Fuk sau

It's the same pre-credit sequence that has kick-started dozens of films over the last few decades: a happy and loving couple are gunned down for apparently no reason in brutal fashion – although in this case they take the next step and include the two young cute children in the massacre to increase the stakes.

Now the rest of the film will be about who is the most p*ssed off and desperate for revenge.

That guy is Mr Costello, the French father of the critically injured mother, her two children and husband all not surviving the killing. I should point out here that at times the language switches between Chinese, French (with subtitles) and English. The film takes place in Macau but while the Hubby was Asian, the wife – and Costello's daughter – was French. I don't know why I found this interesting but I did, but it doesn't drag you out of the story.

In true vigilante fashion Mr Costello eschews the traditional law and order approach to finding the killers, after a chance encounter at a crime scene Costello declines the opportunity to bring a killer to justice and instead tracks down the accused to enlist him and his team to help find his daughter's family's killers. An odd form of ambulance chasing indeed! The new trio of bad guys agree to hop on board after Costello promises them cash and the restaurant he owns. They start using their contacts and trade secrets to get swift results, during the process it becomes evident that the 65ish Costello has skillz of his own – even if they haven't been utilised for quite a while.

So why doesn't he track them down himself? Well aside from his lack of inside Macau knowledge Costello's advanced age has caused memory issues in a similar vein to that of the lead character in Memento – he too takes photos and scrawls on them for reminders, meaning he can be a little ineffective once he has a "turn".

The plot is reasonably formulaic with only subtle variations on the usual sequence of events – a major shootout is delayed by the arrival of several of the combatant's kids. Vengeance has a couple of nifty battles where various minions are picked off with clean kills while the main characters are lightly wounded with bloody clothes being the only lasting sign, until near the very end of the film where the Reservoir Dogs rule – that of "most/all must die" kicks in.

Final Rating – 7 / 10. Take a pinch of SPL, add the core elements of Taken and a dash of Memento and you have a pretty good um… ahhh… Vengeance film. I guess they nailed the title.

A decade ago, director Johnny To made an impression on many when he released "The Mission". Several years later, he explored similar ideas in "Exiled". Now, in 2009, Johnny To releases another movie and like the former two, it is a story of stoic killers dealing with issues of duty, loyalty, friendship and revenge all wrapped up in violence and tragedy.

To's style is unmistakable and yet reminds you of many high profile directors. There is of course the resemblance to Asian cinema in the vein of Woo. To like many of his contemporaries likes to mix modern, stylish action scenes with the bleakness of Noir films. The fact he is a fan of Jean-Pierre Melville shows big time, especially in Vengeance. I would also say he puts his mark on films as much as Sergio Leone did decades ago.

If you've liked The Mission and Exiled, chances are you will enjoy Vengeance although it is the weakest of the three in execution. Many scenes are reminiscent of the other two (particularly Exiled) and it features many of the actors. I thought the blood splatter effects from gunshots in Exiled were bold and promising. Unfortunately, here they aren't as stylish and clash a bit with the action.

Johnny To likes to concentrate on style. The stories are primal, the characters are archetypes. The Mission had an extremely simple core story, allowing the scenes to flow one after the other. In Exile, the plot was more convoluted while being less interesting. Vengeance is a return to a simpler plot. Unfortunately, it relies on extraordinary coincidences making suspension of disbelief impossible. You just have to enjoy the ride.

A good film but not the director's best.

If Daddy's little girl got hurt, you know darn well that Daddy will spare no effort in hunting the perpetrators down, especially when the police is inept, and turning to the other side of the law for revenge seem all the more attractive. Cost isn't a factor too, since everything has a price, especially with a dad willing to sell everything just to see his brand of justice get exacted.

Welcome to Johnnie To's world of hit men and a tale of vengeance, set in the cities of Macau and Hong Kong, with his regular Milkyway cast and crew set to deliver an all too familiar premise, now joined by French actor Johnny Hallyday as Costello, a chef who's naturally more than meets the eye, being able to assemble a stripped handgun blindfolded and in record time compared to seasoned veterans. His daughter and her family got gunned down in cold blood, and working against time and with only an injured ear as a clue, he capitalizes on a chance encounter with the hit men trio of Kwai (Anthony Wong), Chu (Lam Ka Tung) and Fatty Lok (Lam Suet), who for plenty of Euros, a watch, a restaurant and an apartment in Paris, take up this assignment for quite the good deal as it is.

Only of course for Wai Ka-Fai's story to put them in a dilemma of sorts, when they have to consider whether to honour an agreement with someone they know little about, or to do so with their long time contract employer (played to evil delight by Simon Yam), fully aware that crossing the latter will briing about some drastic results, akin to biting the hand that feeds you.

And of course with such consequences come plenty of room for some balletic shootouts, only that the initial big one, with Eddie Cheung, Felix Wong and Ng Ting Yip turned out to be a dark affair under a moon shadowed by cloud cover, with black leather jackets not helping much in knowing who's shooting who in the dark. Otherwise, there were some quirky scenes such as the innovating rolling of rubbish bales to act as sandbags in an open plain, and the finale which will see you rooting for just desserts to be served.

Johnnie To has included plenty of his signature style in this film, from stand offs to no holds barred shootouts with a myriad of semi and automatic handguns and rifles, it's like an education session with a firearms nut. Which of course entertains since the cast, already so familiar with his style, and familiar with what's expected of them, pulled this off oozing plenty of maschismo along the way. I cannot for the life of me think of any other non- resident actors who can waltz into a Johnnie To film and look and feel like his gangsters, though Johnny Hallyday comes close with a dogged mission, and a look that has seen better, glorious days.

There are some shades of To's earlier films such as The Mission and Exiled, which isn't too difficult to draw some parallels from since they start essentially a similar core cast, and with some scenes which I thought were uncannily lifted from Exiled with the enemy assault and flight from the fire escape, and there's almost always a scene in the rain with umbrellas, a throwback to other Milkyway productions like Sparrow and Eye in the Sky. There's a twist in the story involving a character in the film which I will not dwell or make references to (since you're likely to go Oh, that looked like a plot element from some other film), but suffice to say that that little wee bit that came unexpected, provided more gravitas to the title Vengeance, since it now takes on a whole new dimension altogether, with more action promised of course, but examining the notion of the act of Vengeance, on how different it will be altogether when one no longer remembers the purpose it's supposed to serve.

It's strictly for Johnnie To's fans who know what to expect from the master and now poster boy of Hong Kong cinema, and probably a good introduction too for those new to his films. Those sitting on the fence will wonder what the fuss is about with this film being part of the official selection at this year's Cannes Film Festival, but over here, this film is making a fuss, especially for me, and I'll give you a reason.

For once, we can watch a Hong Kong film with Cantonese dialogue left intact. While local film Blood Ties had Cantonese used as well, this film builds upon that goodwill extended by the powers that be. True, Vengeance has a chunk of dialogue in English, with the other chunk predominantly in Cantonese, and I'll take that. If this is an example of the rules being relaxed slowly, then I'm all for it because nothing, absolutely nothing, beats having to hear the cast emoting in their natural voices, rather than to have someone else step in to voice-over their roles. And of course, if we all don't turn into gangsters or start speaking Cantonese en masse, I think the film would've made the point that not everyone will be negatively influenced by such baseless concerns to begin with.

I smell change coming already, and let's hope it really does with Vengeance being that small step taken in the right direction!

Vengeance is about a Frenchman who travels to Hong Kong and Macau to avenge the murder of his daughter's family. The Memento-like riff is that he is losing his memory and so needs to take photos of people to remind himself who they are. It takes a long time before the filmmakers find a way to use this idea creatively, and then they use it really badly. What's annoying is that the movie doesn't need the memory loss lead at all, the whole movie still would work well if the guy was compos mentis, you still have a fish-out-of-water lead character, and you still have lots of material about loyalty and brotherhood.

Bloodthirsty vengeance is obviously a really bad idea, and so if you're going to make it the theme of a movie, you need either a strongly pulpy feel to the movie, or you need really stupid characters; maybe make it a samurai movie, as the sort of moral codes that existed centuries ago would make sense of the characters and their motivations here. As it is, this movie just doesn't make sense. Some of the narrative conceits are weak, like how the lead character comes across some assassins for hire randomly in his hotel. The movie also had really bad CGI, you could see the blood spurts each time someone got shot were amateurish.

I ended up being pretty annoyed, it just felt like someone had torn a first draft script from a scriptwriter's hands and just started shooting with it. Johnny Hallyday (rest in peace), is a picture of pain, but because he's been worn down by age and strife, not because he's acting it, there's nothing expressive about what he's doing in this movie. It comes across like he's involved so that the movie still got co-production money. According to Roger Ebert he was a last minute substitution for Alain Delon.

I won't deny that the movie has effective moments, the set piece at the barbecue spot at night is really good, although even that has a really stupid moment (improbable boomeranging Frisbee). I've recently watched Takashi Miike's Black Society Trilogy, and this effort from Johnnie To is absolutely light years behind those excellent movies in terms of quality. Somehow this was accepted in competition at Cannes in 2009.

As a Johnnie To fan, I have to say, that this is one of his weaker works. But it sill has a standard that some others may never reach (in my opinion that is of course). While there are themes of some of his other movies here too (loyalty etc.) and there are some nice character beats, as a whole there seems something lacking. But not only that, even small details have been done better.

One scene for example, where our main character puts a gun together has been done with much more style and class in the Korean movie "A bittersweet life". Also the ending of that scene feels rushed and somehow wrong. The main actors sometimes have to speak English (although it seems that some of them have been dubbed, they still learned phonetically, so it doesn't appear as dubbed) and you can tell, they are not feeling good doing this.

While our main character has a flaw, there are still quite a few things that shouldn't have happened quite like they do in the movie (pictures for example, and you will know what I mean, if you watch the movie). And while the flaw is a nice touch, it also almost works against the movie.

Again, a good movie in my book, but still quite a bit off ... what I came to expect from Mr. To!