Any movie he was sitting on the shelf for seven years deserves to see the daylight, but “The Night of the Nights of the Neon” in Juno Mac – which concluded filming in 2018 – could use more time in the oven. It is difficult to say what is the strangest click on the dark click: it is excessive and equal to the point of confusion, or that it can somehow feel not complete though.
In the mid -1990s, the snow covered in the mid -1990s, the opening photos of the film talk to an interesting preparation rarely explored. MORETON LI (Takeshi Kaneshiro), CEO and heir to a pharmaceutical bloc, wakes up in a fertile bed in the sprawling penthouse carved from the remnants of a massive tunnel across the fugitive. It is a kind of imaginary prosperity that raises questions about this world and immediately establishes a character, but this is the first and last time that the movie really feels that he has a broader fact outside its framework.
Soon after, violent shooting is revealed in a public square, with the permission of Hoodlums in the masks of bags, in an active scene that unfortunately similar to the semi -established concept clips. It is worth noting a movie that took advantage of this early doubt, especially since MAK seems to have a talent for the organization, but this ends until it is only a small handful of work moments. By the time when the second main group, which includes an intimate fight at a later time, we did not grow more familiar with the relevant letters, and it becomes clear that the prohibition of individual shots and dance design with Gusto is a completely different skill from linking them together in a coherent way.
The plot, which focuses on illegal drug trade, is rapidly and randomly, and connects with new elements of its hypothesis as soon as it is presented. The tactical officer explodes in mysterious circumstances a suicide jacket in the hospital, where Mauriton’s father is not righteous, although there is a somewhat concrete relationship here. A new participant commander is quickly brought on a warrior in the naked police, Wong Che Tat (Sean Lao), with the word “quickly”: he mentions his ranks and the details of his family life in the audio comment that ZIPS. Then again, as the movie continues, it is difficult not to yearn for this kind of efficiency.
After criminal conversations on the car’s past, his mental condition and its potential relationship with Chi-Tat begins, “Sons of the Neon Night” in introducing completely new major characters at regular periods of about 20 or 30 minutes. Brothers, wives, old animals, and enemies, all feel that they cut the puzzles that belong to more sprawling series, given that each of them is a background for each one who is explained in the form of a completely new subcontinent that is exclusively singled out for the central ambiguity, while they hold objective connection between the death of the drug trade.
The epic area of the story does not match the unveiling of the vulnerability, and it is told in embarrassing conversation scenes where the pieces (and the chicken) do not seem appropriate. Likewise, the drama of her personality rarely supports her many speeches that deal with the scene about human nature, which makes her objective music (by the late Ryuichi Sakamoto), because it records an empty physical and emotional space.
Everyone in all, “The Sons of Night of Neon” is a film of noble advertisements, but its philosophy is flimsy. Its global construction is not thoughtful, and its narration of corruption and cruelty is obscured by chaotic stylistic gestures.