A cop who loses his partner in a shoot-out with gun smugglers goes on a mission to catch them. In order to get closer to the leaders of the ring he joins forces with an undercover cop who's working as a gangster hitman. They use all means of excessive force to find them.
The Rouge Cop and the Undercover Cop up against some gangster motherfuckers in John Woo's blueprint on how to make the motherfucker of all motherfuckin' action movies. The Jazz Club. The paperboy. The fuckin' birds at the teahouse. The first time Tequila shoots 2 guns at once. Automatic fuckin' weapons. Staircase ownage. Tequila's toothpick. White as a ghost. A chat with JW. High-tech computers. The last book your fuckin' ass will ever read. Pretty-pretty-oh-so-fuckin'-pretty flowers. Never trust an icky eel. Anthony Wong's hair. Fishin'. The impossible question: Who's a badder badass motherfucker; Mad Dog from Hard Boiled or Mad Dog from The Raid? Motorcycle madness. A grand fuckin' entrance. A Zippo. Paper cranes. Fun on a boat. Fuckin' Foxy. Mad…
An absolutely ballistic, no-holds-barred, over-the-top yet purely unadulterated action extravaganza to come out from Hong Kong during the the early 90s, Hard Boiled raises the bar for action in cinema with its heart-pounding & jaw-dropping sequences and cements John Woo's reputation as the most influential director when it comes to action filmmaking.
The story of Hard Boiled concerns two ace cops; one is a tough-as-nails detective in his department while the other one works as an undercover agent and has risen sharply in the underworld over the years. The plot covers their initial friction with each other followed by a mutual partnership as the two eventually team up to take down & wipe out Hong Kong's most ruthless mobster & his crime syndicate.…
"it happened so quickly... it was like a dream"
my favorite woo simply because it takes his sense of empathy to the forefront, and places it in direct opposition with his action. like mann, woo is a filmmaker of romance and moral codes on both sides of the law, of people that yearn for love and connection, trapped by institutions that swallow them. their jobs, their actions, their sense of 'right' and 'wrong' reduced to an infinitely layered blur of bodies, objects and movement in a perpetual state of collapse—it's abstract extravagance. there's an inherent romance to it, not just for the characters whose only means of expression it is, but for the audience too, and woo doesn't even pretend…
A catalogue of every image, theme and move John Woo had made his own in the previous five years blow up to an extreme beyond even his usual outsized melodramatics. Written as it was been filmed (when Tony Leung amazing introduction was shot he was supposed to be an actual psychotic killer) it remain coherent and surprising emotional effective thanks to how focused Woo’s images are. The film is predicted in a motif of collateral damage, unlike The Killer there is always an innocent around ready to be shot and even our heroes can’t do nothing but occasionally hit the wrong target. A place of healing is turned into an war zone between a whole inefficient government (who does more…
From the opening scene of the rain covered, neon-lit streets of the city, superimposed over Chow Yun-Fat sweating, drinking a slammer and playing clarinet in a dark jazz club, we can see that this film matches its title perfectly. This is a Hard-Boiled police story in the grand tradition of Harry Callaghan, Popeye Doyle and Frank Bullitt. Everything is black and white, the hero does what needs to be done to save the day and if the brass at City Hall don't like it they can swivel. In fact Chow Yun-Fat's character, Tequila Yuen, seems to contain every cop cliché there is: matchstick chewing renegade cop, putting himself in the mind of the killer, eating around dead bodies. That's okay…
A wildly entertaining ballet of violence under scored by John Woo's cop vs. criminal melodrama. Every second of this movie is brimming with excitement, that includes the opening jazz number. The only detractor is that the Alliance bluray for Hard-Boiled is hot garbage. In short, I enjoyed Hard-Boiled.
Everything in this movie is turned up to ten: hitmen don't find guns in the bathroom, they find them inside books in public libraries; informants don't send notes, they send flowers with song lyrics that then have to be put into notes and THEN given to the boss.
Well, this is definitely the daddy of mid-90s action, and I'm not sure I like it for that. I felt enough interest in this based on various action movie lists that I bought a used Criterion copy because you can't stream it. I enjoyed it, and I'm glad my taste was broadened a bit, but it's definitely not the variety of action I'm interested in right now. I really want the camera to make the action as clear as possible, so the cause and effect relationships are right in front of your eyes. I've never liked slow-motion and I'm not sure what could make me like it. That said, I feel intrigued enough to check out some more early Woo.
Timeless for a reason; balletic and visceral action is the highlight, with decent performances handcuffed to melodrama. A rough edit, not to mention a story that eventually goes off the rails in scale and character motivation.
I wax and wane on these sort of films, they’re easy to watch but after a while you start hoping for something truly exceptional to leap out at you like a great comic set piece or a death defying stunt. What’s surprising about Hard Boiled is that it’s not all that shocking a film, it does the genre cliches well but doesn’t really go beyond them or do anything particularly daring it’s just a well made action film (minus plot, or character obviously). The music is terrible though, can’t someone do a new soundtrack to it like they do for silent films?
John Woo moved his film-making efforts to the US, and gave us Face/Off (woo! 5/5), Broken Arrow (2/5) and Mission Impossible II (urg, 1/5). Before this, however, he mastered the art of the gun opera with his Hong Kong output. He cemented his rep for doves and slo-mo lead delivery with films like A Better Tomorrow, The Killer and the epic Hard Boiled.
The action sequences here are mind-blowing, a kinetic bullet-fest rampage of twin-pistol diving and things exploding. Highlights include the gonzo opening firefight in a tea house and the totally bananas exploding hospital finale.
It's for sursies one of the best action scenes ever put to film and includes a brilliant long take, singing a lullaby to a baby during a firefight and a ton of ka-bloom.
Aku dah satu tahun (technically tahunnya 2018 - 2019 'kan? Walaupun bulannya Desember - Januari) ndak main ke sini.
Bodo.
Jujur aja selama periode itu aku kehilangan minat nonton kek...
"Ngapain aku nonton film anjir..."
Setiap kali nonton film SENDIRI, baru sampai tengah-tengah film, aku matiin laptopku (maafkan aku Distance, New World, The Quiet Family, A BETTER TOMORROW, anjir sampai salah satu all-time favorite aja aku tinggalin).
Sebenernya permasalahannya sepele:
Satu-satunya sahabat aku susah diajak buat nonton film. Kata dia sih, "Kalo aku nonton film banyak distraksi kek hape, fanfic, dll, jadi aku ndak bisa nonton film sampai selese."
Harusnya aku selo kan? Kek, "Yaudah ndak papa, to each of their own."
Tapi akunya ndak selo.
Goblok aku tuh.
Aku…
george 211 films
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