A better successor to the original than the actual sequels!
Arriving as a knowingly skewed echo of the heroic bloodshed era, Return to a Better Tomorrow has all the right ingredients of a slick and snazzy slice of action brilliance, playing on all the familiar themes and tropes that come with the territory. As much as the A Better Tomorrow namesake was undoubtedly slapped onto this to sell tickets, it didn't stop Wong Jing from going all out on the production, even with the notable absence of both John Woo and Chow Yun-fat. It's great to see Wong Jing taking himself seriously for once, as this is extremely atypical of his usual bouts of tonal insanity. The film still contains a few jokes here and there, plus a healthy dose of self-awareness, but these don't outright break the film's relentless pacing or its serious tone. There's a clear attempt at emulating the look and feel of the original, even if it's less interested in operatic tragedy and more so in remixing familiar iconography, although that oddly works in the film's favour, delivering plenty of punchy gunfights, splattery violence, dapper trench coats, dual-wielding shotguns and, of course, lots of cool posing! Jing's direction is great, filled with energy and a heavy amount of stylistic flourishes; the photography is extremely colourful, the musical score goes hard, and the performances all around are great, even if characterisation is sketched in bold strokes rather than fine lines. In a period where Hong Kong cinema was already looking back on its own myths, Return to a Better Tomorrow is a highly underrated little gem that has seemingly been lost amongst Wong Jing's blitzkrieg on the industry. It certainly isn't a replacement for the classic it riffs on, nor does it aim to be, although I'm probably committing absolute sacrilege when I say this is a better successor to the original than both II and III.
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