‘Sons of the Neon Night’ Review: Juno Mak’s Long-Delayed Hong Kong Action Drama Is Paper Thin

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A film that’s been stored away for seven years should definitely be released, but Juno Mak’s “Sons of the Neon Night,” which was completed in 2018, might have benefited from more time in production. It’s challenging to pinpoint what’s most peculiar about this dark action movie – whether it’s its excessive and complex nature that borders on confusion, or the fact that it still seems unfinished despite this.

The film is set in a snowy, uncommon version of Hong Kong during the 1990s. From the start, the visuals hint at an intriguing backdrop seldom depicted on screen. Moreton Li (played by Takeshi Kaneshiro), the CEO and heir to a pharmaceutical conglomerate, is shown waking up in a luxurious bed within his vast penthouse, built inside a massive tunnel that once connected harbors. This creative touch not only sparks curiosity about this world but also introduces the main character effectively. However, the movie only seems to exist within its own boundaries, never truly suggesting a broader reality beyond the screen.

In a short while, a heated gun battle erupts in a town square, orchestrated by thugs wearing baggy masks. The scene is intense, though it unfortunately bears resemblance to rough preliminary animation. Initially, it’s wise to give the film the benefit of the doubt, as Mak seems skilled at directing action sequences. However, this turns out to be one of only a few action scenes. By the time the second significant fight scene appears, which takes place much later and involves close-quarters combat, we haven’t grown any closer to understanding the characters. It becomes apparent that creating stunning individual shots and coordinating them effectively are two distinct talents; the former doesn’t necessarily guarantee the latter.

The storyline revolves around illegal drug trafficking and moves rapidly with unexpected twists, often abandoning fresh aspects of its narrative shortly after they’re introduced. Intriguingly, a tactical officer explodes a suicide vest in a hospital, coincidentally where Moreton’s ailing father is located, but whether there’s a clear link between the two remains unclear. The character of Wong Chi-tat, played by Sean Lau, joins as a secondary lead, and swiftly, as his rank and personal life details are disclosed through rapid voiceover. However, as the movie progresses, one can’t help but wish for such brisk exposition.

As a film enthusiast, I find myself engrossed in the intricate narrative of “Sons of the Neon Night”. Rather than dwelling solely on the bomber’s background, we’re frequently introduced to fresh, significant characters every 20-30 minutes or so. These characters include brothers, spouses, former allies, and adversaries, each piece seemingly designed for a larger, more expansive miniseries. Their individual histories unfold as separate subplots, swiftly diverging from the central enigma, yet subtly linking themes of drug-related fatalities and pharmaceutical brutality.

The grand scale of the story is not consistently reflected in its leisurely unfolding, presented through awkward dialogue exchanges where the events (and gazes) appear mismatched. Similarly, the character development rarely complements its numerous climactic monologues about human nature, which also fail to enhance the theme music by Ryuichi Sakamoto, as it seems to fill up empty visual and emotional landscapes instead of resonating with them.

In summary, “Sons of the Neon Night” appears to be a movie with grand statements, however, its underlying philosophy seems weak. The world it creates lacks depth, and the narrative about corruption and brutality gets lost in excessive, disorganized visual techniques.

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2025-05-26 01:19