A lot of comments have been made about the gimmick of Andy Lau's body suit but I think the director intentionally used it. Much of the film is metaphorical and symbolic. The movie artfully provides a story that is richer for its indirectness. Just as Daai Chek Liu fights the form of his would be self, and prevents the triggering of a new karmic thread through a potential revenge/ justifiable killing of Sun Ko, the body suit may in fact symbolize the effort that many people put into developing the unimportant/ ineffectual aspects of their lives. In the first part of the movie, none of his highly developed skills or extrasensory perception can avert the eventual course of karma; and only in the second part, when he forgives Sun Ko, is he successful in making any difference. His shedding of his over-developed physique during this journey is perhaps symbolic of his return to simply pursuing "the only thing that Buddha taught" (per his soliloquy after he resolves the conflict with his alter ego). If you watch carefully, everything you need to understand the story is right there; but it's not obvious. There are many places where the director has only sown the seed for further inquiry. I could go on; but suffice to say it's not a movie that can be fully appreciated without at least some analysis on the part of the audience :) In the end, if your interpretation even makes you think about the laws of nature, the meaning and purpose of your life, that's what matters, and is perhaps what the director/ scriptwriter intended.

Hey, Lighten up angry folks. It's just a movie. Did you have fun enjoying it like me? If you like martial arts, superheroes, and are intrigued by the power of mythology here's your ticket. Cecilia Cheung and Andy Lau shine like usual for you loyal fans. Loved the element of examining Karma which is lacking so much in the consequence ignoring messages of late. The gradually unraveling storyline and visual games will keep you thinking and will draw you back to examine the movie again and again. The transitions are nice to take in as they travel from city to country and through past lives and the present. They hop along nicely from place to place to keep the story going. Andy Lau is funny as the beefcake parody and Cecelia Cheung is so herself as the unassuming pretty girl with the crush on the muscleman/superhero/monk.I believe that people inclined to study Karma probably know more about it than the film covers so enough said on that. I'd recommend meditation, serious study and training with an expert over any film designed for entertainment.The Asian aesthetic, over the top action, charismatic stars, creativity and a penchant for the fantastic are why I love so much of Hong Kong and Mainland Cinema and this is a fine example. More HK blockbusters please!!!

Running on KarmaI am once again disappointed by Johnnie To and Wai Ka Fai. What happened to the talent that shown so brightly in their macho cop and robber films? Perhaps, and it is an easy conclusion to reach, that is the only type of films they know how to make well.The gimmick of this film was that Andy Lau wore a muscle suit. Except, other than its being a gimmick, it in fact served no purpose whatsoever in the film! Almost all the publicity for the film beforehand was based on this, and it is rather shocking to find that it was just that, and the ploy played no part in the film.Where do I begin? The story, to start with, was so muddled that it left me wondering who gave the green light to its being released. I can see what the film was trying to say, about reincarnation, about the Bhuddist idea of karma, of planting the seeds of good and helping it germinate, about how that alone is no guarantee that things will turn out better. But the plot line was so confused (not confusing, but confused, though it was the former as well), the presentation so plain and directionless, that the entire experience left a sour taste in my mouth as I left the theatre.I would not even bother to give a plot summary, since I do not recommend anyone see this anyway. There are other bad films one can waste his/her time with.For all those who say this was a good, or even excellent film, I am glad for them. Blessed are those easily satisfied, though not understanding something (whether by its being truly complicated or merely by atrocious presentation) does not make it deep.

So far this year for mine the contenders had been City of God[(Brazil), Infernal Affairs(Hong Kong) and Auto Focus] (United States). But on Saturday night a new film stepped up to the plate and made it's claim to the throne heard, (one may say it threw down the gaulent) the film was Running on Karma, (Hong Kong).Some background to the cast and crew of R.O.K.. Directing duties were handled by Johnny To, a mainstream director known for smart scripts of intervening nature compounded with heavy bloodletting long before Tarantino had left that video store, and Wai Ka Fai, an art house director known for making beautiful looking films which usually had under-developed characters, (think Chow Yun-Fat's Peace Hotel).The main actor is Andy Lau. Easily the biggest actor to never try to break into Amerikkkan mainstream from Asia, Lau is like a Tom Cruise type, young and fashionable (but now like Cruise is aging), and his films usually make a llllllloooooottttt of money, even if they aren't all that great. Oh and yes, on the side he's a bit of a popstar. I'd never actually liked Lau, but he had done a couple of decent films recently, the passable Fulltime Killer (another Johnny To/Wai Ka Fai film) and the excellent Infernal Affairs with the king on Wong Kar-Wai films Tony Leung Chui-Wai, (think John Woo's Bullet in the Head and Hard Boiled plus Wong Kar-Wai's Chungking Express, In the Mood for Love and Happy Together). The supporting actress is twenty-three year old Cecilia Cheung, (think Shoalin Soccer, Tokoyo Raiders and Tsui Hark's The Legend of Zu)who really has done anything of real note to a non-Hong Kong fanatic.Ok now for the film. To label this in one genre would be the height of arrogance, because despite being advertised as an action film, it is far from it. In fact it's far from anything. I went with a seasoned Hong Kong film watcher, and a mainstream American orientated viewer. Not one of us could tell which way this film would go. None of us could predict what was going to happen next. The plot of this film is fantastic. However one must go into this film with no preconceptions, so to read anymore than I will lay out below would be foolish.The opening scene shows Lau[ doing a strip act in a nightclub in believe or not, a huge rubber suit that's meant to make him look more buff than Vin Diesel. Ok, Hong Kong doesn't have the biggest budgets, this suit is here to stay and folds whenever Lau moves, (and funnily enough he's naked for about a quarter of the film). Nearby a C.I.D. investigation is proceeding and when the victim runs from the scene at the same time that Lau the stripper runs from an undercover cop (Cheung) the paths cross but the story doesn't come together as one might expect. What does happen? Get into the film and find out.Now the film starts out as a sleazy comedy, moves to a crime thriller, moves to a martial arts flick, to a romantic comedy, to a supernatural thriller, to a ...it goes on and on, and it would seem to a mess, but except for a small flat spot about and hour and twenty in this film stays brilliant. Unlike P.T.U. Johnny To actually remembered to write a third act, and let me just say that the last act has some absolutely classic scenes, (and yes, I can see American cinema copying it in five years or less). Wirework is used how it should be done, as is what has always been Asian style cinema, but in the west has now been dubbed Matrix-like fights.Some classic scenes I can mention without ruining the plot: about five or so tasteful but bloodily decapitations by a Japanese with a samurai sword. An almost vigilante like police-captain hitting a bag with a very flexible man inside it with the butt of his shotgun until the bag becomes bloodstained. An amazing fight in front of a huge statue of Budda. A classic scene that I can't describe due to spoilers involving a rock, a stick and a handy cam, (you'll known what I mean when you see it). And oh yes the one scene I can definitely see American copying involving a tissue, (yes that's right a tissue)!Now how can you see this film? Well I saw it on a one-night only preview screening in Adelaide on Saturday the 27th of September, despite it being released in Hong Kong on October 1st, (this coming Wednesday). I've heard that it will be showing in Melbourne this week, if you can't catch it you may have to wait for dvd and vcd import. Hopefully Miracut won't touch this one.Eight out of Ten.Peace. Scott.