Crisis Negotiators is a serviceable formulaic action thriller that's elevated by Sean Lau Ching Wan and Francis Ng's lead performances and supporting cast. The film's biggest hamper is its paint-by-numbers unambitious approach to its material.
A remake of 1998's The Negotiator starring Samuel L. Jackson and Kevin Spacey, the story follows senior negotiator Cheuk Man Wai who has been framed for murder and holds a police station hostage to clear his name, with the help of a former negotiator- turned-social worker Tse Ka Chun.
Looking over Herman Yau's filmography, he's quite the survivor of the Hong Kong industry. Reputable for bringing his films on budget and on time, Yau has worked consistently across a widespread of genres, releasing B movies quick enough to catch what's trending, such as undercover police thrillers or Ip Man follow-ups.
Now as the go-to guy for Hong Kong-Mainland co-production action films, Yau's paint-by-numbers, veering towards televisual style is a commercial choice to create easy entertainment that everybody can follow-and probably puts the investors at ease. And Yau achieves that.
However, it leaves a lot to be desired. We are all so familiar with cop films already. There's little attempt to deliver anything new or challenge its audience.
The film constantly over-explains itself. Every line of dialogue either explains, reminds or plans out what needs to be done. There are flashbacks to scenes we have just seen. You could follow the entire story from listening while making dinner in the kitchen.
Lau Ching Wan and Francis Ng deserve better material. That said, it's impressive watching the two veteran actors rise above the written material. They masterfully maneuver around their lines, adding nuances and gravitas in the silences.
Producer Andy Lau disappears in a memorable cameo as a mentally unstable father who starts a crisis in the Social Welfare Department office with his wife. It's Lau's best recent performance.
Yeung Wai Lun from The Sparring Partner is also funny as a police informant who becomes one of the hostages.
The most memorable scene is Sean Lau taunting a novice police negotiator on the phone and it's the closest the film gets to letting loose and allowing the actors to play with the material. My theater erupted in laughter from the fresh and immediate energy.
Everybody seems to be delivering these stale lines as written. How often can an actor and director explore a scene until it's right in these productions?
Imagine if the production let Herman Yau, Sean Lau and Francis Ng chisel and tweak their scenes to create something more magical and exciting.
At the bare minimum, I need to see that attempt.
