Exiled (2006)

Second movie in Brotherhood of Assassin's TrilogyTale of Brotherhood following two duos of henchmen - two sent to kill and two sent to protect - helping their old hitman friend complete one last job so he leaves money behind for his family ..First Part follows henchmen protecting Wo Second Part follows henchmen exile and search for gold

Featuring some of the best cinematography and choreography in the past decade, EXILED is visual satisfaction at its finest. Johnnie To's gangster actioner includes a fun story that, with its hyperrealistic style, is brooding, tense, emotional, and entertaining. People withstand plethoras of wounds and live to laugh about it, policemen are useless, and protagonists are gangsters. The result? An ideal plot for sustaining gorgeously crafted scenes of bullet and bloodshed ballets - beautiful from the slow-motion photography to the hard and precise lighting to the variety of different and constantly-interesting color palettes. The exquisite and warm production design brings 1998 Macau - a Portuguese colony in Southeast China about an hour long boat ride from Hong Kong - to life. It allows Cheng Siu- Keung - To's reliable and excellent DP - to design shadows and balance the dark atmosphere with evocative lighting setups in order to consistently emphasize danger and insurmountability for the protagonists. Anthony Wong leads a great cast with his subtle and imposing presence, complemented by Francis Ng's staccato outbursts and feisty demeanor, and offset by Simon Yam's fun and villainous role as a Triad boss. To top it off, Canadian composer Guy Zerafa provides a score filled with stringy and metallic guitar riffs that intricately builds the tension and results for an even more stylized experience. With actors who are suave, fitting, and flat-out cool, combined with the experienced technical team at Milky Way Images helping to realize the eloquent vision of their prolific director, EXILED is a fantastic action film where To's signature touch is unmistakable.

Good luck trying to make any kind of sense out of "Exiled," a largely incoherent Chinese mob drama that at least boasts exquisite photography by Cheng Siu-Keung and uber-stylish direction by Johnnie To to hook and enthrall us. In fact, so riveting are the movie's visuals that you won't even mind that you can't tell who's who without a program or figure out how any of the characters are related to one another in the context of the narrative. It all has something to do with a gang of assassins trying to protect one of their own from the very mob boss who has sent them on a mission to take the man out - but I'll be damned if I can explain anything more that happens in the movie.Suffice it to say that with its meticulously composed, wide screen framing, its stylized action scenes - kind of a cross between Quentin Tarentino and Robert Rodriguez - its visual correlatives, and its dark, velvety colors, the movie makes it hard for us to tear our eyes off the screen for a single second.Almost a textbook case of style triumphing over substance, "Exiled" is a true cineaste's delight. And hang the story.

If "Exiled" could at first appears as a cold style exercise that focuses itself on the mathematical numbers of five and two, the movie is at the end one (if not the) best Johnny To's movie, and carries within a incredible felling of freedom and melancholia. I think that with this movie, Johnny To archive to reach the level of the best of his older masters, like John Woo or Tsui Hark.FIVE : That's around this number that the all movie seems to be build. "Exiled" tells the story of five men against the world, in five parts (that means five gigantic gunfights). But the logical of the number five is broken by one of the member of this gang of five : Wo, who left them years ago. The movie stars when he comes back to Macao, where his four old friends, his wife and his baby, are waiting for him. But the unity is already lost : when they met again, two wants to kill him, and two wants to protect him. There's no wonder why this breaker of symmetry rapidly died, when he refuses to bend over the mathematical beauty of the movie. The former gang will indeed try to find a fifth member (it will be a moral mercenary), but they'll be only four to finish their road. Anyway, the movie isn't rationally build on the number five, but rapidly chooses errancy and coincidences to makes its way. That's the way the gang also fallows when he lets a coin game chooses its path. It's then in in number two, like the two faces of a coin, that the movie will find its unity. TWO : With the use of that coin, the exiled of the movie takes the face of the duality. The gunfights, if you watch them carefully, are also duels (even with multiple characters and combinations). The number two is indeed at the beginning of Johnny To's project, witch is to combine the codes of a classical Hongkongue polar (with it's killers with sunglasses and ethical from another time, its alway on the move camera, that shoots the killings like musical ballets, etc.) with the ones of 60's European westerns (...Per Qualche Dollari in piu is directly quoted, the atmosphere of the movie reminds the Peckinpah's ones, the OST is a pastiche of Moricone, etc.). It's like the movie itself is a cultural translation of Macao, the Chinese island where the movie occurs, and that has been a Portuguese colony for years. In that original mixture, the movie reminds me of "Cowboy Bebop" (an anime that also mixes Asian culture and occidental western in order to creates feeling of nostalgia and freedom) or of a reverse "Kill Bill".But this cultural duality is like an echo of the personal style of Johnny To, that always breaks his beautiful gunfights with lighter and melancholic scenes. This fusion and complementarity of the style with its subject creates a great movie, full of freedom, that becomes magnificent in its last killing, beautifully seen through the eyes of a can of Red Bull.