Both films pop with color and brightness on Criterion’s 4K transfer.
Johnnie To’s popular capers come to home video with solid transfers and informative extras.
Criterion honors the sheer gorgeousness of Johnnie To’s eccentric noirish story of friendship and midlife crisis.
It shows how much Johnnie To still experiments with form, especially as he continues to transition to digital cinema.
Those expecting it to be one of To’s manic comedies will instead be met with arguably his most dour drama.
Toronto International Film Festival 2014: Pasolini, Tales, & Don’t Go Breaking My Heart 2
Abel Ferrara’s wholly unconventional biopic manages to stick in the brain like few I’ve seen so far.
No supplements to speak of, but this disc, more importantly, honors the considerable A/V merits of a future genre classic.
The film is a singularly huge, relentless, all-encompassing set piece that mutates and spasms with terrifying lack of foresight. It’s all business, business, business.
Prolific Hong Kong action auteur Johnnie To performs a border crossing with Drug War.
Both of these films make an asset out of their respective pillaging of genre signifiers.
Motorway takes an appropriately soft-shoe approach to one of the more endearing action-film premises in recent memory.
Don’t Go Breaking My Heart isn’t simply a house of mirrors reflecting the soullessness of our internet age.
Directionality and movement are more important to Hong Kong action auteur Johnnie To than any other director working today.
Johnnie To isn’t a good action director, he’s a good director period—and Vengeance is one of his best.
Johnnie To’s trademark standoffs are the best thing about Vengeance.
The film’s bizarre energy benefits from the directors’ refusal to get bogged down in weighty psychological analysis.
The Coen brothers, Paul Thomas Anderson, and, arguably, Julian Schnabel are all pretty close to locks.
Exiled is a flabbergasting spectacle of kaleidoscopic violence that abstractly appraises codes of masculine honor.
Triad Election is equal in precision to its predecessor, exuding a perpetual sense of danger.
Johnnie To’s film is a compelling amalgam of aesthetic showmanship and human movement.