dumsumdumfai Beast Stalker that is. I like this one better, even there are extraneous subplots that stretches my patience to the limit.What makes it works is the grim, memorable, albeit kind of nightmarish ending. The chase, the clogged up class room. The claustrophobic affects of that ending feels right. Feels that even you, the audience is in the same nightmare. It is inevitable as life itself.All that subplot of the wife, the past, the guilt, doesn't work for me. Sure you need motivation but this seems 'fitted in', tailored to the story - in a simple way - a way of solving the problem instead of finding the nuance of the character.I don't remember anything else, I think there was a few action sequences, but it all build up to the end.

gavin6942 Policeman Don Lee (Nick Cheung) often works with informants but numerous too-close calls and failed missions cause him to see the world as one betrayal after another -- then he meets Guy, and is given a new chance to change his views.I have to give credit to the folks at Well Go USA. I have been reviewing the films they distribute for a while now, and they have been consistently good. "Stool Pigeon" is no exception, adding the genre of police action to the martial arts stories they have delivered us in the past. I assume not all Asian films are this good (in fact, I know they are not), so whoever does acquisitions for Well Go needs a raise.What is this film? A bit of mystery, a lot of action, a crime thriller. It really should appeal to a wide audience. If you like films like "French Connection" or "Snatch", I think this will be your film. While not quite a masterpiece, it really does tell a strong, interesting and emotional story. It is a film I am eager to watch a second time.The DVD/BD (it comes as a combo pack) has some nice features on, most notably the variety of languages and subtitles. You might prefer Cantonese with English subtitles. Perhaps you prefer English dubbing. Then again, maybe you speak Cantonese and would rather watch it without dubbing or subs... you are able to do any of these.

Harry T. Yung Hong Kong's crime thrillers are renowned for their portrayal of police undercover. "The informant" is almost an education – we the audience soon learn that informant has a more tragic fate. The undercover agent is a police officer servicing with pride, and emerges a hero if he is successful in his assignment. An informant works under a business contract (filed with the government attorney office), for money alone. Both are of course dangerous and if they die, the undercover agent dies a hero while the informant dies a nobody. I suspect that even the criminals have certain respect for the undercover agent but despise the informant.This movie takes some pain in portraying the tragic lives of an informant through story lines which are familiar to followers of Hong Kong crime movies. Some may fault it for having too many characters and stories but director Dante Lam's skillful and effective delivery of the stories renders the movie easy to follow. The action sequences will satisfy the most demanding action (and violence) junkies. The poignant blend in well. There is little humour in this generally gloomy affair but the farcical first encounter of the central pair of protagonist is rather ingenious.Nicholas Tse, like Leonardo DiCaprio, working hard on shedding the pretty boy image, has achieved a measure of success in the movie as a recently discharged inmate recruited to be an informant. Nick Cheung, often explosive on screen, has also tried his own out-of-character thing as the police officer who recruited Tse. He has done well in deliberate underplaying, portraying an almost stoic, soft-spoken man who caught between the authorities that often sells the informant short and the informant that he comes to care about. KWAI Lunmei is yet another case of casting against type, doing quite an impressive job as a tough criminal from the mainland playing a brief interlude of Bonnie and Clyde with Tse. Acclaimed character actor LIU Kai Chi showcases his acting in a minor but impressive role as one of Cheung's informant driven to a mental breakdown.

moviexclusive Dante Lam has found something of a creative muse in writer Jack Ng of late, and their latest "The Stool Pigeon" marks their fourth straight collaboration together. It is also crafted out of the same mould as their earlier "Beast Stalker", "Sniper" and "Fire of Conscience", and audiences who have enjoyed the morally ambiguous characters and their dilemmas in these male-driven films will certainly enjoy this latest.Reuniting the duo of Nick Cheung and Nicolas Tse from "Beast Stalker", Lam reverses the good guy-bad guy roles played by Cheung and Tse earlier. In this film, Cheung is on the right side of the law- he plays Detective Don Lee, a cop with his conscience wracked by guilt from the fate of his last stool pigeon (or slang for 'informant'). Jabber (played by Lam regular Liu Kai-Chi) was almost slashed to death after his cover was blown, and Don counts himself responsible for making the executive decision that blew Jabber's cover.Tse is the ex-convict Ghost, whom Don seeks out to be his new informant after police receive word that a wanted robber Barbarian (Lu Yi) is back in town for another heist. Ghost needs money to pay off his father's debt to a loanshark, and reluctantly agrees despite being fully aware of the risks. For a good first hour, Lam meticulously sketches out the relationship between Don and Ghost- opposites in the eye of the law, but forced by circumstance to befriend and even trust each other.A scene where Don teaches his fellow officers how to manage their informants illustrates this conflict beautifully- he tells them they have to win the trust of their stool pigeons so they can get as much intel as possible, but not to get too friendly at the same time for they may have to make difficult decisions in the line of duty. It is an unenviable position that Don himself knows personally, and many of the film's most poignant scenes come from Don's regular visits to Jabber who has since become a vagabond.Besides delineating the complex relationship between police and informant, Lam also takes care to develop his characters. Don's frequent visits to a dance studio hint of a personal tragedy that is only revealed later; and Ghost's feelings for Barbarian's girlfriend, Dee (Kwai Lun-mei), only make it more difficult for him to extricate himself later on. The characters in Lam's films have always been flawed in one way or another, but the attention that Lam pays this time round to his two central characters- Don and Ghost- ranks among one of his best.Amply deserving of praise too are Cheung and Tse. Having won Best Actor at both the Hong Kong Film Awards and Golden Horse Awards for his role in "Beast Stalker", Cheung turns in a wonderfully subtle performance here that conveys his character's anguish both in his line of work and his personal life. Because Cheung's acting is more restrained here, Tse gets the chance to be in the spotlight- and he more than delivers in a nuanced portrayal that fleshes out Ghost's struggles tiptoeing on the fine line of the law.Lam brings the intricately and impeccably plotted first half to a head in the next hour of the film, and audiences familiar with Lam's films may naturally be expecting big-scale action sequences like those in "Sniper"or even "Fire of Conscience". But perhaps surprisingly, he doesn't give his audience the kind of visceral gratification this time round, and some may find his unusual restraint a little frustrating.Not to say that he has lost his flair- an exciting foot chase down the tight cramped aisles of Hong Kong's street markets culminating in a midday car chase will set to rest any such doubts- nor that this isn't a taut thriller. It is both, but Lam often ratchets up the tension before an impending action scene and then defuses it without his usual signature guns-and-bullets extravanganza.It is still no reason why you should miss this thriller. While it doesn't feature as much by way of action as one would expect from a usual Dante Lam film, its strong character-driven drama still packs a solid punch. At a time when the Hong Kong film industry seems inundated by big-budget China co-productions, Dante has stuck to his guns to deliver a gritty true-blue Hong Kong cop thriller set entirely in the iconic streets of Kowloon. In a year of lean offerings from Hong Kong, this will probably go down as one of the year's best.