Weekend in Taipei, co-written and produced by Luc Besson, brings action to the streets of Taiwan’s capital with Gwei Lun-mei starring as Joey, a gangster’s wife forced into a fight for survival. While the film features a high-profile cast, including Luke Evans and Sung Kang, and takes place against the vibrant backdrop of Taipei, it struggles to deliver on the stylistic flair expected from Besson’s productions.
The story centers on Joey, married to corrupt businessman Kwang (Sung Kang), who is embroiled in a high-stakes drug trial. Despite the opulent lifestyle her husband provides, Joey longs for a clean start with her son, Raymond, from a previous relationship. Her world is disrupted when John Lawlor (Luke Evans), a DEA agent and former lover, arrives in Taipei under the guise of taking leave. Lawlor, however, has ulterior motives; he’s on the trail of a major drug-smuggling case, and Kwang is his prime suspect.
The stakes rise dramatically when Raymond is revealed as the informant in Kwang’s trial. In response, Kwang seeks revenge, forcing Joey and her son to flee for their lives with Lawlor as their protector. This initiates a series of high-octane chases through Taipei, as Joey confronts her past as a skilled mechanic and getaway driver while trying to outrun her husband’s wrath.
Directed by George Huang, known for his Hollywood satire Swimming with Sharks, the film originally planned to set its story in Hong Kong but moved to Taipei for financial reasons. The production utilizes a variety of city locales, but the fast-paced sequences fail to engage deeply with Taipei’s unique atmosphere, creating a feeling of missed opportunity. Instead of immersing viewers in the city’s essence, the film merely races through its neighborhoods, relying heavily on chases and stunts without making full use of Taipei’s cinematic potential.
Despite these shortcomings, Gwei Lun-mei’s portrayal of Joey remains compelling, capturing the character’s resilience amid escalating threats. Her chemistry with Evans, however, lacks spark, weakening the emotional stakes in their relationship. Meanwhile, Sung Kang’s performance as Kwang falls short of instilling genuine menace, as his familiar good-guy image from the Fast & Furious series undermines his role as the film’s primary antagonist.
The film evokes memories of John Woo’s recent straight-to-streaming production The Killer, echoing similar issues with budgetary and creative limitations. Without the visual flair or European sophistication that defines many of Besson’s best projects, Weekend in Taipei doesn’t fully capitalize on its potential, ultimately delivering a formulaic action film that, while entertaining, lacks memorable impact.
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