Mason Lee as Will Ren mostly reacts to the acting of the other two, but also gets a number of moments where he shines, while his antithetical chemistry with Lam is one of the best parts of the narrative. The second impressive performance comes from Lam Ka-tung as Cham Lau, whose despair, obsession to exact revenge, and bad cop attitude form a rather intriguing amalgam, which is greatly presented by the Hong Kong veteran. The same applies to the punishment Wong To receives, with the girl being the recipient of almost constant violence from all sides, in a rather shockingly impactful performance by Liu Cya, whose courage and resolve in front of all the tragic things that happen to her being one of the definite highlights of “Limbo” Even if her part is not that vocal, it is easy to say that she steals the show, in an aspect that actually moves away from the usual tendencies of exploitation films, where victims are usually there just to be paraded through the violent scenes. This part, and particularly the way of life of the slums is presented is what most reminds of Kim Ki-duk's portrayal of roughly the same setting in “Pieta”. This, rather lengthy sequence, which is much reminiscent of Johnnie To's style of action and particularly the way he edited his scenes, highlights both David Richardson's job in the particular aspect, but also the rather impressive monochrome cinematography of Cheng Siu Keung, which finds one of its early highlights in the scene where hunter and hunted descend from the roof of a parking lot.Ĭheng's excellent work also transitions to the next point of artfulness, with the way he makes the narrow streets essentially a character of the narrative, being among the best assets of the film, even more so in the way they mirror the dead-end all of the protagonists eventually finds themselves in, both mentally and in reality. The appearance of the Wong To, and the impact it has on Cham Lau's overall demeanor and eventually, on the relationship of the three, also signals the beginning of the action in the film, which, starting from the chase between the first two, indicates how relentless and brutal the movie is going to be. The dynamics of the two cops, with the experienced lowlife and the idealistic rookie, is the first point of excellence here, as it allows for a tension between the two that carries the film in its beginning, as Cheang introduces his characters through various episodes that linger between the extremely violent and the dramatic (the “Seven” reference). ![]() ![]() As the three find themselves “lost” in the labyrinth of Hong Kong slums, the killer continues his spree, and no one seems to be safe from his mania. Eventually, in an effort to atone, the girl offers to help the two in their research, but soon finds herself the target of revenge from the people she betrays, while the detective's attitude towards her never tones down. As Will soon realizes that his colleague, contrary to him, enjoys the respect of their colleagues, he also finds out that he has an agenda with car thief Wong To, a young girl who, in the midst of extreme physical punishment in the hands of Cham Lau, is also revealed as the perpetrator of an accident involving his family. ![]() Rookie, dandy-looking policeman Will Ren has his work cut out for him, since his first case is pursuing an obsessive and especially brutal murderer of women who has a fetish with cutting arms, and his partner is the almost ragtag, not-above-using-violence- to-get-what-he-wants, veteran cop Cham Lau.
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