Even Wong's detractors, who consider him more stylist than auteur, will have a tough time dismissing the extraordinary emotional depth he achieves here.
An exhilarating rush of a movie, with all manner of go-for-broke visual bravura that expresses perfectly the free spirits of his bold young people. [22 May 1998, Pg.F9]
An exhilarating rush of a movie, with all manner of go-for-broke visual bravura that expresses perfectly the free spirits of his bold young people. [22 May 1998, Pg.F9]
Wong Kar-Wai's cinematic style is unmistakable: hip, colorful and energetic and the film's frenetic pacing and exuberant camera work make the streets of Hong Kong a neon wonderland.
Wong Kar-Wai's cinematic style is unmistakable: hip, colorful and energetic and the film's frenetic pacing and exuberant camera work make the streets of Hong Kong a neon wonderland.
It's hard to follow, the characters are ill-defined, and the wide-angle shots used by Wong's perennial cinematographer, Christopher Doyle, are deliberately unflattering.
To describe the plot is to miss the point. Fallen Angels takes the materials of the plot -- the characters and what they do -- and assembles them like a photo montage. At the end, you have impressions, not conclusions.
To describe the plot is to miss the point. Fallen Angels takes the materials of the plot -- the characters and what they do -- and assembles them like a photo montage. At the end, you have impressions, not conclusions.
