“You can’t take anything with you when you die, except your deeds.”
– Lee Fun Yee (Cecilla Cheung) in Running on Karma
Established in 1996 by director Johnnie To and frequent collaborator Wai Ka-Fai, production house Milkyway Image Ltd. would be responsible for such Hong Kong favorites as Running out of Time (1999), PTU (2002), and Throw Down (2004). Among them, and being released as part of Eureka Entertainment’s “The Masters of Cinema Series,” is the 2003 genre-hybrid Running on Karma that re-teams To with Andy Lau (1990’s A Moment of Romance) as a former monk with preternatural abilities. Though To reportedly left Milkyway in 2007, the work he took part in carries on and, with the help of a restoration via Eureka, audiences have a chance to explore the stories of action, comedy, romance, and horror that Milkway created, sometimes all in one package. Releasing on January 28th, Running on Karma can be seen by audiences curious to explore the work or can be revisited by fans by way of a brand-new 2K restoration, original exploratory featurette, and more, via Eureka Entertainment.
Andy Lau Tak-Wah as Biggie in RUNNING ON KARMA. Photo courtesy of Eureka Entertainment.
Once a monk, Biggie (Lau) currently works as a stripper in between bodybuilding competitions, or, he did until a bust by undercover officer Lee Fung Yee (Cecilia Cheung) sends him running through the streets of Hong Kong naked and right into the path of the Serious Crime Unit (SCU) in hot pursuit of a killer. Due to timing, the SCU initially suspects Biggie of being involved in the crime, but, with the help of Lee, Biggie is exonerated and, to repay her, Biggie offers to use his skills as a former monk to help her catch the murderer. This act of reciprocal kindness is the start of a greater journey of karmic redemption that neither Biggie nor Lee could expect.
In the solo new featurette, “Reap the Whirlwind,” Gary Bettinson, editor-in-chief of Asian Cinema, at one point describes the film as if the David Fincher crime thriller Se7en (1995) opened with a romance. If one hasn’t seen Karma before, that likely seems like an extraordinary and potentially outlandish comparison, yet it’s not too far off from the truth. Written by Wai (Vengeance), Yau Nai-Hoi (Throw Down), Au Kin-Yee (Twilight of the Warriors: Walled In), and Yip Tin-Shing (Throw Down), Karma is a crime thriller that incorporates martial arts action that would fit within a Stephen Chow film (Kung Fu Hustle; Shaolin Soccer), comedy befitting a Sammo Hung production (Eastern Condors; Millionaires’ Express), and the kind of aching romance we’ve experienced in To films prior (A Moment of Romance). All of these things don’t seem like they’d fit together in the slightest, yet, not only do they mesh, they weave together to create a surprisingly moving narrative that forces one to let down their guard and consider what truly matters in your life. Consider, for instance, that Lau’s Biggie has gone from pious monk to bodybuilder/dancer. This occurs after two significant moments take place: the death of a close friend at the hands of an escaped fugitive and the accidental killing of a sparrow by Biggie when the culprit can’t be found. This first is a tragedy, that’s easily identified, the second is an accident but is still no less deadly. This second item is also what causes Biggie to see people’s karma when they are approaching death (depicted within the film as spectral moving images around the living creature from their past life) and, as a spiritual person, what causes Biggie to abandon his practice. Amid all that follows in Karma between exciting martial arts stunt work and charming gags (such as a scene with Biggie failing to ride a motorbike in what feels like a gag on Lau’s prior role in the phenomenal A Moment of Romance), the film never lets us forget that everything that occurs is simultaneously connected through the overlapping complex web of choices that everyone makes (and their resulting consequences), how our karma is defined by the past and future choices, and the significance of the present — all of which converge on Biggie. So, while audiences might first find Biggie a bit of a joke given the muscle suit that Lau wears (viewed as a gag regarding Lau’s prior Love on a Diet when he wore a fat suit) or take comfort in some of the wire-work that allows for some engaging stunt work, the events that unfold carry a great deal of philosophical weight. Though Se7en is more often remembered for “What’s in the box?!,” the Fincher film is an elaborately designed allegory about the danger of apathy. In that same vein, Running on Karma is not so much an allegory as it is a straight-forward rumination on our choices, how what we do today is all that matters, and that there’s always time to do the right thing *because* it’s the right thing. Impressively, To has a reputation for making his films more-or-less on the fly, utilizing a story guideline for shooting purposes and relying on his actors and crew to accomplish the narrative needs. Between said looseness in the storytelling and the variety of genres incorporated within Karma, it’s an absolute marvel that this film is not only a series of interesting moments, but, when pulled back upon, that it also demonstrates a gathering of thoughtful ideas that coalesce into a philosophical gut-punch.
L-R: Cecilla Cheung as Officer Lee Fun Yee and Andy Lau Tak-Wah as Biggie in RUNNING ON KARMA. Photo courtesy of Eureka Entertainment.
With this being a Eureka Entertainment release, let’s shift over to the details on that. Everything that follows will be based on the retail review copy provided by MVD Entertainment Group.
First up, be advised that Running on Karma is limited to 2,000 copies, features brand-new artwork designed by Time Tomorrow (whose work has also been utilized by Radiance Films, NEON, and Well Go USA, among others) for the O-Card slipcase, and a collector’s booklet complete with easy and release information. These items are relatively standard for a Eureka release, but we’ll still break them down. The slipcase is quite thin and not likely to provide a great deal of protection (especially compared to the thicker O-Rings used by 88 Films), but it does offer a sleek, modern design for the front and back, relying on black and yellow as the primary colors with the rest monochromatic featuring Biggie and Lee in a mini-montage on the front and all the release information with five small stills on the back. With the slip removed, there’s a largely greyscale with some color image of Biggie and Lee against the backdrop of the city on top of the title in Cantonese with three smaller images from other moments in the film underneath. The back features the same release information as the slip, but no stills. Inside the case is the single disc on the right with the clear plastic case allowing a still from the film of Biggie and Lee walking together as they hold hands, Biggie looking pensive and Lee joyful. The accompanying booklet is designed like other Eureka releases with a series of still images from the film integrated with cast/crew information, an essay (this time a lengthy one from critic David West), viewing notes to ensure proper on-disc presentation display, and restoration release information.
Andy Lau Tak-Wah as Biggie in RUNNING ON KARMA. Photo courtesy of Eureka Entertainment.
In terms of exploratory items, West’s essay and the aforementioned featurette with Bettinson are the primary new things included with the release. Thankfully, West’s essay insightfully explores not just the To/Wai-directed Karma, but offers context with Hong Kong cinema as it relates to Hong Kong New Wave of the ‘70s/‘80s that clearly influences this release, information on the response to the film at the time of release, and how all of these things come together within the narrative threads that make Karma impactful. Bettinson’s interview with the off-screen/unseen Craig Ian Mann runs just shy of 24 minutes and digs deeply into Milkyway Images and the way they make films, all through the prism of making Karma. If, like this reviewer, you thought back to A Moment of Romance when Biggie struggled with the bike, Bettison confirms the intentionality of the scene while also discussing connections to other Milkyway releases. They may be the primary new materials to accompany the restoration, but there’s enough here that those less versed in the world of Lau and To come away significantly more knowledgeable. For those who want a bit more and have seen the film, there are two audio commentary tracks, one with frequent commentator Frank Djeng solo and one with Djeng joined by F.J. DeSanto that can be optionally selected at the main menu screen.
This lands us on the restoration itself, which, unfortunately, the release doesn’t include any information regarding the sourcing or process of creating the new high-definition 2K restoration. That said, the film is only 22 years old and doesn’t feel it in the slightest. The colors are sharp and dynamic, so much so that the muscle suit is more believable when worn under clothes than during the few nude scenes that take place in the film. Each of them are tasteful, but, especially with the additional visible detail, one can’t ignore the obvious facsimile of Biggie’s figure that makes one aware that Lau isn’t actually of this size. That said, when one considers the thematic nature of the narrative, being more aware of the muscle suit doesn’t actually diminish one’s enjoyment if the suit is viewed as a further extension of Biggie’s shift toward the material and external, wherein the monk embraced so heavily the opposite of his pious self as to make his flesh an unnatural shell. (This is, of course, an interpretation that makes the themes more interesting, while being unintentional from release to now as it relates to the restoration.) Separate from the muscle suit, the image is clean and clear of grime and debris, there’s a natural range of color on-screen, and it’s quite easy to be taken by the narrative whether in the throes of an intense crime procedural, a campy martial arts battle, or two people sharing a simple meal. There’s only one audio option (Cantonese stereo) for standard sound and the dialogue and score are equally clean and dynamic. There’s good balance in the audio, so one can easily set the sound to their comfort and then forget about it.
Cecilla Cheung as Officer Lee Fun Yee in RUNNING ON KARMA. Photo courtesy of Eureka Entertainment.
The description for this edition boasts that this is the first-time that Running on Karma is available outside of Asia and, ultimately, it’s a worthy pick-up for any cinephile, To fan, or general Asian cinema enthusiast. The film itself masterfully balances tones and genres, all while delivering a narrative worth ruminating on when the story ends. If we are forever connected to the choices made in our past lives, we can either see ourselves as perpetually doomed and do what we like *or* we can opt to do good, whatever that looks like, whenever we want so as to change tomorrow. It does feel perilously optimistic in the face of severe climate-related events happening around the globe and fascist, right-wing political operatives taking hold in major countries, yet what else is one to do but the next right thing? If the time to do the right thing has past, then the next best time is at this moment. Amid the heartfelt chuckles and honest shocks that occur within Running on Karma, its lesson lands with complete sincerity and that’s what we need now, more than ever: sincere acts of goodness.
Running on Karma Special Features:
- 1080p HD presentation on Blu-ray
- Original Cantonese stereo audio
- Optional English subtitles, newly translated for this release
- *NEW* audio commentary by East Asian film experts Frank Djeng (NY Asian Film Festival) and F.J. DeSanto
- *NEW* audio commentary by East Asian film experts Frank Djeng (NY Asian Film Festival)
- *NEW* Reap the Whirlwind – new interview with Gary Bettinson, editor-in-chief of Asian Cinema (journal) (24:52)
- Making “Running on Karma” – 2003 archived featurette
- Original theatrical trailer
- A limited edition collector’s booklet featuring a new essay by David West of NEO magazine
- Limited Edition [2000 copies]
- Limited edition O-Card slipcase featuring new artwork by Time Tomorrow
Available on Blu-ray January 28th, 2025.
For more information, head to the official Eureka Entertainment Running on Karma webpage.
To purchase, head to the official MVD Entertainment Group Running on Karma webpage.
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Categories: Films To Watch, Home Release, Home Video, Recommendation, Reviews
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