David Stratton said before the movie that this was film noir Hong Kong style and its main theme was the paranoia of the decade leading up to the Chinese Takeover of Hong Kong. The movie was very dark and there was a feeling of hopelessness running through the movie, but I am not sure that the paranoia is the major theme. Rather I think it is the hopelessness of life as the inevitable comes closer.To the characters of the movie, the handing over of Hong Kong to China is like death. It is something that has to be done and it is something that they cannot escape. They are not paranoid, but rather fearful, and this fear manifests in the desire to be secure. The handover creates a sense of insecurity within the characters of the movie, and as such they will resort to anything to escape it. The main character seeks to go with his estranged wife who is emigrating to Canada, while others have resorted to lucrative drug deals to gain enough money to escape.The movie is also about escaping. The two main characters are trying to escape Hong Kong and their fate. The corrupt homicide squad are dealing with drugs to rake in enough money to escape, while the other two, who are being hunted down by the Hong Kong authorities, want to escape to the golden triangle so as to flee the persecution that will come on them. The two characters are a political CID officer and an assassin. The assassin was hired by the police to kill one of their own because she had discovered too much. The police were then going to kill her because they did not want any witnesses. The CID officer, whose wife was murdered, gets caught up in the affair when he captures the assassin. They decide to kill him as well because he knows too much. As such the two are forced together and to rely upon each other to survive. It is not two innocent people trying to bring justice; the assassin is clearly guilty. As such she is an anti-hero. She is flawed in the fact that she is guilty of her crimes and there is no justice that can help her. Merely by associating with her, the CID officer is also guilty. He has to turn her in, but if he does he is likely to be killed as well. Either way he is trapped. He seeks revenge for the murder of his wife, but cannot fulfill it because to do so would be to remove any hope of escaping.The ideas that come up in the movie are very good, but I feel that the structure does not do it justice. Unfortunately, being in Chinese, we loose a lot in the translation, and thus we cannot see the anguish that the CID officer must face. I did not find the structure of the movie supported the ideas that I discussed fully. That is where the movie fell down, I could see the ideas on the surface, but the characterisation and the fear that is supposed to accompany that is not seen. As such, On the Run turns out to be a simple Hong Kong action flick.

Alfred Cheung's ON THE RUN (1988) stars Yuen Biao as a cop who gets to know his boss and other colleagues are not as clean as they should be. His wife gets assassinated and he meets a mysterious hit woman (Pat Ha). It comes clear that they are tracked by some very corrupt criminals/cops and they are on their own to survive. No children or women are safe either in the gritty and infernal urban jungle the film takes place in..This film is very impressive piece of Hong Kong crime/triad thrillers which hate the usual "humor" found in HK films as much as I do. The film is all the time serious and at the end, very pessimistic and nihilistic, too. The seemingly "good" character changes, again, and after all, he isn't any less violent and "bad" than those who originally hunted him and Pat. I'm not quite sure what the film maker's meant with the ending but I think it is there to depict the decay of the movie character's world and how it forced the worst and ugliest sides in Biao's character to see the light and become active. Still this film is very impressive even if we leave these "deeper" sides of the script away thinking they don't necessarily mean as much as we wanted to. The photography and settings are dark and atmospheric and enhanced even further by the strong and menacing soundtrack and use of music. The streets, alleys and hallways are captured menacingly and claustrophobically on camera, and this film is an example of what makes other masterpieces of HK crime genre so great. The action is plentiful and leaves no changes to breathe for the characters. This film is as bleak in its violence as it is in its visual style and look of the film. I give ON THE RUN 8/10 rating and I'm pretty sure this requires more viewing times in order to fully appreciate it and its all aspects. This is highly recommended for those who love their HK films honest and realistic without any unnecessary and irritatingly awful humor often found in HK films, action films included.

'On The Run' is one of those great movies you see, never forget, and probably spend years of your life trying to convince your friends to watch. A tight and unpredictable thriller (don't worry, no spoilers here), it is one of the great unsung Hong Kong movies of the late 80's, boasting great performances from its leads (Yuen Biao and Pat Ha) and superbly restrained direction from Alfred Cheung. Yuen, fresh from excellent roles in Sammo Hung and Jackie Chan movies, shines bright as the put-upon hero, wearied by his life and ready to run. Guess what? He can't. There's none of Yuens trademark acrobatic fighting here, just harsh, bloody brawling, and the great stunts within are wonderfully under-shot. Director Cheung was better known for his comedies, and perhaps this gave him space to bring out the characters. Regardless, this is triumphant cinema on every level.

This is a crime drama in which he, as a police, is, "on the run" with a female killer (played by Wen-shi Sha). From every aspect of filmmaking, "On the Run" is one of the best HK crime drama ever made. In this movie, you don't see kung-fu, but solid action and the final fighting sequence is very realistic. Very moody and stylish, and IMHO, it's to some degree better than most of John Woo's works.