography, it's unpleasant to watch. If such a gloomy feeling is what the director wants, then he has succeeded in taking it to the extreme. If you want darkness, if you want dreariness, you won't be disappointed by Sleepless Town. |
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| The film's description of the complex milieu at Japan's Kabuki-cho and the gang fights among Chinese emigrants is rather scornful. The multiple blood lines, nationalities and identities of Kaneshiro Takashi reflect the cold reality of the tragic, prosecuted and dog-eat-dog situation of the underground world. And Yamamoto Mirai brings to life her character, a combination of the femme fatale and the woman with a heart of gold. The self-destructive nature of the relationship between the male and female leads makes us feel that behind all the maneuvering for personal gain, there is a tragically beautiful and passionate determination. Cold-bloodedness and consuming passion are brought out by the outstanding photography and musical score, especially the final scene, when the betrayal and the loyalty of love are simmered together. People/snow and blood/coldness manage to push a genre film about gang warfare to a European-style killer's elegy. The unique style of Lee Chi-ngai is once again established. |
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| | | | | A work that prompts expectations but ultimately disappoints. It is perfectly okay that Lee Chi-ngai abandons action for relationships, but his problems is that he has not made an effort to develop his characters. They are spun around but sparks don't fly with it. It not only wastes the participation of famed scriptwriter Seishu Hase but also misses out on the potentially interesting theme of cultural conflict. Yamamoto Mirai's performance is particularly terrible, lowering the already unimpressive level of accomplishment an additional notch. | | LOG IN TO COMMENT ON THIS REVIEW! |
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| | | | | I believe that Lee Chi-ngai has already successfully turned a cliched story about triad activities in an overseas Chinese community into an interesting and beautiful one. How to tell a story through emotions is still the strength of his films; it is true of Lost And Found (1996), as it is of Mack The Knife (1995). Through the camera of cinematographer Wong Ngok-tai, the film captures the beauty of Kabuki-cho with grainy photography. On the other hand, all the suspicions and coldness between human beings are depicted by Lee's script. Thick on the outside and thin on the inside, a certain vision and spirit that govern end-of-the-century city folks are thoroughly revealed. Simply put, this is rather accomplished. | | LOG IN TO COMMENT ON THIS REVIEW! |
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