Director: John Woo

Starring: Tony Leung, Jacky Cheung, Waise Lee, Simon Yam

Primary genre: Action

Following the cult success of his “Killer” (1989) which set a new benchmark in glorious, OTT (and beautiful) destruction that only the action genre can encapsulate, it was interesting to see what John Woo would do afterwards. They say if it ain’t broken, don’t fix it and his follow up simply amplifies Woo’s traditional traits to an extravagant degree. Despite being highly expensive (and self-financed), “Bullet in the Head” (1990) might be one of his lesser known motion pictures (due to not getting a proper video release to this day) although it is the richest in dramatic heft from his filmography.

If you were wondering what an offspring of “The Quiet American” (novel or film matters not) and “Rambo: First Blood Part II” (1987) would look like, “Bullet in the Head” seems the right candidate. The script places a trio of friends inside the catastrophic late 60s Vietnam conflict and what once begins as a typical Hong Kong gang bravado escalates into a full blown war in tropical jungles which become cemeteries for hundreds of bodies on a scale that resembles Coppola’s work in “Apocalypse Now” (1978).

Dealing with more mature themes, Woo’s still explores the scope and transcendence of friendship between flawed men, a subject that is being unfortunately ridiculed today in the modern Western cinema. This detailed examination of male bonding under extraordinary circumstances pays homage to all the great Vietnam Hollywood films, especially Michael Cimino’s “The Deer Hunter” (1978) in an excruciating scene which highlights the lengths of love, sacrifice and sadism that only humans are capable of achieving. It is to Woo’s credit to use an action picture as a way to bring forward political undertones and a sufficient dramatic core; an allegory for the Tiananmen square massacre might be too obvious for Chinese audiences but then again, Woo was never known to be subtle, preferring his countrymen to confront unpleasant and visceral emotions instead of looking away.

In an era where action flicks did not have much substance, it is quite refreshing to see the director-writer’s preferred route infused with moral complexity as his bloody tale unfolds across two countries depicting men behaving like beasts in times of war; entire sequences would make Olive Stone and Stanley Kubrick proud. This explosive and lengthy movie remains a stark contrast to his US productions which saw him directing average scripts and banal characters whose actors refused to follow his artistic vision (despite an enthusiastic response from Sam Raimi).

Extracting powerful performances from his cast who venture beyond the traditional and amateurish Hong Kong cinema that emphasizes more athletic prowess than delivering emotional outbursts, Tony Leung gives a standout performance as the measured Ben. He is almost upstaged by fellow Hong Konger Jacky Cheung who tends to steal the show with his honesty in a role that will not progress the way you think it will becoming the film’s catalyst for the final confrontation.

Despite being his most political (and personal) output, “Bullet in the Head” never forgets that is primarily an action movie and you are here for guns, lots of guns. The master at work has now perfected his formula using multi-camera angles and edits, capturing incredible destruction wherever his characters go; whether it is a night club shoot out that leaves the place in ruins and covered in bodies or an extensive jungle face off, Woo has managed to convert human destruction and carnage into a dynamic canvas worthy of a Hieronymus Bosch fame. The stuntwork is brutal seeing lead actors performing their own daredevil stunts amidst gunpowder, all sort of debris, thousands of bullets and explosions. In comparison Hollywood outputs are simply a Chihuahua size take when compared to what Woo’s Rottweiler looks on the big screen.

This going-for-the-jugular action hybrid though might be too much in its excessive running time and potentially repetitive shootouts for the casual viewer. Appealing primarily to fans of the genre first, those patient towards rewarding and slow stories would frankly feel overwhelmed in this symphony of destruction for two and a half hours. Yet, for what is worth, Woo succeeds in telling a tale with clear arcs, never losing sight of his relatable trio with the dramatic weight remaining convincing. At the end, this nonetheless thrilling and visceral endeavor of action artistry should be experienced. See this ASAP.

+Demolition derby

+Perfected Woo formula

+Dramatically very heavy

+Brutal

+Trio are excellent…

+Especially Cheung and Leung

-Excessiveness is dialed up to 11

-Long