Misión en Taipei

Weekend in Taipei is an unapologetically nostalgic action film that feels like a love letter to the high-octane, melodramatic thrillers of the 90s and early 2000s. Directed by George Huang and featuring Luke Evans, Gwei Lun-mei, and Sung Kang in pivotal roles, the movie delivers a mix of explosive action, emotional beats, and stylistic flair that's as entertaining as it is self-aware. While it's not without its flaws, it manages to carve out a space as a fun, casual watch that's perfect for a weekend with friends and a giant bowl of popcorn.

One of the film's most creative touches is how it frames itself as a sequel to a movie that never existed. Through its numerous flashbacks, the story creates the illusion of a complete backstory, as if the characters' previous lives were already immortalized in some lost 90s action flick. These flashbacks, drenched in moody lighting and slow-motion drama, evoke the vibes of films like Hard to Kill, Max Payne, or even The Crow. It's a bold stylistic choice that not only leans heavily into nostalgia but also gives the movie a sense of history and weight, even if that history is fabricated.

The plot centers around Luke Evans's John Lawlor, a classic one-man-army DEA agent who lives by his own rules. After years away, he finds himself back in Taipei on the trail of an international drug-running billionaire, only to uncover a web of personal and professional entanglements. At the core of the story is Joey (Gwei Lun-mei), a mercenary driver and John's former lover, who married Kwang (Sung Kang), the crime lord, out of necessity after John's abrupt departure years earlier. The discovery that John has a son he never knew about adds an emotional layer to the chaos, making the story more than just a series of shootouts and chase sequences.

Where Weekend in Taipei really shines is in its ability to balance the emotional with the absurd. The love triangle at the heart of the film-Joey torn between the father of her son and the man who provided for her when she was most vulnerable-gives the story a soul that elevates it above standard action fare. Throwing an adolescent child into the mix only deepens the stakes, creating moments of genuine heart amidst the chaos. The movie also knows when to laugh at itself, using comic relief to lighten the tension without undermining the drama. It's a delicate balance, but one the film pulls off surprisingly well.

Stylistically, the film borrows from the slick, neon-lit aesthetic of early Fast & Furious movies while weaving in the international sensibilities of post-Wanda-acquisition Legendary Pictures films. The cinematography and editing choices feel designed for a global audience, blending Western action beats with Eastern influences in a way that's visually striking but might not sit perfectly with American audiences. It's a film made for the world stage, and while that ambition sometimes creates tonal inconsistencies, it also gives Weekend in Taipei a distinctive energy.

That said, the movie is far from perfect. Its adherence to familiar action tropes-rebellious hero, shady billionaires, over-the-top situations-means it doesn't break much new ground. The plot can feel predictable, and the dialogue occasionally veers into cliché. But to criticize it too harshly for these flaws would be to miss the point. Weekend in Taipei isn't trying to be groundbreaking; it's trying to be fun. And in that, it succeeds.

This is the kind of film that's best enjoyed as a casual watch. It's not something you rush out to see, but it's perfect for streaming when you're in the mood for a lighthearted, action-packed romp with friends. Pair it with a classic like Romeo Must Die or Fist of Legend for a double feature that celebrates the best of nostalgic action cinema.

Verdict: casual watch - Weekend in Taipei may not be a great movie, but it's a highly entertaining one. It's the perfect kind of "popcorn flick" to kick back with, laugh at the ridiculousness, and maybe even feel a little nostalgic for the days when action heroes were larger than life and flashbacks had their own dramatic weight. Not essential viewing, but definitely worth a watch.

The director and producer Luc BESSON still stands for French genre cinema that aims to reach a global audience. This is also the case with this English-language WEEKEND IN TAIPEI, which BESSON produced with his company EUROPACORP.

It all begins with a Taiwanese Holly Golightly, who treats herself to breakfast at Ferrari and turns out to be an excellent racing driver (Lun-mei GWEI as Joey). At the same time, an undercover agent (Luke EVANS) in Minneapolis uncovers a drug ring based in Taiwan and run by Joey's nasty husband (Sung KANG). What connects these three people becomes clear during a weekend trip to Taiwan. And then there is Joey's precocious teenage son (Wyatt YANG), who will learn a lot about his family.

Fast-paced action, solid shots from an exotic location! This is how the GERMAN ADVENTURE FLICKS worked 60 years ago in the tradition of the KOMMISSAR X films with Tony KENDALL and Brad HARRIS. And like in the films of the Roman CINECITTA, an English-speaking B-star was hired to appeal to a global audience. The fact that the plot is not particularly original doesn't hurt either. After all, the film is primarily intended to lure a teenage audience into the cinema seats. But the film is certainly fun, even if it's better to switch off your brain.

The French film industry of the Paris CINECITE, especially in the form of Luc BESSON, manages to produce a genre film every year that has what it takes to appeal to young moviegoers and to work in cinemas around the world.

I don't mean to hate on this movie so much so I'll make a compliment sandwich. I think this movie has some seriously well made action scenes and visually stimulating cinematography. The drama in this felt so cheesy like drenched a fondue pot.

Ultimately it's a spy movie, and they really spent a bunch of money in the right place on this movie, except maybe find someone else to do a score, because my god, can someone arrest the man who scored this movie. I swear every action scene was scored with something that managed to make no sense with what was happening at all. The only scene where the music felt ok was when it was diegetic.

It was hard to pay attention to much else once you notice how off the music is compared to what's happening on screen. The romance was cute and I appreciate that it was an older, matching aged couple. But it wasn't a strong story line. The few moments that sparkled didn't stand out against the rest of the bland film.

Overall an okay watch with some fun action scenes and poor music.

Marketed as a "throwaway" foreign action film with veteran action/thriller star Luke Evans, I went in with low expectations. To my surprise, this was a better than expected action flick with great action sequences.

What with an assassin-like lead in a foreign country, with heavy family theme overtones, the movie had heavy Taken vibes. Similarly, prominent car action sequences in a foreign country - including Fast and Furious regular Sung Kang by the way - clearly gave off Fast and Furious vibes.

The first and last quarter of the movie had top-notch edge of your seat action, gratifyingly up to the standards of legendary co-writer and co-producer Luc Besson.

The middle 50 percent of the movie, unfortunately, does get bogged down in complicated relationship entanglements between Evans, the bad guy Kang, and Kang's wife. In an almost James Bond-ian, if not Gilda-esque, plot point, the -ex of the good guy is now the wife of the bad guy - which is always a problem.

The movie relies heavily on a series of massive and incredulous coincidences and contrivances, yet, to be honest, I was willing to overlook these flaws in deference to the overall entertainment value of the flick.

If you're looking for a light action flick, perhaps only a notch below a Jason Statham flick, then you will like this movie.

The visuals - Colour, Composition, Editing - Were beyond my expectations for a simple action movie. At times the scenes resemble paintings, and the respect for emphasis and symmetry is endearing to see on the big screen.

The audio work was similarly very thrilling, and the soundtrack, while not melodic or memorable, was very accurate and worked well with the tone of the visuals. The textures of certain parts are very lovingly rough and reminiscent of the sound of car engines and tires scraping the floor, which compliments the central theme of driving well.

If there were one thing that could be so repulsive that it shoots down the rating from a Nine or Ten star, it would wholly be the writing. The dialogue is dry and surface-level, almost child-like, and not for any aesthetic purpose. It is childlike because it struggles to enter the minds of the characters that push the story forward. The way events are structured are almost ridiculous, and the motivations for the antagonist are so flimsy I almost caught myself talking out loud, to the two other people in the cinema. As if a kind of Ironic "Divine Joke" from god itself, the only place where the Child-Like writing ability is appropriate is... The child actor himself. Frankly, the only saving grace for this film is if modern technology could remove the dialogue in it's entirety, perhaps it will even earn itself an extra star!

In summary: To enjoy the film in it's entirety requires an extensive lobotomy.