Developed by China’s Supreme People’s Procuratorate and directed by butt-kicking luminary Donnie Yen, The Prosecutor is a bizarre mashup of courtroom procedural and action flick; it is just as keen on lionising due process and the “shining light” of Chinese justice as it is on reducing civic infrastructure to smithereens in several standout bouts. But Yen, who looks undeniably good in a suit, is more convincing on his habitual fisticuff grounds than the jurisprudential ones.
Yen plays Fok, a one-time hotshot cop who – leaving the force after some over-zealous policing – decides to man the “final gate” of justice and become a public prosecutor. Like a low-carb Perry Mason with years of Brazilian jiu-jitsu behind him, trouble keeps knocking on his door. Suspecting that a young drug smuggler (Mason Yung) whose case he is assigned has pled guilty to get his higher-ups off the hook, Fok starts looking into his slippery lawyer, Au Pak Man (Julian Cheung).
