Accused of a murder he didn't commit, a prosecutor sets out on a mission to clear his name.
Accused of a murder he didn't commit, a prosecutor sets out on a mission to clear his name.
Zhuibu, 맨헌트, Απόλυτη Καταδίωξη
Woo constantly restages some of his greatest hits -- the gang brawl from BULLET IN THE HEAD here, the festival hit from THE KILLER there -- in an exceedingly convoluted riff on THE FUGITIVE. None of it feels particularly personal but it's still for the most part a refreshing comeback formally. He's succumbed a bit to overcutting, and there's precious little of his trademark slow-fast-slow stuff, but there's still almost nobody else out there who can give you that physical shock when a guy pops out of a doorway and is instantly shredded by bullets, all caught over the shoulder of the triggerman. So even while the last third of this goes right over the fuckin' falls with secret laboratories and supersoldier serums it's still Woo's world of violent opera, minute moral decisions, moments of psychic camaraderie, and cross-faded piercing stares between antagonists.
It’s been 21 long years since John Woo made a good movie (although “Red Cliff” has its fans, and “good” feels like an inadequate description of 1997’s “Face/Off”), and the legendary Hong Kong director appears to be well aware of that fact. “Manhunt,” Woo’s dumb but deliriously fun new film, is nothing if not a very conscious attempt to turn back the clock and revisit the wild kind of pistol opera that he helped to popularize in the late ’80s with classics like “The Killer” and “A Better Tomorrow.”
That being said, nothing about “Manhunt” comes across as safe or lazy. It doesn’t feel like Woo is just going back to the well because he could use a hit. On…
John Woo's MANHUNT is the craziest film he's made since Hard Boiled. In terms of style, it may be the Wooiest thing that ever Wooed, a throwback to the kind of films he would toss off as a lark in the 80's, distilled to its barest essence, with a script seemingly made up as they went along (in classic Hong Kong style). The fact that it looks like every other crummy digital Chinese blockbuster, and is filled with badly accented English, only adds to the weirdness of Woo filling every frame with his trademark 90's freeze frames and visual doubling. It's so heavy-handed in its deployment of weaponized Woones that most critics can only interpret it as a winking parody,…
flawed but honestly i just feel so blessed that i know the answer to "what would happen if john woo remade the fugitive but added gun battles and tacky digital effects and sci-fi shit and 200x more drama"
all hail john woo, at one point in the middle of a stick brawl between the detective and the lawyer, a fucking dove flies in between them in slow motion allowing the lawyer to kick the detective fifteen feet through the air and escape the scene in a goddamn mini cooper. seriously. also then they have a speedboat chase like 20 minutes later and time itself seems to disintegrate in a haze of digital chaos. this movie absolutely snaps, people who hate this are nerds
You either retire a hero or you live long enough to see yourself direct Manhunt.
After a decade in which all he put out were two two-part epics, one of which is great (Red Cliff) the other of which is half-great (The Crossing), it's nice to see John Woo relax back into the kind of goofy genre fare that has always been his comfort zone. The plot is too complicated by half, but the two leads are solid and they're surrounded by all kinds of women: an earnest heartbroken potential love interest and a callow go-getter on the good side, and assassins of both the cold-blooded and heart of gold variety on the less good side (and wow is it both weird and a lot of fun to see Angeles Woo flying around as the…
John Woo is a terrific melodramatist first, and an action director second. This is an important distinction because if his action stands out, it exists as a baroque extension of the drama. Manhunt has many well-crafted chases and gunfights, but they operate at such a vacuum, they serve for little more than showing Woo still gets it. Manhunt doesn’t even quite work as a corrosive self-parody like A Better Tomorrow 2 despite hitting every expected Woo favorite with a self-aware tongue in cheek, it lacks the energy and sense of mayhem for that. The pulp verve that could animate it only shows up in spots and drama and action remain divorced. It is efficient without the catholic ethos of violent purge that could help it find a second gear.
Almost entirely a disaster, although I'm partial to Woo and his brand of poetics nurturing bloodshed. The unconscious, muscle-memory link between story actions and physical manifestation via shootouts is weak, mainly because the plot slugs along and carries no momentum for the (sadly overcut) carnage to fully blossom. Only for curious Woo fans, otherwise stick to the classics, which there are many.
On par with the snowman as one of the biggest, most embarrassing disappointment of 2017. Honestly, this is unwatchable, leaves a bad, sour taste in the mouth ever since the opening scene. Joke's on me for not using literally anything else in John Woo's filmography as entry. A clown, a fool I am.
Stylish, but ultimately tedious movie with among the worst English-speaking parts I’ve seen in a while. This isn’t the John Woo of Hard Boiled that’s for sure.
Stunts - 68/100 | John Woo hasn’t fully lost his touch action-wise, it is at times inventive and with interesting framing. I just wish he hadn’t exaggerated his style so much. Lazy CGI really doesn’t suit him.
Narrative - 29/100 | Horrendous acting at times, and a convoluted story that sounds like the one a student writer would come up with to prove he can juggle many characters successfully (he can’t).
Fight Choreography - 70/100 | Interesting fight sequences in a John Woo movie? I’ll take it.
Enjoyment - 24/100 | Who’s…
Only watched this to see what John Woo’s latest had to offer, and unfortunately, it’s not much. Manhunt is an incoherent mess of a movie that never commits to a specific tone, though I guess I shouldn’t be surprised considering it’s written by no less than 7 people. It’s certainly not boring and there are some fun action moments, however it feels like Woo is trying to emulate Michael Bay here, leading to some of the most obnoxious editing choices I’ve seen in quite some time, not to mention terrible ADR and an incredibly generic score. I honestly don’t even know what to make of this, as it feels like every major production decision was made to look as flashy as possible, however the inconsistency seen in the narrative can’t ever match this. Hopefully Woo decides to take it smaller next time, because this was mostly a disaster of insanely baffling proportions.
You'll never convince me this film isnt the result of a producer pulling a gun on Woo and saying "play the hits, John"
Which, honestly, i am here for. It doesn't make much sense (the story feels like every third page of the script was stolen by gremlins) but if i told you i didn't hoot like a baboon when they crashed through a dovecote and brawled in the middle of a cloud of birds, or slid across a floor pistols blazing I'd be a damned liar.
Unfortunately it also makes some ill advised, inexplicable choices (why so much dialoge in English, WHY) that prevented my full and willing immersion in the soothing fan service.
And, as always, opting for CGI blood over practical effects remains a disaster.
A fun watch if you're a big Woo fan, otherwise skippable.
There are occasional brief glimmers of the John Woo magic but sadly not enough
I don't get the 2.6 score on here. It's not great but you can tell John Woo had so much fun with the visual style here that I couldn't help myself but to smile from minute one. Gun are shot, punches are thrown, cars are chased, swords are swung, and the best part, doves fucking fly!
thank you John Woo I give this movie 5/5 bloody wedding dresses, 5/5 flying white doves, and 5/5 super soldiers
Not bad, but very clumsy English dialogue
i love dream
A watered down John Woo version of The Fugitive.
Very all over the pace. I will say it has my favorite use of flying doves in a John Woo movie.
"Old movies always end this way"
Pretty good action movie.
Convoluted and feels surprisingly overlong considering the runtime, but does it have doves flying in slow motion? Fuck yeah it does!
After "Paycheck" in 2003, it seemed like I completely lost track of John Woo movies. He went back to Asia after leaving Hollywood and as of 2021, he has done six movies since "Paycheck", with "Manhunt" being his most recent movie in 2017 and being released on Netflix in 2018. Like maybe most people, "Manhunt" went completely below my radar and I wasn't even aware of it's existence. Unfortunately there might be a reason for that because "Manhunt" is the worst John Woo film I've seen, yes, even worse than "Windtalkers" and "Mission Impossible 2".
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