Chinatown’s good for everything but the night life.
NYPD Lieutenant Nick Chen (Chow Yun-Fat) is head of the Asian Gang Unit and his main job is to ensure that there is peace in Chinatown. After a turf war between the Triads and the Fukienese Dragons broke out in the town, Chen now really has hands full, with even more possible gang-warfare expected to break out and kill more and more people, most of all, innocents who just so happen to get wrapped-up in the fire. The city sees this, knows this, and recognizes that this is a huge problem, and not one that can be handled by just one cop all alone. That’s why they decide to send over talented agent Danny Wallace (Mark Wahlberg), who knows how to get the job done, however, Chen isn’t having any of it; Wallace doesn’t like Chen much either, but he knows that there’s a job that needs to be done and because of that, he’s not going to let personal issues get in the way. But the two start to dig in on each other’s past more thoroughly and they begin to find out that the other has something dirty and controversial, making them wonder if they can continue to work together and stop this whole warfare from starting.
You have to feel bad for Chow Yun-Fat, one of the most exciting and iconic Chinese talents ever, because no matter how hard we try, the States just doesn’t get him. Or, if they do, they don’t give him the right material that’s not just worthy of his talents, but matches perfectly why people have loved him so much in John Woo’s films. See, the movies that he’s done, where he’s the lead and made out to be this big deal, don’t really match the same sort of craziness and excitement that Woo’s films have and allow for Yun-Fat to shine; movies like Bulletproof Monk, the Replacement Killers, Dragonball Evolution, and yeah, even the third Pirates of the Caribbean, all gave him something to do and kick ass, but it just didn’t match what everyone knew and loved him for over in China. What made him a bonafide star over there, for some reason, just didn’t translate over to here.
And it’s not like it’s his fault, either, because Yun-Fat tries as he might in all of these flicks, including the Corruptor – it’s just that these movies themselves don’t measure up. They’re not as crazy, not as wild, not as fun, and sure as hell not as entertaining as we’re used to seeing Yun-Fat and his movies and it’s why they feel like a sheer disappointments, considering what we know Yun-Fat himself can do.
But the Corruptor may be the better of them because it gives him a lot to do, in terms of action and acting, but still, there’s something missing.
For one, the Corruptor was clearly seen as Yun-Fat’s big break into the American-market and because of that, he gets a lot to do; he nails his English as well as you’d expect, the scenes where he has to throw guns around and kick ass, he shows off style in, and when it’s just him, sitting down, smoking a cig, he’s still pretty cool and charming. The man’s got presence for sure, it’s just that the Corruptor, oddly enough, just doesn’t know what to do with him, or better yet, even itself.
The Corruptor tries to be a lot of things, but for some odd reason, never seems to fully explore any of the numerous ideas. At one point, it’s a look into the deep, violent and bloody underground of Chinatown; at another, it’s a look at police corruption. At one point, it’s a drama about racism and prejudice and how it affects the workplace; at another, it’s about sons and fathers not connecting with one another and hiding secrets from one another. At one point, it’s this mysterious, crime-thriller where secrets have to be discovered and murders have to be solved; at another, it’s this slam-bang, crazy and violent action flick that likes killing people and blowing up cars.
Kind of confused, yet? Well, that’s sort of the point.
The Corruptor doesn’t know what it wants to be and it’s a shame because director James Foley is probably not the best one to make sense of this material. You almost get the sense that he was shooting and looking for something deeper, smaller and far more emotional, but once the studio got involved and realized the possibility of the bucks that they could rake in, well, he lost all control. Foley is best when he’s dealing with these tiny and sturdy character-pieces, and while the Corruptor still feels very much like a noir of his, it’s still clearly not up his alley and it takes away from what could have been a far better, more exciting and interesting movie.
Speaking of studio interference, it’s also obvious that Mark Wahlberg was thrown into the cast, just because he was a sort of big name at the time and the studio really wanted to ensure that people would flock out to see it. And even though Wahlberg is perfectly fine now and one of the best leading-men we have around, back in ’99, he wasn’t quite established; his acting wasn’t all that there, he seemed far too serious for his own good, and yeah, he didn’t show much versatility. And it’s a shame, too, because the scenes he has with Yun-Fat, you can tell that the two are clearly trying to make some sort of spark happen, but the script just isn’t there and neither are they. They’re there to collect a paycheck, move on and see what happens to their career next.
It’s a good sign for Marky Mark. Maybe not Yun-Fat, but hey, it probably doesn’t bother him much.
Consensus: Unfocused and rather conventional, the Corruptor gets by on the bits and pieces of a compelling story, as well as an always reliable Yun-Fat, but ultimately, feels like a missed opportunity to make something great and memorable.
5 / 10
Photos Courtesy of: Film Critic, Esq.