What better way to kick off 2025 than watching a new Donnie Yen film. Considering how busy he always seems, it was surprising to not be treated to a Yen movie throughout 2024 (well at least if you live in the U.S.). His latest feature The Prosecutor not only finds him starring, but once again venturing behind the camera to undertake directing as well as producing duties.
Yen’s last time as director was for the Wuxia tale Sakra (2023). As much as I enjoyed that film, I understand it was something of a divisive experience for some Yen fans, with many hoping for him to return to the more grounded, modern day actioners such as Sha Po Lang (2005) and Raging Fire (2021). Clearly Yen was listening, with The Prosecutor throwing him straight into modern times, with a plot grabbed straight from the headlines.Â
While the film may have Yen back in modern clothes, I think I should warn potential viewers expecting another Raging Fire. While it has the quality action scenes we have come to expect from Yen, The Prosecutor definitely leans more towards action thriller territory than being a full blown actioner. This isn’t to do the film a disservice, as The Prosecutor is an exceptionally well made film that finds Yen once again firing on all cylinders.
The fact that Yen takes his time to develop the story and build to the action just means that the set pieces hit all the more harder when they happen. Clearly realizing he has to capture his audience’s attention before delving into the plot, Yen kicks The Prosecutor off with an explosive action scene, with Yen leading a team of Cops to apprehend a dangerous arms dealer. The set piece works as an excellent teaser of what’s to come, with an early demonstration of the excellent action design that is filtered throughout the film.
It isn’t only Yen’s fight choreography that has adapted over time, but also in how he chooses to shoot his action. Clearly Yen has learned quite a few tricks from his time in Hollywood, with The Prosecutor employing several beautifully implemented camera tricks during the action scenes that make them all stand out. Ranging from POV shots, drone footage to up close and personal handheld footage, Yen employs them all to make sure the action stays fresh and creative.
One area that The Prosecutor certainly has in common with the likes of Sha Po Lang and Flash Point is how it takes its time to allow you to get to know the characters and the situation. Now, you would never mistake The Prosecutor as a documentary, with some probably thinking its views on politics and the law are simplistic. I would probably agree, as I can’t see many real life prosecutors going to the lengths that Yen does here to make sure justice is served. Still, setting the plot around the court and the life of a prosecutor makes for a pleasant change from similar cop thrillers, with this angle allowing for many dramatic face offs, both verbal and physical.
Having Yen’s prosecutor Fok being an ex-cop obviously explains why he is so adept at kicking ass. However, as much as Fok is a typical Yen hero, he is finally acknowledging his advancing age. He even comments that his reason for transitioning from a cop to a prosecutor was partly to do with getting old. Of course, even at 61, Yen is still able to pull off feats of someone half his age, which he capably demonstrates during his fight scenes. Even so, it’s a nice inclusion that makes Fok appear more human.
Working from a script from regular collaborator Edmond Wong, The Prosecutor is loosely based on a 2021 misjudgment case where the verdict was overturned by a court of appeal. I doubt they had a prosecutor beating the shit out of the suspects, but I appreciate Wong’s attempts to make the plot relevant.
Taking that basis, The Prosecutor focuses on the case of a young man Ma Ka-Kit (Mason Fung) who is arrested on drug trafficking charges. Incorrectly advised by his shady lawyer Au Paak-Man (Julian Cheng) to plead guilty for a reduced sentence, the young man instead finds himself serving 27 years. Already suspicious about the case, Fok starts his own investigation into the case, dragging in his colleague Bao Ding (Kent Cheng) as well as Chief Prosecutor Yeung (Francis Ng) who initially doesn’t have much faith in Fok’s skills as a prosecutor.
Through their investigation they begin to unravel a larger conspiracy that involves a local drug trafficking syndicate led by Tung (Mark Cheng) and Sang (Ray Lui), both of who have ties to Au Paak-Man. In order to clear Ka-Kit’s name, Fok ends up directly in the drug traffickers firing line, with him not only having to fight in the courts but through the busy streets of Hong Kong as well.
Playing almost like an updated take on Righting Wrongs (1986), Yen seems to care as much about the judicial part of the story as much as he does the action. With the first half of the film mostly being focused on the more dramatic aspects of the plot, it is incredibly important to have a cast that can command attention, with Yen casting two of Hong Kong’s best actors. I had worried that Francis Ng and Kent Cheng would be underused but each of them get their chances to shine, getting to chew on some quality, albeit jargon heavy, dialogue. I was especially pleased with the amount of screen time afforded to Cheng who is once again his amiable best. Ng isn’t afforded the same level of exposure, but as always makes an impression with one particular scene between him and Yen even going so far to inject some humor into what is an otherwise serious plot line.
The fact that the court based scenes also feature an appearance from Hong Kong movie legend Michael Hui shouldn’t be overlooked, with him bringing a sense of gravitas to his role that may not have come with a lesser actor. While Hui isn’t given a great deal to do, as expected he still manages to be a scene stealer.
Julian Cheng doesn’t get as much to do as Ng or Cheng, although he is surprisingly good as the slimy lawyer Au Paak-Man. Ray Liu and Mark Cheng always add value, with Liu clearly having fun as drug runner Sang, with him even affecting a whispery, raspy voice during proceedings. Similarly to the two Chengs, Liu never gets to physically face off against Yen. That is instead left to their deadly right hand man played by Kang Yu.
While it’s great to see Kang’s involvement, it would have been nice to see Yen face off against an opponent he hasn’t fought on film previously. Still, the film gives Kang an interesting look, with him being a particularly tough opponent that more than puts Yen through his paces. One standout set piece has Kang trying to kill Yen and a witness in a multi story car park, with Yen’s Fok having to jump from floor to floor while at the same time dodging Kang’s car as he tries to knock him and the witness down. Mainly a chase scene, it works more as an introduction to Kang’s character, with it being obvious that he and Yen will end up facing off against each other later in the film.
Before we get to Yen and Kang’s face off, there are several impressive set pieces that hold your attention and livens up the film every time there seems to be a threat of it getting bogged down in its heavy plot. Yen has brought on his regular collaborators to work on the action choreography, with Takahito Ôuchi being listed as the main action director along with Yen’s own stunt team. This also includes some input from the legendary Kenji Tanigaki. This assortment of quality behind the camera allows Yen’s action to stand on its own, standing out from seemingly similar action fare.
A rooftop brawl between Yen and a seemingly unstoppable army of gangsters is a definite highlight, not just in showcasing the fight choreography but in how the action is shot. Yen has been clearly influenced by his time on John Wick: Chapter 4 (2023), with the camera work being extremely elaborate. Yen should also be commended in his desire to shoot the action devoid of CGI, instead focusing on the hard work of himself and his stunt team.
With its assortment of technical accomplishments, coupled with quality production design, it’s no surprise to find out that The Prosecutor cost reportedly HK$300 million which is roughly $38.5 million USD. Now that may not seem a lot in comparison to a Hollywood production but this is a serious budget for a film like The Prosecutor. With Yen as star I would like to think that it would easily make its budget back.
Some may be disappointed that The Prosecutor isn’t the all out action film that it was initially advertised to be, I personally enjoyed it’s change of pace and desire for Yen to stretch himself as an actor. It may take a somewhat simplistic view on the law, Yen never bores his audience. I can’t wait to see what Yen brings us next, be it as a star or merely as director.Â
Plot: 4/5
Acting: 4/5
Action: 4/5
Overall: 4/5
