dontspamme-11
I don't like remakes, whether they are American remakes of "Asian" films or the other way around. It's even worse when the original film itself was a dismal piece of cinema to begin with, and this seems to be the case here.Louis Koo plays a man who receives a random phone call on his cellphone from a woman (played by Barbie Hsu) claiming to have been kidnapped. He has to decide whether to try and help her or to ignore her and rush to the airport in time to say goodbye to his son, who is immigrating to another country with a relative. Apparently (and quite predictably), he has broken many promises to his son in the past, and if he does not fulfill this particular promise, the damage to their relationship may be irreparable. Predictably (again), he chooses the most implausible option, and begins a crime spree that involves reckless driving, vandalism, robberies, and more, in order to try and save the woman on the phone.Sounds familiar? That's because this film is a remake of "Cellular", which I have not yet seen. But after seeing this remake, I don't think I want to see "Cellular", because the reason it sounds familiar to -me- is because it is ultimately very formulaic. At every "twist" in the film, the character will not choose the most sensible option because it threatens to endanger the people he is trying to save. In fact, you know in advance that the character will choose the most unlikely and implausible option, which often endangers not only himself but random strangers (for example, driving dangerously in busy traffic and causing multiple collisions), in order to stretch a paper-thin plot into a "film." Even the ending itself was foreseeable almost from the very beginning (guess where the final "showdown" will take place? Hmmm....).Ye Liu's exaggerated performance as the villainous "Senior Inspector Fok" was particularly agitating to watch. Nick Cheung does his best to try and keep a straight face in what should really be a comedy rather than a thriller. Barbie Hsu is given no room to do anything except fulfill the stereotypical role of a hysterical woman who has just been kidnapped, even if she's basically MacGuyver and can build working telephones from smashed parts. Would Richard Dean Anderson just cry hysterically for the rest of the film after building a phone? No, he would have turned wooden planks and metal cans into a nail gun. That would have gave this film a pulse.
helmutty
I have seen both the original and remake. It is based on Cellular. Cellular is intense and has lots of suspense. After a few years, it is remade by Chinese action director Benny Chan. His recent work, Invisible Target is quite good. Benny Chan cannot fail with fast-paced action mixed with martial arts. Connected is almost like the original, it is intense and has lots of suspense with some twists. Though, the remake is almost like the original, it is not boring. Its suspense is different from the original. I treat the original and remake differently. Both of them are of the same score.Te story: A debt collector receives a call from a woman who is kidnapped by an unknown gang. He thinks it is a joke but soon, he realises that it is not a prank. He hands the phone over to a cop. By then, no one answers and the cop asks him to go to a police station nearby. He rushes off and try to save her and her daughter. The question is whether he can break his promise to his son and save the woman he does not know. From there, there are chaos and intense action exploding into your way. It is another of Benny Chan's good work.Overall: If you are a fan of Benny Chan, this should not be missed. It also should not be missed for action and suspense fans. We can expect there will be more Asian remakes of Hollywood version.DVD: I would like to get hold of the 2-disc special edition (Hong Kong version). Singapore only gets the 1 disc edition. There are English and Chinese subtitles.
DICK STEEL
When we hear of remakes, we lament Hollywood raiding Asian content, repackaging and most of the time dumbing them down for mass consumption, often to dismal results. Some get A-list cast and crew attached, while others put whoever's the flavour of the moment to attempt to be the next scream or drama queen. With Benny Chan's remake of Hollywood's Cellular, I guess the remake street cuts both ways now, and while I had enjoyed the original with Chris Evans running around like a headless chicken, I embrace this version with Louis Koo in the leading role wholeheartedly as well.As with any self-respected remake, you take key premise and scenes and mirror them somewhat accurately, stamping your unique mark on them and providing some creative spin. But what Benny Chan did in addition to that, was to throw in lots of space, so much so that it doesn't get confined to just a particular location, but uses a wide berth which is Hong Kong, from the highlands to the airport, as the playground of choice. While it runs longer than the original, you'd suspect that it either has repetitive scenes, or moments of monotony which would drag it out, since the original was quite compact with wall-to-wall action. Connected has none of that, and still maintains enough moments of thrills and spills, even for those who had watched the original and likely to guess the twists and turns.For the uninitiated, Barbie Hsu plays Grace Wong, an engineering genius, worked into the plot such that it would be reasonable for someone of her calibre to craft a makeshift phone from spare parts. Compared to the more elderly version of the damsel-in-distress played by Kim Basinger, Hsu brings forth a more energetic interpretation, not to mention a younger one too as it provides some background rooting for a hint at possible romance, since she's a single mom, and Louis Koo's single dad character, despite them spending the bulk of their screen time apart from one another. Koo plays Bob, a debt collector whose relationship with his young son is on the brink of disaster given his string of broken promises, but gets a call out of the blue requesting for urgent help.While Chris Evans may have started off his character quite cock-sure of himself, Koo's Bob here is pretty much mild mannered and timid, until such unusual circumstances bring out the tiger in him when he begins to find some courage to assert himself, in the face of irritants like a salesman from hell, and a loud mouthed convertible driver. There are little nuances put into Bob that credit has to go to Louis Koo for making it more three-dimensional, in having a guy rely on extraordinary luck to see him through challenge after challenge, of being quite clueless and one step behind for the most parts, not to mention a moments of internal tussle he suffers to decide whether to risk it all for the strange caller, or to ignore the desperate plea for help in order to save his own relationship with his son.Apple for apple comparison, the remake counterparts held their own in contribution to the movie. While we don't have a Jason Statham as the no-nonsense baddie henchman, we do get a more charismatic Liu Ye as the chief villain, and in spite of hiding his face behind shades most of the time, he does send enough fear to the opposition, and makes quite a fine villain, although not particularly a memorable one. There are enough material here to have three concurrent narrative points of view running along, with that of the captive, the seeker, and the meddler, where NicK cheung's off duty cop PC2004 (a moniker for the year the original Cellular was released) had more to chew on, compared to his Hollywood counterpart.The action scenes here were a little throwback to the 80s Hong Kong cop shows where heroes and villains get to duke it out in old school fashion in the final act, without police intervention until the show's literally over, but there were a couple of stunts that raised a few eyebrows. An indestructible Nissan March tearing through the streets of Hong Kong might seem a scene from Mr Nice Guy where a truck full of Pepsi got ripped through, but one of my personal favourite sequence, though short, was a full follow through of the characters right into an unexpected glass panel.If you've not seen the original, then you might just want to start with the remake instead. It surpasses in its intensity, frustration, and the leads, while almost never sharing the same scene together, individually made themselves very believable as the damsel-in-distress, and the knight in shining armour. Benny Chan adds a whole lot of fresh air to his filmography with this effort, even if it's from remake territory and adopting the same way to close the credits, but does an excellent job out of it.
