Film

Furie


Furie (2019)
★★ / ★★★★

“Furie” attempts to generate superficial entertainment by throwing everything against the wall and seeing what sticks. It wishes to tell a story surrounding a mother’s quest to rescue her daughter from organ traffickers while combining elements of martial arts, gangster picture, and family drama into the mix. It is an interesting experiment—colorful but isn’t always effective. The core is the bond between Hai (Veronica Neo), the mother, and Mai (Mai Cat Vi), the child, but notice how their interactions are almost always reductive and saccharine—the charade is borderline soap opera. I never believed that the ten-year-old was raised by a woman who hailed from a rough background in Saigon who then moved to a remote village to escape her sordid past. Mai is too sweet, innocent, and weak—embarrassed that her mother collects debt in order to provide for their two-person family. I felt as though the child is present only because the plot demands for someone important to be taken from our heroine which would then trigger action sequences. The choreography of martial arts scenes get the job done but when compared to the greats, it is nothing special. I felt the stunts liken that of a dance—there is a lightness to them—rather than a painful means to extract the necessary information in order for Hai to get that much closer to rescue Mai. Even the material’s approach in tackling the concept of extracting organs from children lacks viciousness. I sensed that perhaps the screenplay by Kay Nguyen is not interested in bathing in the underworld so long as the work is within five feet from it, just enough to detect its stench. This is a lazy approach; details define a story. A lack of daring prevents this film from becoming memorable entertainment. Directed by Le Van Kiet.

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