Hyperkinetic editing, distorted lenses, canted angles, switches to black-and-white, adjustments to speed and clarity of image... Wong employs literally everything in his arsenal in his attempt to evoke these five characters' mad desperation to connect to someone around them, and damned it isn't utterly marvelous. Look at the go-for-broke style here, compare it to the aesthetic rigor of In the Mood for Love, and be amazed. Oh, and it's morbidly hilarious, too.

A beautiful mix of cinematography, cool music, and a simple, but interesting story create a unique setting and atmosphere. It might seem like all style on the surface, but on second viewing I connected with the characters a lot more and it has now become one of my favorite films.

Doesn't look at good as other Kar Wai movies, but the writing and characters are just as good.

Style over substance - characters are either "quirky" or cliché but never engaging.

The duo of Wong Kar-Wai and cinematographer Christopher Doyle once again strike cinematic gold in a movie that is meant to be first and foremost sensed and felt - and only intuitively understood. The story is confounding to say the least. Tilted framings, fisheye wide-angle shots and exceptionally colorful urban locales (back alleys, tunnels, small apartments with trains visibly whizzing by etc.) make you feel at turns overwhelmed and lonely, ecstatic and hopeful. Just like the main characters.

Wonderful series of fleeting emotional moments with a small cast of interesting characters. As you'd expect the visual and aural style is strong and really enjoyable and together these aspects create a really enjoyable series of moods.

In a way, it's a continuation of Wong Kar Wai's previous film, Chungking Express. It shares many of the strengths of that film. I don't really care for the frequent transition between the two stories though.

Style to boot. A Chow Yun Fat esque killer, an energetic mute, a sleek, sexy agent and others punctuate the fast, neon-bleached look of WKW's world. Stunning, visually, and enough obscure narrative and unabashed humor to energize every pan and cut, it's hard to not be entertained, although that's not all a viewer will get from it.

This film is often overlooked by film buffs in favor of Chungking Express but I feel this is a more viscerally beautiful film. In Chungking Express the emotions were more sentimental while Fallen Angels is more about bittersweet feelings. Several scenes are simply incredible..the low rent motel where you can see the train pass by, the tunnel, and the ice cream truck. Even if you don't get the characters it's not hard to feel a bit sad at the end. KWW films have to be felt and not just viewed.

100

932

A melancholy movie about love and isolation that also manages to be the coolest and sexiest film ever made. I get the feeling that this film exudes the mood and atmosphere of Hong Kong at night. A ravishing, sensual pleasure in every respect.

There's a few good scenes in here but they're drowned out by mediocre ones and the completely overbearing style. Often hard to care for the characters and their frequently sociopathic actions. Feels like unprocessed leftovers from Chungking Express, with a fraction of the charm.

#961

Overwhelming. The closest thing I can compare this to is early Godard, but whereas I find Godard dry and full of contrived coolness, I found this exciting, visceral, and genuinely hip in a way that few filmmakers can achieve. Sure, it's light on plot, but I was never a plot guy to begin with. Overall, a visually stunning, extremely energetic load of style over substance. I will have to reevaluate my opinion of Kar Wai Wong after this one.

I'm shocked by the universal praise for this mess, and can only attribute it to respect for the director's other works. This was awful, a boring story, annoying characters, pathetic camera tricks. I love his other films, but I just wanted this to be over.

While summaries of this film point to the hitman as being the central figure in this film, the other main characters really steal the movie. Wonderful cinematography is almost disorienting in how beautiful, yet distracting, the shots are. The luminescent nighttime setting of Hong Kong (as always) makes for a perfect film venue and is utilized spectacularly. Actors play their roles well. While the plot lacks in a general sense because of its experimentality, the rest of the film is remarkable.

Weird, funny, hectic, and, by the end, melancholy. Beautiful last scene(s). Really lol'd at the whole ice cream truck affair. Great stuff.

tembel tetikci, iliski beceriksizi menajeri, dilsiz firlama genc, kirik sarisin, hala asik kiz ve kar wai wong'un melankolik, ruyavari dinamik kamerasi-cekici kadraji ile tam bir karmacoma. ask filmlerinin dikkate deger yonetmeninden kalbi kirik meleklerin hikayesi.

So beautiful. Doyle really puts on a spectacle in the cinematography department. Every shot and every color were just stunning.