Fallen Angels

Wong Kar-Wai's cinematic style is unmistakable: hip, colorful and energetic and the film's frenetic pacing and exuberant camera work make the streets of Hong Kong a neon wonderland. Full Review

Dull it is not, but Wong's trademark sense of romantic melancholy fails to jell amid all the excess, and the film turns frankly silly once the mute starts imagining himself in love with a can of sardines. [21 Jan 1998, Pg.37] Full Review

It's hard to follow, the characters are ill-defined, and the wide-angle shots used by Wong's perennial cinematographer, Christopher Doyle, are deliberately unflattering. Full Review

Fallen Angels is proof that Wong will try anything, and the result is an eclectic mix of images and disjointed editing, sounds and rhythms that are at times as powerful as any piece of filmmaking likely to be seen all year. It can also, every once in awhile, be tedious and trying. Full Review

Even Wong's detractors, who consider him more stylist than auteur, will have a tough time dismissing the extraordinary emotional depth he achieves here. Full Review