Film Review: Manhunt "John Woo is Back!"(Released 2017)

Manhunt
Released 2017
Directed by JOHN WOO!
(Ryan's rating ★★★1/2 out of four)

I have to come right out and say it, I love John Woo.  As a boy growing up in the 1990s his Hong Kong urban action films were my favorites.  So this review may be a little biased.

Woo's lyrical film style where every main character carries two guns (usually Baretta 92FS) was termed by critics as "Bullet Ballet" or "Gun Fu" due to its stylized violence, choreographed like a dance sequence.  While characters jump, spin, tumble, and slide through the action scenes there is always an air of reality to the dance and that is Woo's gift, he takes things that are so over the top they should be terribly unbelievable but they become commanding in his hands.

Manhunt (released in Asia in 2017 and currently available on Netflix streaming) is Woo's first action drama in nearly twenty years.

The story follows Du Qui (Hanyu Zhang), a high powered corporate lawyer whose client is the giant Tenjin pharmaceutical company. The film opens in a bar (strikingly similar to the bars in The Killer and A Better Tomorrow) where two characters discuss how classic movies are sadly falling out of style. In a wink to the audience this will be a classic style Woo film. I do not want to reveal too much but a an exhilarating gun battle explodes so seamlessly I was hooked. 

After the opening credits we shift to several years later as the owner of Tenjin pharmaceutical appoints his ne'er-do-well son as the future head of the company during a large celebratory gala. Du Qui has also won several lawsuits in the company's favor.  He is planning on leaving Japan, but the company sends a beautiful woman to make sure Du Qui stays put.  Yet the next morning he wakes up next to the murdered woman and is quickly framed by some corrupt police officers.  He escapes and goes on the run to prove his innocence.

Enter Masaharu Fukuyama as the dedicated detective who is reaching his breaking point (in the same vein as Danny Lee in The Killer or John Travolta in Face/Off) who soon realizes that Du Qui is innocent.  This sets up one of Woo's most common themes, the similarity and/or eventual partnership of two men on opposite sides (usually of the law).  The detective and the lawyer team up with a woman they both know from their past and take it on the run to prove Du Qui's innocence and Tenjin's illegal activities.  The trio of two men and one woman is another common Woo theme (see Once a Thief and Hard Boiled).  The plot gets too complicated to recreate here but is surprisingly easy to follow while you are watching with all its additional information.

The Media Asia logo at the beginning is straight from those 1990s VHS tapes I watched growing up.  The film has a feeling of coming home while still being current and exciting.  If you are not a Woo fan or a fan of Hong Kong action cinema this may not be for you.  More cynical viewers will also need to put their mind into a place where jumping a few inches to the left allows you to avoid a massive amount of machine gun fire and a gunshot wound to the shoulder does not slow you down until the story needs you to slow down.   

But such is a John Woo film.  He rose to fame in Hong Kong in the 1980s and early 1990s with such classics as A Better Tomorrow, Once a Thief, and especially The Killer and Hard Boiled.  The latter two influenced countless film and filmmakers (Quentin Tarantino, Robert Rodriguez, and The Matrix to name a few). Less talked about in America is the harrowing Bullet in the Head which takes place during the Vietnam War as three friends try to use the war as a way to get rich quick in the smuggling trade through Hong Kong.  The popularity of these films in Asia and on home video in America led Woo to Hollywood in 1994 with a series of financially successful though often critically panned films (Hard Target (far better than it is given credit for), Broken Arrow, Face/Off (his best in America), and Mission Impossible 2).  After Paycheck (poorly received) Woo transitioned to making epic historical films, the first taste was Windtalkers, and returned to Asia to make Red Cliff and The Crossing (both of which were so long they were split into two theatrical films each).  As well as the video game Stranglehold (which I personally love and is a sequel to Hard Boiled).

Manhunt is a tribute to a Ken Takaura (the Clint Eastwood of Japan), one of Woo's heroes.  It is a true return to form and a tribute to everything I love about John Woo's filmmaking. While the plot is overly familiar, like many of Woo's films, the fast pace and Woo's touches keep it fresh.  Now don't get me wrong this is not a director going through the motions of the things that made him famous this is a director rediscovering his calling.