I personally have never seen any of the prior God of Gambling features, as none of them were ever released in my country. For this, I apologize that my review will not be contrasting this particular film with any of its predecessors. If you are a renown fan of the franchise, perhaps you best skip my review. However, like me, if this was your first foray into this series, then please read on if that be your prerogative.
The Man From Macau, otherwise known as From Vegas to Macau, includes no scenes from America's city of sin, despite it been mentioned on more than one occasion. Ken Magic Hand (Chow Yun-Fat) has only recently arrived back in Macau, though it is a while before the film's lead protagonist makes an entrance.
The movie opens with a focus on a group of people known as the Robin Hood's of underworld crime, and rather than pocketing the cash, the money goes to charities and other like organizations. Benz (Shiu Hung Hui) is not only the group's leader, but the father of Cool (Nicholas Tse), whose cousin Karl (Chapman To) is also involved.
Cool's stepbrother Lionel (Philip Ng) secretly placed as an undercover, works alongside Detective Luo Xin (Tian Jing), whose initial introduction reveals her to be employed in a similarly undercover position as the assistant of Ko (Hugh Gao), the head of international money laundering syndicate DOA.
When Ko realizes that Lionel has evidence that can bring down his organization, he will stop at nothing to get it back, even if that means going after his family to get it. Ken inevitably finds himself involved, Ko's love of playing cards forbidding him from resisting the urge to compete against such talented opposition.
Mr. Yun-Fat appears to have a lot of fun in his role, and who wouldn't? The over exaggerated antics, from his unique skills, precise combat methods and over acted expressions make for good entertainment. The film is not designed to be taken seriously, which is not only heightened by the slapstick humor, but through what is incorporated into the story - undetectable lotion that hinders muscular action, a serum that forces anyone under its spell to tell the truth, and lunatic security defenses that employ lasers, crossbows and cannons. Basically, a fair amount of suspended disbelief is required.
The banter between Cool and Karl is relatively effective, Mr. To's comedic attitude been quite likable. Mr. Tse on the other hand spends most of the film exhibiting what can only be described as a rather neutral performance, as though he is unsure of the emotions his character ought to portray. Not only this, the peculiar relationship he has with Ken's daughter Rainbow (Kimmy Tong) is largely underdeveloped. Despite Rainbow's advances, and Ken's attempts to turn both of them into a couple, if Mr. Tse chose to appear any more bored, he would have spent these particular segments of the film fast asleep. For those who appreciated Mr. Tse in the Stool Pigeon, Viral Factor, and other like roles, don't expect the same level of excitement here.
Both Mr. Hui and Mr. Ng have small, under-appreciated roles, but it is Ms. Jing who is perhaps most neglected of all. Although provided with a number of scenes, the competency Ms. Jing displays when originally seen by the viewer is overshadowed by the often girlish role she is forced to provide, giggling unprofessionally on more than one occasion and appearing as though she were hired simply for her appearance. Although I personally would step over my parents and friends alike, swim through a shark infested ocean, traverse a war torn battlefield and wade through a river of lava just to glimpse Ms. Jing's mesmerizing features, an actress of her talent and capability deserves to be appreciated for more than just her unequaled gorgeousness, and thus, is deserving of a role that utilizes each of her talents.
The fights provide a decent amount of entertainment, but do not contain the sustenance of scenes found in the martial acts genre, and are instead similar to what may be experienced in an American feature - they're solid, but generally uneventful and lack glamor. The most flawless aspects of the film would have to be in not only its appearance, but the sound quality. The screen is frequently blessed with bright colors, and despite been largely set at night, everything is fabulously viewed. The sound is able to capture the moment, but so too does the score, which accentuates the film's mood.
Although a number of the jokes could presumably be envisioned as 'stale', they are generally delivered in an effective manner. The frequent joke towards overweight women however, though originally humorous, eventually feels rather insulting, the film maintaining the notion that if a lady doesn't have the physique of Ms. Jing or Ms. Tong, then it is mandatory she alter her appearance.
On first viewing you will in all likelihood find a good assortment of action and humor that will keep you entertained. On second viewing, though you will continue to smile and appreciate much of the fun, you will begin to notice the many cracks that halter this film from been anything better than just a good movie. This could have been an exceptional feature - let's hope the sequel makes up for it.
The Man From Macau, otherwise known as From Vegas to Macau, includes no scenes from America's city of sin, despite it been mentioned on more than one occasion. Ken Magic Hand (Chow Yun-Fat) has only recently arrived back in Macau, though it is a while before the film's lead protagonist makes an entrance.
The movie opens with a focus on a group of people known as the Robin Hood's of underworld crime, and rather than pocketing the cash, the money goes to charities and other like organizations. Benz (Shiu Hung Hui) is not only the group's leader, but the father of Cool (Nicholas Tse), whose cousin Karl (Chapman To) is also involved.
Cool's stepbrother Lionel (Philip Ng) secretly placed as an undercover, works alongside Detective Luo Xin (Tian Jing), whose initial introduction reveals her to be employed in a similarly undercover position as the assistant of Ko (Hugh Gao), the head of international money laundering syndicate DOA.
When Ko realizes that Lionel has evidence that can bring down his organization, he will stop at nothing to get it back, even if that means going after his family to get it. Ken inevitably finds himself involved, Ko's love of playing cards forbidding him from resisting the urge to compete against such talented opposition.
Mr. Yun-Fat appears to have a lot of fun in his role, and who wouldn't? The over exaggerated antics, from his unique skills, precise combat methods and over acted expressions make for good entertainment. The film is not designed to be taken seriously, which is not only heightened by the slapstick humor, but through what is incorporated into the story - undetectable lotion that hinders muscular action, a serum that forces anyone under its spell to tell the truth, and lunatic security defenses that employ lasers, crossbows and cannons. Basically, a fair amount of suspended disbelief is required.
The banter between Cool and Karl is relatively effective, Mr. To's comedic attitude been quite likable. Mr. Tse on the other hand spends most of the film exhibiting what can only be described as a rather neutral performance, as though he is unsure of the emotions his character ought to portray. Not only this, the peculiar relationship he has with Ken's daughter Rainbow (Kimmy Tong) is largely underdeveloped. Despite Rainbow's advances, and Ken's attempts to turn both of them into a couple, if Mr. Tse chose to appear any more bored, he would have spent these particular segments of the film fast asleep. For those who appreciated Mr. Tse in the Stool Pigeon, Viral Factor, and other like roles, don't expect the same level of excitement here.
Both Mr. Hui and Mr. Ng have small, under-appreciated roles, but it is Ms. Jing who is perhaps most neglected of all. Although provided with a number of scenes, the competency Ms. Jing displays when originally seen by the viewer is overshadowed by the often girlish role she is forced to provide, giggling unprofessionally on more than one occasion and appearing as though she were hired simply for her appearance. Although I personally would step over my parents and friends alike, swim through a shark infested ocean, traverse a war torn battlefield and wade through a river of lava just to glimpse Ms. Jing's mesmerizing features, an actress of her talent and capability deserves to be appreciated for more than just her unequaled gorgeousness, and thus, is deserving of a role that utilizes each of her talents.
The fights provide a decent amount of entertainment, but do not contain the sustenance of scenes found in the martial acts genre, and are instead similar to what may be experienced in an American feature - they're solid, but generally uneventful and lack glamor. The most flawless aspects of the film would have to be in not only its appearance, but the sound quality. The screen is frequently blessed with bright colors, and despite been largely set at night, everything is fabulously viewed. The sound is able to capture the moment, but so too does the score, which accentuates the film's mood.
Although a number of the jokes could presumably be envisioned as 'stale', they are generally delivered in an effective manner. The frequent joke towards overweight women however, though originally humorous, eventually feels rather insulting, the film maintaining the notion that if a lady doesn't have the physique of Ms. Jing or Ms. Tong, then it is mandatory she alter her appearance.
On first viewing you will in all likelihood find a good assortment of action and humor that will keep you entertained. On second viewing, though you will continue to smile and appreciate much of the fun, you will begin to notice the many cracks that halter this film from been anything better than just a good movie. This could have been an exceptional feature - let's hope the sequel makes up for it.