Karry Best movie of this year hands down!

MoPoshy Absolutely brilliant

Brainsbell The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

Abbigail Bush what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

lasttimeisaw Sophomore feature of Hong Kong taste-maker Wong Kar-wai, DAYS OF BEING WILD is part of the furniture on any list that elects best Chinese films, but in retrospect, it was somewhat of a damp squib upon its release in terms of its box-office pull, especially when taking account of its stellar cast (6 mega-stars in toto), fortunately, its reappraisal has never lost its momentum ever since.Bestowed with searing good looks, Leslie Cheung indubitably holds court as Yuddy, the titular "ah fei", which means "hooligan", a skirt-chaser who callously shirks any responsibility or commitment, and peculiarly, Leslie tempers Yuddy's wantonness with a pinprick of vulnerability that is so amazingly vicarious and betrays what a beautifully damaged goods he is, and Wong's trademark ambient construction of its blue-hued, mise-en-scène (poky space, lustful undertow, ambiguous closeups, plus aesthetic compositions by the yard, marked by his first collaboration with Christopher Doyle) and exotic music numbers impeccably tallies with Leslie's decadent and destructive charisma, to great lengths that one can hardly distinguish whether he is acting or not. Yuddy's victims include a mousy stadium ticket clerk Su Lizhen (Maggie Cheung, exuding an unyielding quality of passiveness and self-involvement that shows up her acting chops), and later a vivacious cabaret dancer Mimi (a no-holds-barred Carina Lau, achingly taking the short end of the stick as a crass, cast-off lover), these two girls are diametrical in their makeups, yet, in the eyes of Yuddy, they barely differ, his misogynistic perspective has its own provenance, raised by Rebecca (Pan), an erstwhile fille-de-joie who perversely keeps a lid on the identity of Yuddy's biological mother, Yuddy revels in their toxic love/hate relationship, which exacerbates through their bilingual (Shanghainese and Cantonese) barbs-exchange, Pan remarkably holds her own with moxie and pathos in this quintessential object lesson of the hand that rocks the cradle. When Yuddy is off screen, the plot meanders into less appealing subplots pairing a distraught Mimi with Zeb (Jacky Cheung), Yuddy's buddy, who carries a torch for her; and a distressed Lizhen with a peripatetic policeman Tide (Andy Lau), who will later become a sailor and comes across Yuddy during the third act in Philippines, as a witness when the latter's fate is sealed by his reckless action. Wong and co-screenwriter Jeffrey Lau lard the narrative with incisive wheezes to decipher Yuddy's existential philosophy, from his one-minute friend pick-up line to the allegory of the feet-less, paradise bird, poetically encapsulates Wong's story-light, mood-heavy winning allure. Lastly, Tony Leung Chiu-wai's famous cameo as the new "ah fei" near the coda seems out of nowhere today, but as a matter of fact, it strongly tantalizes what its botched sequel would be if it would be green-lit, and Tony would become Wong's most eminent leading man ever since. In a sense, it inadvertently adds a strange layer of mystique which drastically boosts Wong's nascent career, and presages his future auteurist ascension, as we would know by now, the best is yet to come.

Eva Hou Wong Kar-wai's 1990 film Days of Being Wild is one of my favorite artistic films. On the surface, the film itself doesn't have a complete storyline, neither a very clear and strong ending as most film does; but in depth, it is a story about life. Not only the life of the characters within the film, but also reflects the life for everyone else. More or less, most people can feel themselves somehow related to either one of the main characters on a certain level in a specific period of time in their own life. The narrative approach of this film has a very interesting approach. With the minimum amount of actor's lines alongside the maximum amount of different scenes between the main characters, you can still clearly see the development of the whole story, at the same time, it gives audience a lot space to understand and feel the film themselves. 'Time' and 'searching' are the two key elements that I felt connected with the most after watching this movie.About 'time'; it is really obvious that Wong Kar-wai used the 'clock' to show the passing of time and its endless; fast or slow, boring or nervous. The 'time' in this movie has emotions. It helped express the actors' inner world without any conversation. While Yuddy (Leslie Cheung) was counting the last minute before 3PM, 1960.04.16, to Su Lizhen (Maggie Cheung), the sound of the second hand comes into the background music, along with the facial expression of Su Lizhen, the sound of the clock seems like her heart beats. It shows her nervous, anxious and desire of knowing what Yuddy is going to tell her after that 60 seconds. After Yuddy and Su Lizhen broke up, Su Lizhen met Tide (Andy Lau), a general police who is always on night shift. On the night Tide asked her to forget Yuddy from this minutes onwards, the clock from the building near appeared, along with a very loud sound shows 12AM exactly. This sound has a lot figurative meanings. It is the ending of the passing days also the entry of a brand new day. 'Time' here reminds Su Lizhen a lot. The minute that Yuddy said he will remember her forever because of that specific minute; the minute that she thinks she should forget Yuddy forever. It shows the sadness and helpless deep in Su Lizhen's heart and the memories and love that she has on Yuddy. Apart from these two scenes, the clock in Yuddy's apartment, Tide's watch, the bedside table clock, the clock in Yuddy's adopted mother's house, etc., all has the element of time in it and helped to develop the whole story to make it more vivid. Although 'time' in this movie helped to build up the characters' inner world, but the other meaning Wong Kar-wai wanted to show is that the endless, emotionless and cruel of time. No matter what happens to anyone in the world, time is always the bystander. When time passing by, one has no choice to leave the past and move on. Other than 'time', I personally think that 'searching' also plays an important part in this movie. All the characters are searching for something to fulfill their life. Yuddy was looking for his real mother; Tide was hoping to get out of the world of Hongkong and be a sailor which he wanted to be when he was young; Mimi (Carina Lau) was chasing Yuddy around, which he is always a mystery to her; Su Lizhen was seeking for the true love of her life, etc. There is a purpose behind each character's every action or movement. Some people successfully gain what they were looking for, but there is no guarantee that they will feel happy after they found out the truth, like Yuddy, there wasn't any happiness after he went to where his real mother lives. Some people thought they found what they were looking for, but then missed the real one that they supposed to seek. Although Yuddy still remembered the last minute before 3PM, 1960.04.16, before he died; but he is not the right person for Su Lizhen. While Su Lizhen was still taking her time of thinking about Yuddy and healing herself, she missed Tide, who is a more a person for her and can give her a family. While she realized that she still wanted to talk to Tide, she called, but Tide quited as a policeman already, they missed each other. It is very easy for people to related themselves to either of the characters in this movie; the movie is a mirror of anyone's life. The most exciting and obvious proved for this is the ending of this film. With the train passing by, it comes the end of Yuddy's life. However, one 'Yuddy' is gonna, another 'Yuddy' comes, which is the character that Tony Leung acted at the end of the movie. With the endless of time, all things will eventually cycle; the stories that happened towards all the main characters still happening in our everyday life, it never ends.

WatchedAllMovies This movie has high ratings in IMDb and other rating sites, so I wanted to see what it's about.It's about a playboy and how he seduced and abandoned his women, and the argument between him and his step mother. They argue because his step mother won't tell him who his real mother was, but he wants to find his real mother.The characters are obnoxious or pathetic. There's no one to sympathize with. At the end of the movie, a new character is introduced with no relevance to the rest of the movie. Editing error? Perhaps the high rating is because of the famous Hong Kong actors. I feel like I'm looking at an abstract painting. Other people are dazzled by it, but I don't see anything.

kastelaan66 Watched it, loved it. A lot has been said about its merits in the previous postings. What really got stuck in my mind was the last scene. We see actor Tony Leung dress up and go out. And the notable thing, of course, is that this is the only scene Leung plays in the whole movie. What to make of this? We will see Leung in other Wong Kar-Wai's movies, most notably In the Mood for Love and 2046. Now, if you know all of these movies, the message is clear: The Days of Being Wild shows a man unable to settle down and love a woman and in the last scene, the next man prepares and walks out to enter the scene and have a go. Now, nine (In the mood for love) and thirteen (2046) years later we know this man will fail too. But the astonishing thing to note here is that Wong Kai-War had it all planned. Without this plan, the last scene in The Days of Being Wild hardly makes any sense and is very opaque. In the light of his whole filmography, it makes perfect sense but only under the recognition of how disturbingly consistent Wong Kai-War is.