Wow! Such a good movie.

Did you people see the same film I saw?

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

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 Kin-ting directs this feverishly paced crime noir that is one of the finest in the genre. Yuen Biao stars as Lo Huan, a Hong Kong police officer who unfoils a dangerous conspiracy that results in the assassination of his ex-wife. As it turns out, his ex-wife had an ongoing affair with his own corrupt superintendent, and when she learnt of his behind the scenes heroin ring, he simply arranged a hit and had her brushed off. The hired gun, Ah Chui, performs the job with the greatest of ease, but for various reasons, is next on the superiors hit list. Now on the run, Ah Chui accidentally confronts Lo Huan, who eventually sheds his grief and teams up with the woman to take down the corruption in the force. What follows is a high stakes cat and mouse game that leads to a brutally violent conclusion, leaving no one unscathed.On the Run is perhaps known best for providing Yuen Biao with his finest performance to date. His portrayal as the troubled moralistic cop is dead on, combining both superb restraint and expressive emotions. Ah Biao's female counterpart, Pat Ha, gives a noteworthy acting job, and is completely believable as a cold and calculated hitwoman, only to have human feelings and emotions to get in the way of her career. Also appearing in supporting roles is veteran Taiwanese actor Charlie Chin, who co-stars as the corrupt superintendent, and fellow Peking Opera schoolmate Yuen Wah, who appears as one of his cronies.Director Cheung doesn't disappont either, and perfectly complements the gloomy theme with dark cinematography which takes place in the black, Hong Kong horizon dimly litted with the traditional glow of neon lights. It is almost impossible to not be absorbed in the mood by the cinematography. The writing also plays a large part in setting the theme. The script is masterfully crafted, moving at lightning pace, providing the viewer with plenty of suspense and surprises to glue the them to the television for the 90 minute duration. All in all, you won't find pretentious, incomprehensible wannabe filmmaking crap in the tradition of Michael Bay, just pure talented directors and writers at full force.Of course, novices to Hong Kong films will immediately typecast this as standard, martial arts action fare. Well, it's just pure ignorance on their part. Aside from an incredible pole-slide stunt performed by Yuen Biao, all of the action is played straight. The fight finale between Yuen Biao and Charlie Chin's henchmen is nothing but intense brutality and realism at play. Fluid, acrobatic choreography is the last thing you should expect. In the case of On the Run, that is a good thing. Any type of cartoon- like Jackie Chan action will just ruin every theme the film is trying to convey. Thankfully the filmmakers didn't bite to mass appeal just like so many others in this entertainment world today.Overall, On the Run is a milestone achievement in Hong Kong filmmaking. Multiple viewings is absolutely required for this masterpiece, and of course, I highly recommend this overlooked gem to anybody itching to get out of the Jackie Chan/ John Woo mode.

'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.