As a movie reviewer who has spent countless hours hunched over a projector, rewinding VHS tapes to catch that perfect scene or missed line, I must say that “Weekend in Taipei” is an entertaining throwback to those simpler times. It’s not groundbreaking, nor does it strive to be. Instead, it delivers the kind of energetic action and breezy humor that you might forget by morning, but at least there’s no hangover.
1982 saw Prince encouraging everyone to celebrate as if it were the year 1999. The film “Weekend in Taipei” attempts to party around halfway through that timeframe, evoking a nostalgic feel reminiscent of the simple, albeit forgettable, enjoyment found in numerous action movies popular during the height of VCR usage. Co-written and produced by Luc Besson, this French-Taiwanese collaboration marks George Huang’s return to directing, having previously debuted with “Swimming With Sharks” 30 years ago.
Featuring “Fast & Furious” actors Luke Evans and Sung Kang as the main characters, this movie about an DEA agent going East to combat a criminal organization promises thrilling chase and fight sequences. While the storyline created by Huang and Besson might not be particularly deep, it delivers the action-packed, mindless entertainment you might forget soon after watching – but without the headache!
Following a lively introduction showing everyday scenes in Taipei, we encounter Kwang (Kang), the newest CEO of Kwang Enterprises, a multinational conglomerate that he seems to have unwillingly become entangled in scandal – leading him to a courtroom where his actions will be examined under a microscope for various legal infractions, from environmental to drug-trafficking. This isn’t a great time for the impulsive tycoon, so he seeks comfort from his family. However, his wife Josephine (Gwei Lun Mei), also known as Joey, and their son Raymond (Wyatt Yang) make it clear they don’t reciprocate his affection. Raymond, who Kwang has raised as his own, was actually fathered by another man that Joey claims is deceased. The family home, filled with luxury, offers little respect for the patriarch, which he often expresses through outbursts towards underlings who don’t always escape unscathed.
Simultaneously in Minneapolis, John Lawlor (Evans) is covertly working, aiming to uncover incriminating proof of Kwang’s wrongdoings overseas. Unfortunately, his work partner (Enrique Alonso Concha Cornejo), in a slip-up at the restaurant they both work temporarily for, which is tied to Kwang Co.’s extensive seafood industry, reveals their undercover status. This leads to an intense kitchen brawl involving numerous gang members residing there. Although similar scenes have been depicted before, this one seems promising as it presents a balance of excessive action and humor that could make “Weekend” stand out by providing a fresh take on the familiar narrative structure.
Huang mostly holds true to his word, but the previously mentioned festival of chaotic kitchenware chaos marks the film’s peak that comes too soon. Frustrated yet again by his reckless agent causing trouble, John’s boss (Pernell Walker) denies his plea to investigate the case in Taipei. Instead, she orders him on compulsory leave – a break he decides to use by catching the next flight there, driven by an anonymous tipster who has a ledger implicating Kwang.
Trouble brews when the shady rich person discovers that young Raymond was the one who secretly took the incriminating evidence. Due to this revelation, mother and son find themselves in a tight spot and seek refuge at John’s hotel room. This situation is uncomfortable for all parties involved, as it comes as a surprise to most that the boy’s supposedly deceased father is actually a tough-talking, resilient American, with whom the mother shared a complicated past – one that included a failed relationship and eventual marriage to his criminal adversary.
The family reunion business is cornball, not much helped by courtship flashbacks (despite comedy relief from young-ified Evans’ pageboy wig) or the stock precocity of their offspring. But then “Weekend in Taipei” seldom asks to be taken very seriously, which is its saving grace. The clichés and improbabilities are tolerable because they operate on a B-movie meta level that’s not quite spoof, yet maintains a light touch.
The movie incorporates several nods to “Breakfast at Tiffany’s,” set against the backdrop of a brawl reminiscent of “House of Flying Daggers,” while blending the Rolling Stones’ “Paint It Black” with traditional regional instruments in its soundtrack. The character Joey, who transforms from a fishing-village orphan to a high-end spouse, also excels as a skilled car mechanic, engineer, and stunt driver, demonstrating her abilities to handle both a sleek red custom Ferrari and a self-designed Mad Max dune buggy with ease.
During thrilling action scenes, the movie maintains an energetic tempo that occasionally slows down due to excessive explanation and late-arriving family ties around the three-quarter point. However, it picks up speed once more, although the final confrontation between hero and antagonist might not be as climactic as expected. Unfortunately, Kang’s character lacks the necessary menace or flair that Kwang’s role requires in this production.
Despite some predictability in its content, the cast delivers strong performances, the plot moves swiftly, and the settings are effectively employed. The production design by Hwarng Wern-ying and cinematography by Colin Wandersman have a polished and professional feel. Although no aspect of the film stands out as exceptional, they all contribute to a glossy veneer that makes ordinary material appear more engaging – at least while you’re watching it.
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2024-11-09 11:16