Undercover Punch and Gun


Philip Ng is feeling boxed in.

(2019) Crime (Well Go USA) Philip Ng, Vanness Wu, Andy On, Nicholas Tse, Joyce Wenjuan Feng, Luxia Jiang, Aka Chio, Shuai Chi, Jia Meng, Aaron Aziz, Suet Lam, Carrie Ng, Susan Yam-Yam Shaw. Directed by Koon-Nam Lui and Frankie Tam

 

One of the biggest criticisms of action movies in general is that they often seem to be little more than excuses to go from one big action set piece to another. Plot and character development often go by the wayside, leaving the audience to marvel at the stunts, special effects and so on. That’s not necessarily a bad thing – great action sequences can often be their own catharsis, but I also can’t blame critics who would like to see actioin movies be better. It certainly wouldn’t hurt to develop the plot a little more, or give the characters some depth besides a few cheeky one-liners spouted at the end of a particularly grueling fight scene.

Xiao Wu (P. Ng) is an enforcer for a drug ring but what he REALLY is, as it turns out, is an undercover cop. During a drug deal that goes south, gunfire erupts between rival gangs of cops and gangsters. During the chaos, the boss (Lam) is killed and Wu ends up in charge. He is tasked to take down Ha (On), a smuggler who not only imports drugs but dabbles in the human trafficking trade – about as much as Apple dabbles in computers. Ha is as ruthless as they come, and Wu along with his buddy Tiger (Wu) are definitely in over their heads.

The producers for the film apparently never heard the old aphorism “too many cooks spoil the broth.” There are no less than two directors and seven writers credited on this film, and it shows. There is an inconsistency in tone that is maddening as the movie goes from slam-bam action to slapstick comedy to dark social drama often within the same scene. I get that Asian cuisine often has a multitude of layered flavors, but that doesn’t always work for movies.

The characters don’t always act as you’d expect which can be refreshing so long as there’s a logic to it. When Wu’s girlfriend is kidnapped, one wonders about the girl; she isn’t in much of the movie until the end where she basically exists in order to be rescued. The saving grace here is that the action sequences, particularly the fights, are really, REALLY good. Ng, who doubled as fight choreographer, is a natural and could well be the next big international action star to come out of the Far East. He has a brooding presence, but doesn’t handle the comedy quite as well.

Then again, the comedy here is mainly of the low-brow variety and often brings the movie to a screeching halt. The comedy is largely centered around Tiger and while Asian audiences tend to appreciate a broader sense of humor than American audiences do, the jokes here are largely painfully unfunny, as when the baddie wips out his cell phone and tells the hero “There! I unfriended you!” Take that.

Sometimes the action sequences are all you really need to make a movie worthwhile, but the sometimes-painful comedy breaks really do bring the movie down overall. There is also a jazzy score that is wildly inappropriate for the film; the movie just isn’t noir enough for it. Action fans, particularly those who love the martial arts films of Asia, are going to flip for it. Also, keep an eye our for Ng – he could be a household name a few years from now.

REASONS TO SEE: There are some nifty action sequences.
REASONS TO AVOID: The wild shifts in tone (particularly the generally unsuccessful attempts at comedy) drag the film down overall.
FAMILY VALUES: There is quite a bit of martial arts violence, as well as some drug content.
TRIVIAL PURSUIT: Originally released under the title Undercover vs. Undercover.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Hi-Yah, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 6/22/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Infernal Affairs
FINAL RATING: 6/10
NEXT:
Bullied

The Fever (A Febre)


Justino stands guard.

(2019) Drama (Kimstim) Regis Myrupu, Rosa Peixoto, Johnathan Sodré, Edmildo Vaz Pimentel, Anunciata Teles Soares, Kaisaro Jussara Brito, Rodson Vasconcelos, Lourinelson Vladimir, Suzy Lopes, Erismar Fernandes Rodrigues, Dalvina Pinto Neves, Sandro Medeiros, Ricardo Risuenho, Silvia Pimenta, Josimar Marinho, Gabryelle Araujo Dos Santos. Directed by Maya Da-Rin

 

Under President Jair Bolsonaro, the Brazilian rainforest has endured a record deforestation that has displaced untold numbers of indigenous peoples living in the rainforest of the Amazon basin. As they move into more urban environments, their culture is in danger of being lost forever.

Justino (Myrupu) is one of those displaced people. A member of the Desana people whose native language is Tukano, he has lived for decades in Manaus, a massive port city on the Amazon where container ships stream in and out, leaving a sort of maze-like structure of cargo containers on concrete docks of the port. He is a security guard there, wearing a bulletproof vest and carrying a loaded gun, but mostly he stands watch, silent, his face expressionless.

He is called into the office of a doncescending HR manager who expresses condolences at his recent widowhood, but then upbraids him for being distracted on the job. He has reason to be, as well – his daughter Vanessa (Peixoto), a nurse in one of the understaffed Manaus hospitals, has been accepted to medical school and will soon be leaving for Brasilia, leaving her father alone in his tiny house on the edge of the rainforest.

The commute from the docks to his home is brutal, requiring two bus rides on which he often naps while standing up, followed by a long walk from the road to his house, where hammocks swing inside although he also has a more traditional bed. As news reports detail animal attacks in the city, he begins to come down with a mysterious fever, which leads to waking dreams that are terrifying and yet illustrate his lack of place in this world.

Da-Rin has both a marvelous visual and audio sense. The visuals have a lovely juxtaposition of light and shadow. In the cinematography of Barbara Alvarez, forest becomes city and city becomes forest. And hen there are the sounds; the clanking of the massive machines that lift the cargo containers from the ships onto the dock, and the natural sounds of insects, leaves rustling and the violence of the frequent rainstorms which become more expressive than the dialogue, which is kept to a minimum. Most of the actors here are given little to say.

And they don’t need to. Myrupu has a marvelously stoic face but he allows a half-smile to betray his bemusement, or his wry disgust. His voice is quiet, but he is eloquent in other ways. While supportive of his daughter going to college, there is a part of him that doesn’t look forward to the loneliness of her absence. He tells a story early on of a hunter who goes hunting despite the fact his family has all the food they need, and is taken by the monkeys of the forest to a land of dreams. And that’s where Justino has been taken, a place between the modern world and the natural one. He retains a foot in each.

He endures casual racism from a white co-worker (Vladimir) and chiding from his brother (Sodré), and brushes off the concerns of his daughter (“I’ll be fine,” he murmurs) even as his mysterious fever grows worse. The movie seems to be a metaphor for what we are losing when we wipe out the indigenous of a region. The United States did much the same thing and the loss of the culture of the aboriginal inhabitants of the country is incalculable. They still exist and retain parts of their culture, but the way of life they had is long gone and so are many of their stories and mythology. These are stories that we will never get back, and Brazil seems to be heading for the same fate. The destruction of the rainforest is an ecological issue, to be sure, but it is also a cultural one that sometimes gets overlooked in our rallying cries to save the rainforest.

REASONS TO SEE: Very straightforward and powerful. A rare look at the indigenous of the Amazon basin and how they cope with modern civilization. Myrupu gives a compelling performance.
REASONS TO AVOID: A little slow-paced for American sensibilities.
FAMILY VALUES: There is some minor profanity.
TRIVIAL PURSUIT: This is Da-Rin’s first narrative feature film; she has previously made documentaries including Lands and Margin, both of which have partially inspired this film.
CRITICAL MASS: As of 4/2/21: Rotten Tomatoes: 93% positive reviews; Metacritic: 84/100.
COMPARISON SHOPPING: Embrace of the Serpent
FINAL RATING: 8.5/10
NEXT:
Groomed