The season can also be watched on Fubo and DIRECTV, and select episodes are available on Spectrum. The viewers can access Discovery Plus through Amazon Prime Video. The Ad-Supported Plan for Discovery Plus costs $4.99 a month, while the Ad-Free Plan is $6.99. The season can also be purchased on Apple TV Plus for $9.99, Google Play and Vudu for $19.99, and Amazon Prime Video and Microsoft Stores for $35.88. The viewers can add HBO Max to their Amazon Prime Video and Hulu subscription with an additional $15.99 a month. The basic plan (with Ads) costs $9.99 a month and $99.99 a year, the Ad-Free plan costs $15.99 a month and $149.99 a year, and the Ultimate Ad-Free plan costs $19.99 a month and $199.99 a year. Sister, there is no good reason.HBO Max has several offers available for its prospective subscribers. “Why do you treat me like this?” wails Wang To, after her gazillionth humiliation. The movie’s assumption that we’re as invested in this callow young man’s future on the force as we are in the life or death of the lead female, is an odd one. But even then, the film’s coda refocuses attention back onto his plight, as if by this stage anyone gives a discarded mannequin arm if he ever finds his stupid gun again. It’s almost a relief when at the end, Will, whose worst pain until then has been wisdom-tooth trouble and gun-loss embarrassment, finally gets a rain-soaked beat-down of his own. Or toss her out of an upper-story window. Or drag her, face down, across another filthy alley floor. Every “rescue” is delayed until after some guy - often one of the ostensible “good guys” - has had time to deal her another beating. Once Will also turns on her, having suffered the potentially career-ending loss of his gun, it becomes clear that the continued assaults on Wang To are no longer about upping the stakes, but a deliberately exploitative narrative choice. But at some point the creeping unease at just how much of the film’s violence is visited on the slight, pitiful Wang To flares into all-out discomfort. And the action scenes are well mounted, symphonically choreographed to make the most of Cheng’s camerawork and the glowering ruined Hong Kong backstreets where they play out. Initially, “Limbo” is quite some Fincherian fun, cycling through tropes we’ve seen before (like the well-known penchant in the serial killing community for decorating one’s lair with discarded store mannequins) but doing so with panache. Cham slaps her around a bit more, and sells her out to the gang she’s just betrayed, but eventually realizes she might be useful in the hunt for the killer. To, already wracked with guilt, begs his forgiveness –- it’s explicitly his forgiveness she must earn - and offers to turn informer as recompense. Cham’s wife has been on life support since a car accident caused by young addict Wang To (Liu Cya), and when Cham spots To, who’s just been released, the red mist descends and he pursues and practically kills her. Au Kin Yee’s screenplay certainly doesn’t. The only thing the victims have in common is drug abuse, otherwise they were “social outcasts, nobody cared about them,” says Will, which is cool because that way we don’t have to care about them either. Cham has just found another left hand, and when a left-hand-less third body shows up, they know it’s a serial killer case. They’ve been partnered to lead the investigation into the killing of a young woman whose left hand was found severed from her body. The two men are Will Ren (Mason Lee), the well-dressed newbie who’s been installed in a senior position despite little practical experience, and Cham Lau (Lam Ka Tung), the rumpled long-timer whose gruff approach belies his keen detective instincts. Appropriate, given one might spend quite some time hunting through the clutter for a point. Anamorphic widescreen cityscapes buckle at the edges to cram in more detail sometimes the fish-eye effect gives a first-person-shooter vibe to a moving shot, and when the camera is still, Mak Kwok Keung’s exhaustingly maximalist production design looks like a hidden object videogame. Already here, DP Cheng Siu Keung’s dazzling black-and-white, hi-def photography hints it will be the movie’s MVP, delivering a classic urban noir aesthetic updated to the 4k digital age.
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