Notable Cast: Daniel
Wu, Zhang Ruoyun, Joseph Chang, Zhang Jingchu, Amber Kuo, Fan Guang-yao, Wayne
Lai, Philip Keung, Cheung Siu-fai, Ying Batu
Despite mixed reviews, Ringo Lam’s comeback action thriller Wild City was still a decent return that
showcased a director who was trying to blend his classic Hong Kong action chops
with a slightly more modern approach. When it was announced that his next film
would be Sky on Fire, going with a
title scheme that would indicate a throwback to previous films from the golden
age of Hong Kong cinema like City on Fire,
Prison on Fire, or School on Fire, there is obviously a lot
of expectations that come with that. Partner it with some solid marketing and
Daniel Wu to anchor the lead, this film had momentum to go with those initial
expectations too. So perhaps it’s not all that shocking that Sky on Fire comes off as disappointing
in the end. Sure, this is a film that attempts to recreate the Ringo Lam style
of yesteryear with its plentiful action and design, but it’s a film that
ultimately rings off as a hollow recreation rather than a film that belongs in the
same echelon. There are moments, sparks if you will, where one can see it start
to reclaim the style, but it doesn’t have enough emotional resonance and
effective narrative flow to make it work.
When the head security guard (Daniel Wu) at a massive
medical company’s headquarters finds himself on the trail of a group of thieves
trying to steal information and material for a new stem cell project, he finds
himself at odds with his own morals. This is because he becomes unsure of the
intent of either side, his corporate employers or the seemingly humane and
justified cause of the thieves. With his life now riding on the line, he must
make a choice that will have drastic effects.
 |
| His bedside manner is somber. So is my movie watching manner for this one. |
In many ways, the foundation of Sky on Fire should be one that works. There are pieces to the whole
that are throwbacks to great era of late 80s Hong Kong cinema. The hero is a
devastated soul unsure of his place in the world, the use of corporate evil
versus well intentioned thieves, and even the way that the action lays itself
out – bursting in intense sequences of violence and gritty moments. While some
of this comes off as cliché or over the top at times, the intent is meant to be
one of a throwback nature and for a fan like myself that can’t be ignored. Some
of this is held up by the execution. The action is crisp and realistic, although
the use of the grimy digital Michael Mann look of some of the car sequences doesn’t
do it any favors, and Daniel Wu carries a lot of the emotional weight of the
film through a strong performance that connects. If anything, this is where Sky on Fire succeeds.
The problem, however, is that the rest of Sky on Fire doesn’t resonate after the
fact. The entire focus of the plot, a sort of anti-corporation, anti-big pharma
stance, is too heavy handed and feels forced onto the audience in an over the
top manner. Both sides of the fence, the evil face of corruption with its slick
building and expensive price tag and the rag tag, but passionate thieves out to
take back what’s best for the people, is just hammered down so hard that its
message is lost in the effort. It doesn’t help that a lot of the narrative
comes out muddled in the process too. The first act is plagued with useless
flashbacks and there are way too many underdeveloped secondary plots that
undermine the efforts of the main plot. Too many characters and too many
relationships are left hanging that the potentially (and emotionally) impactful
elements of the film do end up feeling hollow.
 |
| "Stop in the name of Wu!" |
Sky on Fire is the
kind of film where the intent is much greater than the actual execution. The
action is solid and Daniel Wu brings his A game, but the script and narrative
structure cripples a lot of the better aspects of the film and it rings out as
a massively missed opportunity. It already had massive expectations to fulfill
with its throwback ideas and there is a respectability to its intentions, but
for those looking for that Hong Kong action flashback, this is not that film.
It has moments of being that film with its hero and action, but in this modern
age it tries to be bigger than that and it falters in accomplishing it. It does
make one wonder though, would we have been more forgiving if the title hadn’t
have created such comparisons even before the movie started?
Written By Matt Reifschneider
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