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从上世纪八九十年代起,枪战片就是香港电影极具代表性的影片类型之一,从吴宇森《英雄本色》、杜琪峰的《枪火》到刘伟强的《古惑仔》、《无间道》,变化的是剧情、是主演、是拍摄手法,不变的是一波又一波对港产枪战片趋之若鹜的影迷们。新世纪,随着《无间道》系列的大热,香港警匪片拍摄思路的改变正在潜移默化地发生着。火爆的枪战场面正日渐式微,混淆的黑白界定、警与匪的心理较量成了影片的主打。虽然此类影片的市场反响不错,但由于真正的枪战片迷来说,似乎总是欠缺了些什么。毕竟心理暗战略显纠结,火爆枪战方才酣畅淋漓。同样笃信这一观点的还有一个人,就是“枪痴”——林超贤。他用《证人》、《火龙对决》、《线人》三部作品向市场证明了纯正枪战片的商业价值。现在,他用更大的投资和场面包装出了这部新作《逆战》,目的就是告诉所有人:枪战片,应该是这么玩的!
From the 1980s and 1990s, gunfight films are one of the most representative film genres in Hong Kong films. From John Woo’s “Heroic Nature”, Johnnie To’s “Gunfire” to Liu Weiqiang’s “Young and Dangerous” and “Infernal Affairs” , The change is the story, is the protagonist, is shooting techniques, the same is the wave after wave of fierce shootings on Hong Kong produced film fans. In the new century, with the hot “Infernal Affairs” series, the changes in the tactics of Hong Kong gangster film shooting are taking place in a subtle manner. Hot gun battle scene is declining, confusing the definition of black and white, police and bandits psychological contest has become the main film. While the market for such films is good, there seems to be always something missing due to the real gunfight fans. Psychological darkness, after all, a bit tangled, hot gun war only hearty. The same people who believe this point of view, is “gun idiot” - Lin Chaoxian. He proved the commercial value of pure gunfight to the market with three works, Witnesses, Paladin and Informer. Now, with a greater investment and scenes he packed the new work “war”, the purpose is to tell everyone: gunfight, it should be so play!