Weekend in Taipei

Part martial arts, part "John Wick," part romance, and part "family" film; this movie tries to be too many things at once and, not surprisingly, fails. Considering this flick contains the seeds of at least four separate movies, the result was a competent one, even if the "family ending" leaves you scratching your head (but with a smile on your face) for what is, in the last analysis, an "action" flick. After an absence of thirteen years, a DEA returns to Taipei, the Republic of China, to confront the drug lord who cost him the love of his life. What he doesn't know is that very same woman is now the pampered wife of said drug lord, and that he has a son he never knew about. Sound interesting? It is. Whether that is enough for you, you have to see the movie to find out.

I am a fan of this action movie genre, but there are so many below average action movies that I didnt expect much at firsthand, but after having watched it I can confirm that this movie is quite an enjoyable action flick.

The good: I NEED riveting action, chases and fights. And THAT is exactly what I got. Not the best, but good enough for me to have a fun time watching it.

More good: what's even more to like is that the characters are credible. The acting is solid (not earthshattering good, but solid) and it has got characters and a storyline I can believe in. THAT matters to me, because even in an action flick like this I WANT the characters to be credible.

Any bad? Dont expect action heaven, this is just another action movie but a really solid one. Recommended for the fans of this action genre.

Picture a guy who shoots faster than a Call of Duty sniper and drives through Taipei's streets like he's in a Need for Speed DLC. That's Luke Evans in Weekend in Taipei. Seriously, the man's a machine. He's so intense even red lights seem to give him the right of way.

Opposite him is Gwei Lun Mei, a driver so skilled she could drift circles around Vin Diesel and leave him in the dust. Her character, Joey, is a whirlwind of style and speed, giving you chills with just the sound of her car starting. But don't be fooled-she's got a Kill Bill side to her: soft yet deadly.

Luc Besson, true to form, serves up an explosive cocktail of action and romance. He's firmly in his comfort zone, but honestly, that's all we want. It's cinema that hits hard, packed with chases, explosions, and dialogue as subtle as a rocket in GTA. The plot? Simple. But let's be real-who's here for the plot?

The real star, though, is Taipei. The city is filmed like a character in its own right. Neon lights everywhere, narrow alleyways, and buildings practically screaming, "Come have a car chase here!" Between the fights, you could almost believe you're in an open-world Yakuza game.

The film's strength lies in its explosive blend of action and romance. One moment, you're hooked on a fight scene where Luke Evans is smashing jaws; the next, you're hit with a ridiculously cheesy exchange between two ex-lovers still hung up on their breakup. It's so cliché it's brilliant.

Weekend in Taipei is like a four-cheese pizza at 3 a.m.: you know it's not gourmet, but damn, it feels good. With punchy action scenes, a visually stunning city, and a romance running on pure adrenaline, this film is a guilty pleasure at its finest. Don't expect a Palme d'Or, but buckle up for a hell of a ride.

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.