呢個評論人比較過stephy以前D戲, 今次<空手道>評價似乎OK,
今晚買咗飛睇, 希望唔會失望
http://www.hollywoodreporter.com ... film-review-1053241
The story is a simple enough one about coming to a crossroads in life, reconciliation and forgiveness, and finding the maturity to pick oneself up when things don’t go as planned and carry on. But To and Li frequently usurp expectations of a martial arts movie, beginning with the martial art in question. Karate isn’t the traditional form for Hong Kong cinema, and it makes for a nice change of pace. It also photographs beautifully, with Tam Wai Kai’s images gracefully capturing the flow of forms as Chan and Mari train, with Irving Cheung’s impeccable production design giving the film and Mari’s story a warm, tactile tone. To clearly has an eye for memorable set pieces, and even when they don’t contribute anything substantial to the narrative (we don’t need to see Chan’s gangster backstory as just one), they look really cool.
Structure is where To needs the most work, but Empty Hands manages to keep you engaged through its little details. Side characters like a few local kids at the dojo and Dada Chan (Love Off the Cuff) in a small role as Mari’s vacant, pretty, good-hearted friend spice up the film when it sags. And To doesn't completely abandon his funnyman status, injecting touches of brevity in a few choice spots. But the film belongs to Tang, who makes Mari and all her faults sympathetic, even if she isn’t likable, and empathetic when she isn’t smart, particularly with regards to her married boyfriend. She wants things her way, and Li resists the urge to redeem Mari when they in fact do go her way. By the end of the film, Mari has smartened up, if not completely grown up, and her final decisions are refreshingly unapologetic. Tang allegedly put six months into karate training for the film, and it shows onscreen; she’s completely believable as a lapsed karate prodigy, and action by To, Au and their army of choreographers seals the deal.
