So if today's Hong Kong movies are dead, it's probably because they have surrendered their guns.
Who surrendered their guns? Why should they hand over their guns?
Mainland filmmakers should find this question worth pondering.
Hong Kong filmmakers should feel that the five flavors are mixed.
Looking at this movie back then,
Brother Fa was cool,
Wei Zai was cute,
Qiu Sheng was young,
Sister Shunyun was nostalgic, and
Zhen Hua was resentful.
In short, the audience was cool.
This is the aesthetics of violence.
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