Special ID

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You really have to wonder how a film like "Special ID" (2013) gets an average IMDb rating of 5.3 out of 10 while something like "The Hobbit" (2012) gets an 8.0. People have truly lost their sense of priorities while watching action films. Read some reviews of "Special ID" and you'll see all kinds of petty criticisms, from language dialects to overly decorated restaurants! Here's a newsflash for you. For an action film to satisfy, it needs a minimum of two things: good action and brisk pacing. Guess what. "Special ID" easily meets this standard and in fact surpasses it with some truly memorable action sequences. Sure, the script is boilerplate and basic (even a bit clumsy in spots), but that doesn't automatically tank the enjoyability of a film that focuses first and foremost on the action anyways.

A cop (Donnie Yen) and his team of comrades go undercover in one of China's most ruthless underworld organizations to stop a gang leader. Andy On plays a good villain, while Tian Jing is a likable female lead. The action in this film is spaced out nicely, which assists the pacing quite well. The fight choreography is less "showy", opting to reflect a realistic, scrappy form of fist-fighting with some mixed martial arts peppered in. The finale lasts a whopping 15 minutes and showcases a suspenseful car chase. This actioner definitely satisfies.

The director here is Clarence Fok, who has a hit or miss filmography but has given us some fun movies in the past – "The Iceman Cometh" (1989) and "Black Panther Warriors" (1994) being two fairly brainless crowd-pleasers that stand out. He has also contributed some truly riveting dramas. For example, his crime drama "Century of the Dragon" (1999) is one of the best triad films of the past 15 years. Overall, the direction in "Special ID" is solid during the action, with some very cool sweeping shots during the lengthy car chase.

Unfortunately, Clarence should have vetoed some of the scoring choices in "Special ID" because the background music got intrusive at times. The sound design of this film feels amateurish and cheap early on, but get better as it progresses. This shouldn't be too much of a problem for fans of old school Hong Kong action flicks from the 80s and 90s, which many times had consistently poor production values but nevertheless succeeded at providing pure entertainment value. At the very least, "Special ID" looks nice while it gives the viewers its fist-to-face goodies.

The six years since 'Ip Man', Donnie Yen has not looked back on the kind of contemporary action that fuelled his latest career resurgence, preferring instead historical epics like 'Bodyguards and Assassins', 'Legend of the Fist: The Return of Chen Zhen' and 'Wu Xia'. No wonder then fans of 'S.P.L.' and 'Flash Point' have been waiting in eager anticipation for his return to MMA-type action that this latest 'Special ID' promises, in particular since Donnie himself has promised this to be the epitome of the techniques he had used in his earlier two movies.

Good news is that Donnie doesn't disappoint - as the action director and of course his own choreographer, he makes great use of the tight enclosed quarters of the sets to stage some thrilling MMA fights. Right from an invigorating opening that pits him against veteran Jackie Chan stunt team member Ken Lo in an old-school mah-jong parlour, it's clear Donnie is going for the jugular when it comes to his blows, kicks and head-locks. This is none of that poetic grace we saw in 'Wu Xia' or restraint in the 'Ip Man' movies; rather, this is no holds barred Donnie, and boy is it awesome to watch him in full macho mode.

And throughout the 100-minute run time, Donnie gets to go ballistic twice more - once in the middle when he first confronts his protégé turned arch-nemesis Sunny (Andy On) and again right at the end where the two go mano-a-mano against each other. Both are unique in themselves; whereas the first sees Donnie take on dozens of Sunny's lackeys on his own (think Donnie's one against many in 'Ip Man 2') within the narrow confines of a two-storey restaurant and its kitchens, the second gives Donnie more latitude to brawl with a well-matched opponent both in attitude as well as in ferocity.

Impressive though they may be, we do have a few caveats to make. One, much as Donnie had wanted to top what he accomplished in 'S.P.L.' and 'Flash Point', the truth of the matter is that you're probably not going to be wowed to the same extent as watching Donnie go up against Wu Jing in 'S.P.L.' or against Collin Chou in 'Flash Point'. Despite packing bare-knuckled brutality, it lacks the 'oomph' to make it a contender amongst Donnie's best fights. Two, despite adding Collin to the cast as the head of the mafia clan Donnie's Zhilong is infiltrated into, there is no match-up between Donnie and Collin - which in itself is already a disappointment. And lastly, even though Donnie had wanted a female Michelle Yeoh in Mainland star Tian Jing, the actress is largely unremarkable in the few scenes she gets to show off her moves.

Now that we've covered the failings in the action department, it's probably opportune to talk about the rest of the movie, which can be summed up in a single word - dreadful. Let's start with the script by the late veteran Hong Kong screenwriter Szeto Kam Yuen, who had also penned Donnie's 'S.P.L.' and 'Flash Point' - while the former two shrewdly chose a simple but tightly wound narrative around the action, 'Special ID' sees Yuen channelling 'Infernal Affairs' into its story of an undercover cop who wants out but is forced to take on one last mission by his superior (played here with comic but unconvincing effect by Ronald Cheng). Not only is Zilong's character arc of a tortured cop clichéd, it is tacked on with an equally hackneyed pseudo-romance between Zilong and his Mainland partner Fang Jing (Tian Jing) from which he is supposed to find a sense of composure to his brash aggressive self.

It might have been better if a stronger director was at the helm; unfortunately, the person behind the camera was also behind Donnie's most atrocious movie in recent years 'Together'. We're talking of Clarence Fok, best known for his work on the 1992 Wong Jing scripted film 'Naked Killer'; here, Fok literally 'f**ks' up the direction with poor continuity between scenes, annoying fadeouts and most of all, a utter lack of coherence in the tone of the movie - the latter in fact is particularly ingratiating, as Fok reveals yet again how he has utterly no clue how to build a credible romantic arc, in this case between Zilong and Fang Jing.

But Fok's shortcomings don't stop there - there is absolutely no subtlety in the entire movie, so much so Donnie ends up embarrassing himself by overacting in every single dramatic scene. Fok even manages to screw up Donnie's transformation from impulsive to out-of-control, a supposed crucial turning point in the story where Zilong's dual identity catches up with him and exacts a punishing toll on the one sole family member he has left - his mother (Paw Hee Ching); as it is, the ending that sees Donnie chasing Sunny down the roads of Shenzhen is rushed and jarring, another frustrating sign of incompetence by a director who should have stayed in retirement.

No thanks to multiple shortcomings, 'Special ID' ranks as a queer disappointment. Sure, one goes to a Donnie Yen film for the action, which he does deliver to good - though not great - effect; but there need at least be a competent story to form the narrative glue in between the fights, which in this case is sorely lacking. If Donnie is listening, we'd also advise him to simply stick with dubbing or with his native Cantonese tongue for his next movies - let's just say that his Cantonese-accented Mandarin is quite the unintentional cringer here.

The last time Donnie Yen officially put mixed martial arts on screen was Flashpoint, which arguably in my opinion was his artistic peak as an action choreographer and on screen fighter. He successfully made real martial arts combat cinematic. The choreography was shot in a way that allowed the viewer to visually break down why move A was countering move B. So with that said, my expectations of the MMA fights coming into Special ID were high.

My high expectations aren't out of place. Donnie Yen himself has said he wanted to go further with displaying MMA on film. In Special ID, Yen does this by integrating the urban environment into the choreography. The fights are set in tight spaces and narrow hallways, showcasing the physical precision it required from all the stunt performers. The group fights look convincing. Everything looks less staged and the moves don't land as cleanly, giving a gritty sense of realism. On pure cinematic terms, Yen succeeds. The choreography is another story.

The only wee complaint I had about the mixed martial arts choreography in Flashpoint was that Donnie Yen was the only one who fought with MMA techniques. Everybody else was essentially a kickboxer fighting the main character that had groundwork and wrestling skills up his sleeve. I let that go for Flashpoint, but in Special ID it has now officially become problematic.

This makes me think that Yen was solely concerned with making himself look good on screen. Yen has been guilty of this in the past but this is too blatant. Yen's fight with Ken Lo, a stuntman popular for being the villain from Jackie Chan's Drunken Master 2, is one such example. There were moments designed in their fight that purposely made Ken Lo look clumsy and stupid. Anybody who has seen Ken Lo in an on screen fight will know that he is anything but clumsy. Don't get me wrong, these are good fights. They are are tense and grueling, but it's too dramatically convenient if only the hero knows Brazilian Jujitsu and all the villains have no knowledge of countering it.

Much of the story problems -and there are many- with Special ID are the common problems I have with current Mainland-Hong Kong co-productions. There's a penchant for shooting dialogue scenes in a perfectly decorated restaurant or apartment. No matter what happened in the scene before, the actors are always seated perfectly still reflecting upon what happened. The dialogue is often on-the-nose that is stating things that the filmmakers are supposed to be showing. It is television-like and I don't know why it is the trend. The dialogue scenes in Special ID are plodding and murder every sense of dramatic tension. It's a narrative mess.

The female police officer character played newcomer Jing Tian was a severe plot contrivance and another example of a bad Mainland film trope. Her character Fang Jing was constantly spewing preachy dialogue about how police work should be ideally done, and acted too naive to be a convincing policewoman. It's like her character was written to secure an approval from the Chinese Film Bureau. She had too much screen time and it was like watching Hello Kitty fight crime.

I particularly hated the manipulative choppy musical score. It was in the vibes of "Hey, it's time to feel this emotion now!" One minute there's the metal music for the fights, and then the next minute it's pensive piano music when Jing Tian yaps on about following rules is the key to a good life.

Collin Chou shows up for what ends up being a disappointing role. It's actually a cheap marketing ploy to tease the martial arts film fans that there is going to be a fight at some point in the story. Collin Chou and Donnie Yen have fought before, so as fans we expect there will be something that will at least try to top the Flashpoint fight. But sadly, that didn't happen. After that, I was only half awake for the final showdown with Andy On.

I'd recommend people see Flashpoint again. Sure, the plot wasn't anything new, but Wilson Yip told a proper story. He gave little dramatic touches to the heroes and villains, which created proper stakes and made me care about the characters. Special ID has no developed characters, plot or any sense of flow or consistency. This was a perfectly marketed soulless product designed to take our money. And it was just plain mean-spirited.

I will probably watch Special ID again, but probably only the fight scenes in the form of online Youtube clips. I like these fights, but wished they belonged in a better movie. Special ID was just all flash, but without the "point".

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Pardon for my bad English, I am not writing a full review but only posting some of my personal thoughts after watching the movie.

1. The trailer spoils some of the exciting fight scenes in this movie. 2. Lower your expectation and you will still be entertained. 3. Not quite the martial art movie if you come all the way from SPL and Flashpoint 4. The fighting choreography does not come from Donnie Yen himself, I suppose. 5. The fighting is realistic, however, more true to the real street fighting than ever. 6. The car chasing scenes and the stunts are awesome, better than the fight, maybe. 7. Not a bad story, but without twist and very straight forward. You will not get the same story impact and the strong feeling for vengeance like SPL and Flashpoint. 8. I am a little disappointed that the final battle does not carry the same furiousness I experienced from SPL and Flashpoint. 9. Having saying that, it makes both SPL and Flashpoint a classics. 10.I should have just give it a 5-star, but 1 more star to salute Donnie Yen for trying something new, trying to create another variant to his already awesome movie collections.

My rating : 6/10

PS I found that the Young Detective Dee is a more entertaining movie if you want some cool fights.

Oh dear, this is really sad. Following something of a career revival with the outstanding Sha Po Lang, Ip Man and Wu Xia, Donnie Yen has really been unable to maintain the quality of his efforts. I fear he is slowly falling back to the ranks of cheesy unrespected action movies with which he had been associated for most of his career. With The Last Bladesman, The Return of Chen Zhen, 14 Blades and now Special ID, he's been having more misses than hits.

When teasers for Special ID started to appear, Internet excitement started to mount that this could be the sequel to SPL that we had all hoped Flash Point would have been. Alas, that is not the case.

Yen plays undercover cop Dragon Chan, doing the usual bad guy routine to get into the good books of the triad bosses. When trouble starts to brew in China with connections to one of his former underlings, his boss, Captain Cheung (Ronald Cheng), sends Yen out to work with Mainland Chinese police to crack the case. One last case before he can return to being a normal beat cop. Sounds good on paper but the execution is a sad state of affairs.

In China, Yen uses his usual unorthodox methods to meet up and reacquaint with his old buddy turned crime boss, Sunny (Andy On). Yen, predictable for a movie, is an unpredictable and reckless cop, which rubs his China police partner Fang Jing (Tian Jing) the wrong way. This is intended to introduce some spark and chemistry between the two but sadly falls flat, mostly due to the fact that Tian Jing looks like she's about 12 years old besides Donnie.

Of course while out in China, some rather unnecessary twists are introduced to keep things exciting, but they just didn't work and really didn't make a lot of sense.

In the end, what we have is an extremely forgettable action movie and another strike out for Yen.

What I liked about this movie was Tian Jing, with some of the best stunts in the movie and a memorable car chase sequence; she stole the best scene in the movie. Agreed she appears too small and frail to pose any real danger. She is, however, surprisingly quite convincing as a martial artist, exhibiting some pretty fancy and gutsy moves.

I look forward to seeing her in Jackie Chan's upcoming Police Story 2013.

What I didn't like was Donnie Yen's character. It is repeatedly reiterated that Yen's character is stupid but he can fight. We're no longer in the 80s where an action hero can get by just on brawn. No one wants to root for a stupid character but unfortunately that's how Yen's character is written. This is a far cry from Yen's character in SPL, a smart, super cool detective who wasn't afraid to get his hands dirty. Yen's character in this is just a silly caricature, like something out of a kid's movie. Also worthy of note is the criminal underuse of Collin Chou. Nope, no Donnie vs Collin this time.

Andy On is pretty good as the bad guy and did a decent job of making his fights against Yen believable. Though what was not believable was why he would be doing all the dirty work himself if he was such an up and coming big-time crime boss, surely he would have sent some of his lackeys to take care of business.

Agreed, no one comes to a Donnie Yen movie expecting Shakespeare, they want to see some ass kicking. So how are the action scenes? Again, mediocre at best. The earlier fights were sloppy, likely in an attempt to make our protagonist appear human and vulnerable. Later fights improve somewhat but could have been cut and pasted from so many other generic action movies. The final fight is good but a lot of us would have already seen it in the most recent extended trailer.

Special ID is a pretty solid disappointment on all levels. What I loved about both SPL and Wu Xia is that they were both powerful dramas, the fighting was restrained and there were actually only a few fight sequences. This served to make the movies more believable and actually made the action sequences more memorable and impactful.

I can't bring myself to recommend this. Rather I recommend, if you haven't seen SPL – go and get it now!

Rating 5 out of 10.

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