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Like De Palma, Tsui can be provocatively tackball. Peking Opera Blues (1986), the infinitely superior precursor to Charlie's Angels, if not Josie and the Pussycats, remains his masterpiecein part because this blatantly two-dimensional girl-group action comedy is so single-minded that it might have been inspired by the Go-Go's singing "We've Got the Beat." Time and Tideapparently the first of Tsui's 35 features to have a north-of-Chinatown New York premiereis more expansive. As the director's HK comeback after two mediocre Van Damme vehicles, it seems like a bid to reclaim the mountaintop.
Alternately slapdash and sensational, Time and Tide begins as a parody of Wong Kar-wai, complete with garish night-town expressionism, philosophical voice-over, and Latin American fantasies. Enjoyably outrageous, the movie ends with a blatant attempt to trump the finale of Hard Boiled, the last HK feature made by Tsui's onetime protégé Woo. In between, a nearly impossible-to-follow hit-man narrative percolates with simultaneous subplots and orchestrated shoot-outs that, for all their elaborate planning, are far more impressionist than analytical.
Directed by Donald Cammell and Nicolas Roeg
Written by Cammell
May 11 through 17
Tyler, the movie's nominal hero (blandly played by current HK pop idol Nicholas Tse), is a 21-year-old bartender who manages to bring home Jo (model Cathy Chu), a lesbian undercover policewoman. Nine months later, they meet in a supermarket and he sees that she is pregnantthus is born a sense of responsibility that she in no way encourages. Tyler gets a job as a bodyguard, bonding with an older toughie, Jack (Taiwan's superstar rocker Wu Bai)back from years working in Latin America as a mercenaryafter they somehow foil a birthday party hit on triad boss Mr. Hong, who happens to be the estranged father of Jack's pregnant wife, Hui (singer Candy Lo). Still with me?
Things become more complex once Jack's former associates, an inexplicably Spanish-speaking, mainly Chinese mob from Brazil, come to the town they dismissively call "Cockroach City." For some reason, they need to eliminate Mr. Hong. But by the time Time and Tide mutates into a gangster flick with rival hit teams, narrative logic has long since been trampled in the dust kicked up by several wild chases through huge shopping malls, bumper-car escapades in skyscraper parking garages, andmost spectacularlya near-military assault on the huge, moldering apartment complex-cum-dovecote that Jack calls home.
Seems that Jack has grabbed the swag (although Tyler gets blamed) and the Brazilian guys want him "back on their team." Snipers stake out the apartment even as Jack crashes through the window and zips down the side of the building, setting the scene for the sort of dangling aerial antics in airshafts and stairwells that the producers of the megabuck Spiderman should count themselves lucky to even approximate. Tsui amuses himself with this midair ballet for a good 20 minutes before destroying the building in a digital explosion.
The cheesy apocalypse seems crucialTime and Tide is pure video game. "New target, new information" is a key bit of dialogue. Suddenly Tyler is chasing Hui to the Kowloon train station to recover the money, with a SWAT team in hot pursuit. Police snipers are diving and skidding through the cavernous waiting room even as pregnant Hui goes into labor. The suitably agonizing ending has everyone scrambling through the catacombs and up into the catwalks of a nearby stadium where a huge crowd has gathered for a rock concertwhich does not, unfortunately, feature Nicholas Tse, Wu Bai, and Candy Lo. Suffice to say that Hui gives birth mid gunfight. Benicio Del Toro fans may remember a similar complication in the denouement of the Amerindie neo-noir The Way of the Gun, but Tsui, who cares even less, manages to keep the scene light.
Jagged and jokey, filled with glam young people, lyrical Canto-Pop, and narrative non sequiturs, Time and Tide is Tsui's version of neo-new wave. The filmmaker has treated himself to an aesthetic face-liftbut it barely softens his hard-edged features. The old Tsui keeps glaring out. Time and Tide has no rationale beyond pure kinesis. Tsui's mise-en-scène is fundamentally soulless, but he has always been a bang-bang editor. The barrage of short shots and disconnected close-ups has as much firepower as any of the film's zippy shoot-outs.
Time and Tide is not nearly as lyrical, sustained, eccentric, or sincerely romantic as it would like to be, although there's plenty to admirebe it the way that Tsui manages to slide his camera around a restaurant kitchen or the antic bodyguard who freaks out an obnoxious client by driving her to the airport in reverse gear.
Back in a new 35mm print, the vintage Mick Jagger vehicle Performance may be the ultimate pop-star crime filmor perhaps the ultimate pop-star crime. When Donald Cammell and Nicolas Roeg's X-rated feature had its world premiere during the summer of 1970, delayed at least a year by squeamish Warner Bros., Richard Schickel characterized it in Time as "the most disgusting, the most completely worthless film I have seen since I began reviewing."
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