View source for A Better Tomorrow

{{Short description|1986 Hong Kong film by John Woo}}
{{about|the original Hong Kong film}}
{{Use Hong Kong English|date=May 2014}}
{{Use dmy dates|date=May 2014}}
{{Infobox film
| name           = A Better Tomorrow
| image          = ABetterTomorrowPosterHK.jpg
| caption        = Theatrical release poster
| director       = [[John Woo]]
| producer       = {{Plain list|
* John Woo
* [[Tsui Hark]]
}}
| screenplay     = {{Plain list|
* John Woo
* Chan Hing-ka
* Leung Suk-wah
}}
| starring       = {{Plain list|
* [[Ti Lung]]
* [[Leslie Cheung]]
* [[Chow Yun-fat]]
* [[Emily Chu]]
* [[Waise Lee]]
* [[Kenneth Tsang]]
}}
| music          = [[Joseph Koo]]
| cinematography = Wong Wing-hang
| editing        = {{ubl|
* Ma Kam
* [[David Wu (Hong Kong actor)|David Wu]]
}}
| distributor    = [[Golden Princess Amusement]]
| released       = {{Film date|df=yes|1986|08|02}}
| runtime        = 95 minutes
| country        = [[British Hong Kong|Hong Kong]]
| language       = [[Cantonese]]
| budget         = 
| gross          = [[HK$]]34.7{{nbsp}}million{{Sfn|Morton|2016|p=62}} (US$4.4{{nbsp}}million)<ref>{{cite web|title=PACIFIC Exchange Rate Service (7.8033 HKD per USD)|url=http://fx.sauder.ubc.ca/etc/USDpages.pdf#page=3 |archive-url=https://web.archive.org/web/20030926021457/http://fx.sauder.ubc.ca/etc/USDpages.pdf |archive-date=2003-09-26 |url-status=live|website=[[UBC Sauder School of Business]]|publisher=[[University of British Columbia]]|page=3|year=1986|access-date=2017-11-21}}</ref>
| native_name    = {{Infobox Chinese/Chinese|child=yes|hide=no|header=none
| s    = 英雄本色
| t   = 英雄本色
| p        = yīngxióng běnsè
|l= true colours of a hero
| j      = jing<sup>1</sup> hung<sup>4</sup> bun<sup>2</sup> sik<sup>1</sup>
}}
| production_companies = {{Plain list|
* [[Cinema City Enterprises]]
* [[Film Workshop]]
}}
}}
'''''A Better Tomorrow''''' ({{Lang-zh|c=英雄本色|j=jing1 hung4 bun2 sik1|l=true colours of a hero}}) is a 1986 Hong Kong [[action film]] directed and produced by [[John Woo]], with a screenplay by Woo, Chan Hing-ka, and Leung Suk-wah. The film stars [[Ti Lung]], [[Leslie Cheung]], [[Chow Yun-fat]], [[Emily Chu]], and [[Waise Lee]]. Ti plays Ho, a [[Triad (organized crime)|Triad]] gangster and money counterfeiter who is sent to prison after being betrayed by his subordinate, Shing (Lee). After his release, Ho tries to reform himself and reconcile with his estranged brother Kit (Cheung), a police officer who resents him for his criminal past. Ho becomes torn between trying and failing to make amends with Kit, and following the advice of his friend Mark (Chow) to seek revenge for Shing's treachery.

The movie was heavily influenced by ''[[The Story of a Discharged Prisoner]]'' (1967), a movie that both Woo and producer [[Tsui Hark]] admired. After forming [[Film Workshop]] in 1984, Tsui asked Woo to come write and direct a dramatic crime film. Woo saw this as his chance to break away from directing comedies for [[Cinema City Enterprises|Cinema City]] and developed the story based on ''Discharged Prisoner'', adding his own ideas about honour and loyalty inspired by ''[[wuxia]]'' and [[Jean-Pierre Melville]] films. After convincing Cinema City to co-produce the film, Woo and Tsui began filming ''A Better Tomorrow'' in early 1986, working with a budget of under {{Currency|11 million|HKD|passthrough=yes|linked=yes}}. The majority of the filming took place in Hong Kong, with some exterior shots filmed in Taiwan, and concluded after 80 to 100 days.

Released during a time when comedy films were popular in Hong Kong, Cinema City was expecting ''A Better Tomorrow'' to be a [[box-office bomb]] due to its dramatic tone and lack of a popular cast. However, the film defied expectations and achieved immediate commercial success upon its release on 2 August 1986, earning over {{Currency|34 million|HKD|linked=no|passthrough=yes}} during its extended theatrical run. Critics praised the action sequences, Woo's direction, and the performances of its cast; English-language reviewers had mixed opinions about its melodramatic plot. The film was nominated for numerous accolades, winning two [[Hong Kong Film Award|Hong Kong Film Awards]] and three [[Golden Horse Film Festival and Awards|Golden Horse Awards]].

''A Better Tomorrow'' has been influential on action films since its release. Its stylised, balletic gunplay is considered the original source of [[gun fu]] fight sequences. The movie's popularity led Hong Kong film producers to introduce more melodramatic elements into their crime films, leading to the emergence of the [[heroic bloodshed]] film genre. ''A Better Tomorrow'' is considered by critics to be one of the greatest action movies, with a [[Hong Kong Film Award|Hong Kong Film Awards]] panel ranking it second in its list of The Best 100 Chinese Motion Pictures in 2005. Its box office success spawned two more films: ''[[A Better Tomorrow II]]'' (1987), and a prequel entitled ''[[A Better Tomorrow III: Love & Death in Saigon]]'' (1989). In addition, the film has been officially remade twice; a [[A Better Tomorrow (2010 film)|Korean version of the movie]] was released in 2010, and a [[A Better Tomorrow 2018|mainland Chinese adaptation]] in 2018.

==Plot==

[[Triad (organized crime)|Triad]] member Sung Tse-ho{{Efn|Sung Tse-ho (宋子豪) and Sung Tse-kit (宋子杰) are the brothers' full names, with "Tse" being their [[generation name]].<ref name="SBS_NamingConventions">{{Cite web |last=Evason |first=Nina |year=2024 |title=Hong Kong Culture: Chinese Naming Conventions |url=http://culturalatlas.sbs.com.au/hong-kong-culture/hong-kong-culture-naming |archive-url=https://web.archive.org/web/20250725040902/https://culturalatlas.sbs.com.au/hong-kong-culture/hong-kong-culture-naming |archive-date=2025-07-25 |access-date=2025-10-01 |website=SBS Cultural Atlas |publisher=[[Special Broadcasting Service]] |language=en}}</ref> In the film, they are informally referred to by their friends and close acquaintances as "Ah Ho" (阿豪) and "Ah Kit" (阿杰) due to their closeness.{{Sfn|Matthews|Yip|2011|p=43}} For brevity, these two characters will be referred to by their given names, Ho and Kit.}} and his best friend, Mark Lee, run a [[Counterfeit money|money counterfeiting]] business for their boss, Mr. Yiu. This activity is kept secret from Ho's younger brother Kit, a police cadet. Out of respect for their ailing father, Ho promises to stop being a gangster after completing his next business deal. At Mr. Yiu's request, Ho lets a subordinate named Shing accompany him to [[Taiwan]] to conduct business with a local gang. However, the gang ambushes them, causing a shootout that alerts the Taiwanese police. Ho tells Shing to escape while he surrenders; he is then sentenced to three years in prison. To ensure Ho doesn't implicate anyone, the Taiwanese gang send a kidnapper to abduct his father, who is fatally stabbed in the scuffle. Before he dies, Ho and Kit's father begs Kit to forgive his brother, but a furious Kit blames Ho for their father's death. Mark travels to Taiwan to exact revenge on the gangsters, shooting them dead in a restaurant. However, he is shot twice in his right leg, leaving him crippled and needing a leg brace to walk.

Three years pass, and Ho is released from prison. Determined to leave his past behind, he gets a job driving for a taxi company run by ex-convict Ken. Ho finds out that Shing has climbed the ranks of the Triad during his time in jail, usurping Mark's position and status and even being entrusted with some of Mr. Yiu's responsibilities. He is devastated to learn that Mark, who had hidden the extent of his condition in his letters to Ho, has been cast aside by Shing after becoming disabled. Not wanting to be dragged back into crime, Ho refuses to confront his former protégé, opting to try and reconcile with Kit. However, Kit resents the fact that his familial tie to Ho is negatively impacting his career by preventing his promotion. In an effort to prove to his superiors that he can be trusted, Kit becomes obsessed with bringing down Shing, despite Ho's warnings. 

Hoping to expand the Triad's operations into [[Illegal drug trade|drug trafficking]], Shing tries to persuade Ho to rejoin the Triad. He tells Ho that they stand to make a lot of money if Kit is turned into a [[Police corruption|corrupt policeman]]. When Ho refuses, Shing has his men raid the taxi company, beat Mark nearly to death, and lure Kit into a trap that leaves him hospitalised with gunshot wounds. After Mark and Ho narrowly escape arrest, Mark pleads with Ho to stand up for himself and fight Shing. Fed up with his friend's unwillingness, Mark steals a [[Magnetic-tape data storage|computer tape]] containing printing plate data from the counterfeiting business. Having a change of heart, Ho shows up on a motorbike, taking the tape with him. After using it to [[ransom]] Shing for {{Currency|2 million|linked=yes|passthrough=yes}} and an escape boat to leave Hong Kong on, Ho transfers the tape to Kit to use as proof of Shing's crimes.

Through a conversation with Mr. Yiu, Shing reveals that he was the one who set up the ambush in Taiwan. After lying to his boss about a negotiation with Ho, Shing kills Mr. Yiu, coercing the witnesses to frame Ho as the murderer. At the ransom exchange site, Ho and Mark take Shing hostage and drive to a pier, where the boat is guarded by Shing's men. Ho implores Mark to escape by himself in the boat. Kit arrives to arrest Shing, but is taken hostage by the gangster's men. The two parties try to exchange Shing for Kit, but it quickly falls apart into a shootout. Hearing the sound of gunfire, Mark comes back to help his friends. The three of them kill most of Shing's henchmen, but receive non-lethal bullet wounds in the process. After seeing Kit rebuff his brother again, Mark berates him, telling him that Ho's present actions have made up for his criminal past. Mid-speech, Mark is shot from behind and killed by Shing.

As the police approach, Ho runs out of ammunition. Shing mocks the two brothers, stating that his money and influence will ensure his swift release from custody. Finally forgiving his brother, Kit hands Ho his revolver, and Ho shoots Shing dead. As redemption for his crimes, Ho handcuffs himself to Kit, and the two walk towards the gathered crowd of police together.

==Cast==
{{Multiple image
| direction         = horizontal
| total_width       = 300
| image1            = 狄龍.jpg
| image2            = Chow Yun Fat for wiki.jpg
| footer            = [[Ti Lung]] in 2019 and [[Chow Yun-fat]] in 2007
| width1            = 300
}}
* [[Ti Lung]] as Sung Tse-ho ({{Lang-zh|c=宋子豪|labels=no}}): A Triad member and Tse-kit's older brother{{Sfn|Charles|2000|p=24}}
* [[Leslie Cheung]] as Sung Tse-kit ({{Lang-zh|c=宋子傑|labels=no}}): A police officer and Tse-ho's younger brother{{Sfn|Charles|2000|p=24}}
* [[Chow Yun-fat]] as Mark Lee ({{Lang-zh|c=李馬克|labels=no}}):{{Efn|Mark is usually addressed in the film with the [[honorific]] ''gor'' ({{Lang-zh|c={{linktext|哥}} |j={{kCantonese|哥}} |l=older brother |labels=no}}). This is both common parlance amongst triad members, as well as an indication of his brotherly relationship with Ho.{{Sfn|Fang|2004|p=7}} Additionally, Mark is sometimes referred to as {{Lang-zh|c={{linktext|小|馬|哥}} |j={{kCantonese|小馬哥}} |l=little Mark brother |labels=no |out=c}}.{{Sfn|Fang|2004|p=142}}}} Tse-ho's best friend and business partner{{Sfn|Charles|2000|p=24}}
* [[Emily Chu]] as Jackie ({{Lang-zh|c=鍾柔|labels=no}}, Chung Yau): Kit's girlfriend{{Sfn|Morton|2016|p=60}}
* [[Waise Lee]] as Shing ({{Lang-zh|c=譚成|labels=no}}, Tan Shing): An ambitious, low-ranking Triad member{{Sfn|Morton|2016|p=60}}

In addition to the main cast, ''A Better Tomorrow'' features [[Tien Feng]] as Ho and Kit's father ({{Lang-zh|c=宋景文|labels=no}}, Sung Ging-man), and [[Kenneth Tsang]] as Ken ({{Lang-zh|c=堅叔|labels=no}}), the manager of the taxi company Ho joins.{{Sfn|Fang|2004|p=142}} [[Shing Fui-On|Shing Fui-on]] plays Shing's lieutenant,{{Sfn|Morton|2016|p=60}} and {{Interlanguage link|Sek Yin-tsi|lt=Sek Yin-tsi|zh|石燕子}} plays Mr. Yiu ({{Lang-zh|c=姚先生|labels=no}}).{{Sfn|Fang|2004|p=142}}<ref name="HKFA_SekYinTsiBio">{{Cite web |title=Sek Yin-tsi 石燕子 |url=https://www.filmarchive.gov.hk/documents/18995340/19057018/SEK%2BYin-tsi_e.pdf |url-status=live |archive-url=https://web.archive.org/web/20250124192428/https://www.filmarchive.gov.hk/documents/18995340/19057018/SEK%2BYin-tsi_e.pdf |archive-date=2025-01-24 |access-date=2025-10-01 |website=[[Hong Kong Film Archive]]}}</ref> {{Interlanguage link|Wang Hsieh|lt=Wang Hsieh|zh|王俠 (演員)}} appears as a Taiwanese gang boss, and {{Interlanguage link|Leung Ming|lt=Leung Ming|zh|良鳴}} as Ming ({{Lang-zh|c=明叔|labels=no}}), a technician overseeing the counterfeiting operation.{{Sfn|Fang|2004|p=142}} The film also includes [[Cameo appearance|cameo appearances]] from Woo, who plays a Taiwanese policeman named Inspector Wu, and Tsui as a music judge.{{Sfn|Fang|2004|p=142}}

== Production ==

=== Conception ===
{{Multiple image
| direction         = horizontal
| total_width       = 300
| image1            = John Woo Cannes 2005.jpg
| image2            = Tsui Hark2011 (cropped).jpg
| align             = left
| footer            = [[John Woo]] in 2005 and [[Tsui Hark]] in 2011
}}
''A Better Tomorrow'' drew inspiration from [[Patrick Lung]]'s ''[[The Story of a Discharged Prisoner]]'' (1967), a film greatly admired by both [[John Woo]] and [[Tsui Hark]].{{Sfn|Rizov|2014}}{{Sfn|Pinkerton|2017}} According to film critic {{Interlanguage link|Law Kar|lt=Law Kar|zh|羅卡 (香港)}}, Woo had witnessed Lung directing the movie at {{Interlanguage link|Wader Film Studio|lt=Wader Film Studio|zh|華達製片廠}};{{Sfn|Tsang|Cunliffe|2022}} Tsui meanwhile, had seen it as a teenager and was impressed by the film's handling of social issues. Lung's movies eventually influenced Tsui to venture into filmmaking by creating short films.{{Sfn|Rizov|2014}}{{Sfn|Cunliffe|2021}} Throughout his career, Tsui kept ''Discharged Prisoner'' on his mind, and considered making a dramatic work inspired by it. He first suggested an adaptation of Lung's film in the mid-1970s while working at [[TVB]], but his idea was ignored.{{Sfn|Rizov|2014}} Years later, Tsui would propose a similar project to the studio he was contracted with, [[Cinema City Enterprises|Cinema City]]. Due to Cinema City's commercial success with formulaic comedies,{{Sfn|Teo|1997|p=153}}{{Sfn|Yang|2003|p=85}} they refused, stating that local audiences would not want to watch such a serious movie.{{Sfn|Morton|2016|p=63}}

Undeterred by the rejection, Tsui founded the production company [[Film Workshop]] in April 1984 with his wife, [[Nansun Shi]].{{Sfn|Heard|2000|p=37}} Tsui then approached his friend Woo, who had helped kickstart his directing career by getting him initial contract work with Cinema City, to come write and direct a gangster film.{{Sfn|Abrams|2023}}{{Sfn|Fang|2004|p=10}}{{Sfn|Heard|2000|p=38}} Woo himself had been feeling burnt out while working in Taiwan for Cinema City. He had originally signed with the studio in hopes of getting more directorial freedom, but had instead been shunted into doing administrative work, stopping only to churn out a couple of company-mandated comedies for money. Woo was frustrated by his potential future, as he had desperately wanted to make a gangster film instead.{{Sfn|Yang|1997|pp=94, 96}}{{Sfn|Heard|2000|p=33}}{{Sfn|Elder|2005b|p=47}} In a 2025 interview with ''[[Variety (magazine)|Variety]]'', he stated, "Before ''A Better Tomorrow'', I didn't have much chance to try this kind of a style. Because I never got any support from the studio or anyone, I wasn't able to experiment."{{Sfn|Debruge|2025}} Intrigued by Tsui's offer, he came back to Hong Kong in 1985, but was surprised by a perceived cultural shift when he arrived. Woo noted that there had been "[[Triad (organized crime)|gangster]] infiltration into all kinds of businesses—even the film industry—and a widespread feeling that there were no morals left, that many people would do anything to get ahead."{{Sfn|McDonagh|1993|p=50}} Taken aback by this, Woo decided that he would direct a film that would bring back and highlight "true values, like honour and chivalry".{{Sfn|Yang|1997|p=96}}

=== Writing and development ===
Inspired by [[Jean-Pierre Melville]], Woo began writing ''A Better Tomorrow'' with the goal of making it his own version of ''[[Le Samouraï]]'' (1967).{{Sfn|Abrams|2023}}{{Sfn|Heard|2000|p=41}}<ref name="NYT_Yu2023">{{Cite news |last=Yu |first=Brandon |date=2023-12-01 |title=John Woo Has Seen a Lot in Hollywood. He's Finally Back for More. |url=https://www.nytimes.com/2023/12/01/movies/john-woo-silent-night.html |archive-url=https://web.archive.org/web/20231201152857/https://www.nytimes.com/2023/12/01/movies/john-woo-silent-night.html |archive-date=2023-12-01 |access-date=2023-12-01 |work=[[The New York Times]]}}</ref> Encouraged by Tsui to draw upon his own personal experiences to write the film's dialogue, Woo considered ''A Better Tomorrow'' to be his first auteur movie.<ref name="NYT_Yu2023" /><ref name="Vulture_Ebiri2023">{{Cite web |last=Ebiri |first=Bilge |author-link=Bilge Ebiri |date=2023-07-03 |title='My Films Had So Much Anger' |url=https://www.vulture.com/2023/07/john-woo-on-face-off-mission-impossible-2-and-more.html |archive-url=https://web.archive.org/web/20230703134643/https://www.vulture.com/2023/07/john-woo-on-face-off-mission-impossible-2-and-more.html |archive-date=2023-07-03 |access-date=2023-10-15 |website=[[Vulture (website)|Vulture]] |language=en}}</ref> He meant for the film to be a way for him to express his feelings about Hong Kong and human dignity, and didn't intend for it to be a political statement.{{Sfn|Abrams|2023}}{{Sfn|Fang|2004|p=118}}  Woo also wanted it to showcase his friendship with Tsui, since both men had helped each other gain a foothold in their respective directing careers.{{Sfn|Fang|2004|p=124}}{{Sfn|Woo|2000|p=66}}

Woo was influenced by the gallant tales of ''[[wuxia]]'', remarking that films like ''A Better Tomorrow'' "are violent, but they also have an element of romance—not love, but chivalry—and there's always the dream of a better world."{{Sfn|McDonagh|1993|p=52}} He noted the impact that a previous directorial effort, ''[[Last Hurrah for Chivalry]]'' (1979), had on him, calling it a prequel to ''A Better Tomorrow''.{{Sfn|Teo|1997|p=175}} While Woo used the basic plot of ''The Story of a Discharged Prisoner'' as the foundation for his film, including copying the Chinese title directly,{{Sfn|Li|1994|p=176}} he made specific changes to the story's characters.{{Sfn|Elder|2005b|p=49}} Woo turned the younger brother into a police officer in order to heighten the drama between the siblings, and reworked the original film's social worker character to be Mark.{{Sfn|Elder|2005b|p=49}} Since Woo was a fan of [[Nicholas Ray]]'s ''[[Rebel Without a Cause]]'' (1955), he wrote Kit to be an homage to [[James Dean]]'s character.{{Sfn|Elder|2011|p=212}} More notably, most of the characters in the original were rewritten to be male roles, despite Tsui's request to include female protagonists.{{Sfn|Fang|2004|p=11}} Tsui admitted that there was friction between him and Woo, stating that from a production standpoint: "I get too involved in the project, and there is not enough room for some directors to breathe. John Woo is very much independent."{{Sfn|Heard|2000|pp=41–42}}{{Sfn|Dannen|Long|1997|p=41}} In addition to Woo, writers {{Interlanguage link|Chan Hing-ka|lt=Chan Hing-ka|zh|陳慶嘉}} and Leung Suk-wah ({{Lang-zh|c=梁淑華|labels=no}}) also received writing credits for the screenplay.{{Sfn|Elder|2005a|p=xxv}} For the film's English title, Woo asked Nansun Shi for a phrase that better reflected the film's themes of redemption and courage, shortening her suggestion of "For a Better Tomorrow".{{Sfn|Fang|2004|pp=33–34}}

With the two men agreeing to have Woo direct and Tsui handle production duties,{{Sfn|Heard|2000|p=41}} Tsui was able to persuade Cinema City to take a chance on the film despite Woo's poor box office performance.{{Sfn|Yang|1997|p=96}}{{Sfn|Hendrix|2011}} Film executive [[Karl Maka]] approved the project after being convinced of the movie's concept and marketability.{{Sfn|Fang|2004|p=11}} Joining Woo on the production was editor Ma Kam ({{Lang-zh|c=金馬|labels=no}}) and cinematographer Wong Wing-hang ({{Lang-zh|c=黃永恆|labels=no}}). [[Blackie Ko]] and [[Stephen Tung]] were hired as the film's [[Stage combat|action designers]].{{Sfn|Morton|2016|p=60}} For the [[Art director|art direction]], Woo employed Bennie Lui ({{Lang-zh|c=雷志良|labels=no}}), who was assisted by [[Timmy Yip|Tim Yip]].{{Sfn|Fang|2004|p=140}} Yip was a 21-year-old photographer who Tsui recommended after the producer saw his photography work in an exhibition.<ref name="TimYip_SCMP_Yau2021">{{Cite news |last=Yau |first=Elaine |date=2021-10-02 |title=Hiding Michelle Yeoh's Broken Leg, the Martial Arts Moves of Chow Yun-fat in ''A Better Tomorrow''—Oscar-Winning Art Director Tim Yip on His Movie Career and His Focus on Art |url=https://web.archive.org/web/20211007174918/https://www.scmp.com/magazines/post-magazine/arts-music/article/3150835/oscar-winning-art-director-tim-yip-working |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20211007174918/https://www.scmp.com/magazines/post-magazine/arts-music/article/3150835/oscar-winning-art-director-tim-yip-working?module=perpetual_scroll&pgtype=article&campaign=3150835 |archive-date=2021-10-07 |access-date=2022-05-04 |website=[[South China Morning Post]] |language=en}}</ref><ref name="FT_Argyropulo-Palmer2013">{{Cite news |last=Argyropulo-Palmer |first=Caroline |date=2013-07-26 |title=Film Design: Tim Yip's New Orientalism |url=https://www.ft.com/content/7d35bfa2-f4c6-11e2-a62e-00144feabdc0 |url-status=live |archive-url=https://web.archive.org/web/20190922093405/https://www.ft.com/content/7d35bfa2-f4c6-11e2-a62e-00144feabdc0 |archive-date=2019-09-22 |access-date=2022-05-04 |work=[[Financial Times]]}}</ref>

=== Casting ===
{{quote box
| text = [Chow Yun-fat] had been acting in different things. I had seen him in one movie where he played a kind of retired killer and I liked him. And then I found out some things about him, that he always helped a lot of people. That he cared about people in his private life, that he helped his friends. And the more I heard the more I thought he was very much the same as my hero in the story.
| author = John Woo
| source = 1999 interview with [[Lee Server]]{{Sfn|Server|1999|p=33}}
| align = right
| width = 30%
}}
While Tsui had wanted to include women in the movie's leading roles—he expressed interest in getting [[Michelle Yeoh]] to play a female version of Mark—the film was [[Greenlight|greenlit]] based on the selection of three male leads: [[Chow Yun-fat]], [[Ti Lung]], and [[Leslie Cheung]].{{Sfn|Short|2000}} In an interview with ''[[Apple Daily]]'', [[Raymond Wong Pak-ming]], a co-founder of Cinema City, said that the role of Mark had initially been offered to [[George Lam]]. However, Lam declined as he was already working for D&B Films.<ref name="AppleDaily_Chan2018">{{Cite news |last=Chan |first=Yuet-mei |author-mask=Chan Yuet-mei (陳月媚) |date=2018-01-25 |title=黃百鳴破票房毒藥　發哥執三攤　Mark哥彈起紅30年 |trans-title=Raymond Wong breaks the box office poison: Brother Fat picks up the third stall, Brother Mark bounces up and is popular for 30 years |url=https://hk.appledaily.com/entertainment/20180125/OEKW2QA3KGDJPWDUISJ2PDPR44/ |url-status=dead |archive-url=https://web.archive.org/web/20210610154919/https://hk.appledaily.com/entertainment/20180125/OEKW2QA3KGDJPWDUISJ2PDPR44/ |archive-date=2021-06-10 |access-date=2025-05-01 |work=[[Apple Daily]] |language=zh}}</ref> According to the ''[[Hong Kong Economic Times]]'', [[Mark Cheng]] was next considered, but he was unavailable as he was filming Tsui's ''[[Peking Opera Blues]]'' (1986).<ref name="HKETTOPick2019">{{Cite web |date=2019-11-07 |title=【經典男神】鄭浩南辭演《英雄本色》失走紅機會 為太太移居大馬成愛妻暖爸 |trans-title=Mark Cheng declines role in ''A Better Tomorrow'', misses an opportunity to be popular; moves to Malaysia and becomes a loving father for his wife |url=https://topick.hket.com/article/2492557 |url-status=live |archive-url=https://web.archive.org/web/20251001183727/https://topick.hket.com/article/2492557 |archive-date=2025-10-01 |access-date=2025-10-01 |website=TOPick |publisher=[[Hong Kong Economic Times]] |language=zh}}</ref> Instead, Woo considered casting Chow, believing that his talent, charisma, and off-screen generosity would be perfect for the role of "a modern knight".{{Sfn|Sandell|2001b}}{{Sfn|Elder|2005b|p=49}}{{Sfn|Server|1999|p=33}} However, Cinema City initially balked at the proposal. While Chow was a popular television actor for [[TVB]], his film roles had been so commercially unsuccessful that he had developed an industry reputation as "box office poison".{{Efn|Attributed to multiple sources.<ref name="ScreenAnarchy_Murray2016" /><ref name="ChicagoTribune_Clifford1990">{{Cite news |last=Clifford |first=Terry |date=1990-02-14 |title='Living Legend' Hong Kong's Robert Redford Hopes to Make a Killing in U.S. |page=3 |work=[[Chicago Tribune]] |publisher=[[Tribune Publishing]]  |id={{ProQuest|282839526}}}}</ref>{{Sfn|Fang|2004|p=12}}<ref name="HKFA_ABTScreening" />{{Sfn|Chu|2017|p=34}}{{Sfn|Gieselmann|2009}}}} Additionally, Chow was not available at first due to scheduling conflicts, but Woo and Tsui both insisted on waiting for the actor to finish his previous commitments.{{Sfn|Morton|2016|p=64}}

For the role of Ho, Woo wanted Ti, a skilled martial artist best-known as a 1970s ''wuxia'' film star for [[Chang Cheh]] at [[Shaw Brothers Studio]].{{Sfn|Williams|2002|p=335}} However, Ti's career had been slumping as audience interest in martial arts films declined by the early 1980s, and when Shaw Brothers halted film production in 1986 to focus on television, he was left struggling for work.{{Sfn|Donovan|2014|p=180}}{{Sfn|Logan|1996|p=18}}{{Sfn|Cheung|2023|p=21}} Like with Chow, Tsui and Woo also had to navigate around the actor's filming schedule. Ti had grown a ponytail for his role in ''[[The Legend of Wisely]]'' (1987), and could not cut his hair short for ''A Better Tomorrow''<nowiki/>'s jail sequences. Tsui recalled that ''Wisely'' director [[Teddy Robin]] became furious with him after he asked the director to let Ti wear a fake ponytail so that he could do both films. However, Ti was interested in the part because he found the script's focus on brotherhood intriguing,<ref name="StraitsTimes_Chan2012">{{Cite news |last=Chan |first=Boon |date=2012-07-02 |title=Always a Better Tomorrow for Ti Lung |work=[[The Straits Times]] |location=[[Singapore]] |id={{ProQuest|1022922405}}}}</ref> and found a compromise with Robin by getting a mid-length haircut.{{Sfn|Morton|2016|p=64}}

Cheung, a famous [[Cantopop]] star trying to establish himself as a film actor,{{Sfn|Donovan|2014|p=180}} was cast as Kit to convince Cinema City executives that the project was financially viable.<ref name="HKFA_ABTScreening">{{Cite web |title=Exhibition and Screening: ''A Better Tomorrow'' |url=https://www.filmarchive.gov.hk/en_US/web/hkfa/pe-event-2018-13-1-11.html |url-status=live |archive-url=https://web.archive.org/web/20251001185903/https://www.filmarchive.gov.hk/en/web/hkfa/pe-event-2018-13-1-11.html |archive-date=2025-10-01 |access-date=2025-10-01 |website=[[Hong Kong Film Archive]]}}</ref> The singer had earned commercial acclaim for his music career, having one of his songs, "Wild Wind" ({{Lang-zh|c=不羈的風|labels=no}}), earn a Gold Song award at the [[1985 Jade Solid Gold Best Ten Music Awards Presentation|Jade Solid Gold Best Ten Music Awards Presentation]] in 1985.<ref name="TVB_1985JadeSolidGold10Best">{{Cite web |title=1985年度十大勁歌金曲頒獎典禮 |trans-title=1985 Jade Solid Gold Best Ten Music Awards Presentation |url=http://tvcity.tvb.com/jsg/awards/awards_4957565316481164106171108186113170247166177188250.html |url-status=dead |archive-url=https://web.archive.org/web/20120305090713/http://tvcity.tvb.com/jsg/awards/awards_4957565316481164106171108186113170247166177188250.html |archive-date=2012-03-05 |access-date=2022-05-11 |website=[[TVB]]}}</ref>{{Sfn|Chu|2017|p=79}} Cheung had also showcased strong acting performances in [[Hong Kong television drama|television dramas]] on [[TVB]],{{Sfn|Chu|2017|p=79}} as well as various films that cast him for his boyish charm.{{Sfn|Gieselmann|2009|p=139}} By playing Kit, he would act as a foil for Chow and Ti's characters by injecting the film with a youthful presence.{{Sfn|Corliss|2003|p=2}}{{Sfn|Leung|2011|p=49}} [[Terence Chang]], a general manager at Film Workshop at the time,{{Sfn|Stokes|Hoover|1999|p=29}} said that he and Woo both noticed Cheung's potential when casting him.<ref name="NYT_Kehr2003">{{Cite news |last=Kehr |first=Dave |author-link=Dave Kehr |date=2003-04-04 |title=With a Dash of Difference |url=https://www.nytimes.com/2003/04/04/movies/at-the-movies-with-a-dash-of-difference.html |url-access=registration |archive-url=https://web.archive.org/web/20180410013110/https://www.nytimes.com/2003/04/04/movies/at-the-movies-with-a-dash-of-difference.html |archive-date=2018-04-10 |access-date=2022-05-12 |work=[[The New York Times]] |language=en-US |issn=0362-4331}}</ref>

Rounding out the main cast was Emily Chu, who played Kit's girlfriend Jackie, and Waise Lee as Shing. Chu had previously starred alongside Chow in ''[[Witch from Nepal|Witch From Nepal]]'' (1986), playing the titular character Sheila.{{Sfn|O'Brien|2003|p=88}} Lee, who had never worked in film prior to ''A Better Tomorrow'', received the part because Tsui noticed him in a television commercial.{{Sfn|Stokes|Braaten|2020b|p=280}}{{Sfn|Williams|2009|p=16}} Woo remembered that he and Tsui wanted Shing to be an atypical antagonist, and thus sought to avoid the clichéd portrayal of the character as an aging veteran criminal. Woo thought that Lee's "ordinary" appearance fit their description of someone the audience would see in everyday life.<ref name="OrientalDailyNews_2016">{{Cite news |date=2016-09-05 |title=《英雄本色》30年集体回忆 |trans-title=''A Better Tomorrow'': 30 years of collective memories |url=https://hk.on.cc/hk/bkn/cnt/entertainment/20160905/bkn-20160905074410054-0905_00862_001_cn.html |url-status=live |archive-url=https://web.archive.org/web/20251005001952/https://hk.on.cc/hk/bkn/cnt/entertainment/20160905/bkn-20160905074410054-0905_00862_001_cn.html |archive-date=2025-10-05 |access-date=2025-10-05 |work=[[Oriental Daily News]] |language=zh}}</ref>

=== Filming and post-production ===
Film production began in early 1986 with a budget of under {{Currency|11 million|HKD|linked=no|passthrough=yes}}.{{Sfn|Fang|2004|p=11}} The film was shot in multiple locations across Hong Kong, with some exterior shots filmed in Taiwan.<ref name="ABTCommentary_ShotInNewTerritoriesAndTaiwan">{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=15:50}}</ref> Due to the film's limited budget, cinematographer Wong Wing-hang had to shoot the nighttime scenes with minimal lighting, as the production could not afford to rent lights.{{Sfn|Hendrix|2015}}

The film shoot was at times emotional for Woo; Cheung recalled that the director would sometimes cry on set.<ref>{{Harvtxt|Havis|1998|p=15}} quoted in {{Harvtxt|Fang|2004|p=33}}</ref> Tsui remembered the production being subject to significant alterations, stating that "everything was on an unstable basis, sort of like walking on a boat—everything is moving, shaking, unbalanced."{{Sfn|Morton|2016|p=64}} When the actor they had cast as Inspector Wu struggled with delivering a suitable performance, Woo decided to step into the role himself, allowing both Chow and Cheung to direct him.<ref name="ChinaNewsService_Zhang2017">{{Cite news |last=Zhang |first=Yiling |author-mask=Zhang Yiling (张义凌) |date=2017-11-09 |title=吴宇森和31岁的《英雄本色》：他至今没有看第二遍 |trans-title=John Woo and the 31-year-old ''A Better Tomorrow'': He to this day hasn't watched it a second time |url=https://news.sina.com.cn/o/2017-11-09/doc-ifynrsrf3050858.shtml |url-status=live |archive-url=https://web.archive.org/web/20251001192157/https://news.sina.com.cn/o/2017-11-09/doc-ifynrsrf3050858.shtml |archive-date=2025-10-01 |access-date=2025-10-01 |work=[[Sina Corporation|Sina]] |language=zh |agency=[[China News Service]]}}</ref>{{Sfn|Fang|2004|p=113}} While the director bemoaned his own acting abilities, he believed that the character needed to be in the film "to show that morally things are not always black and white."{{Sfn|Fang|2004|p=113}}

One of the most notable changes during filming was Chow's involvement in the movie. The actor was initially slated to be on set for only 10 to 15 days as Mark.{{Sfn|Morton|2016|p=64}} However, as Woo and Chow bonded over their similar values and industry struggles, Woo gradually expanded the actor's supporting role after realizing how capable Chow was at playing Mark.{{Efn|Attributed to multiple sources.<ref name="Vulture_Ebiri2023" /><ref name="YuleSohu_Yi2008">{{Cite web |last=Yi |first=Bao |author-mask=Yi Bao (懿宝) |date=2008-12-19 |title=周润发曾拍片不要片酬 黄百鸣感慨港片衰弱(图)-搜狐娱乐 |trans-title=Chow Yun-fat once made a film without wanting remuneration; Raymond Wong laments the decline of Hong Kong films |url=https://yule.sohu.com/20081219/n261313149_1.shtml |url-status=live |archive-url=https://web.archive.org/web/20251001193834/https://yule.sohu.com/20081219/n261313149_1.shtml |archive-date=2025-10-01 |access-date=2025-10-01 |website=[[Sohu]] |language=zh}}</ref><ref name="SMP_Tsui2009">{{Cite web |last=Tsui |first=Clarence |date=2009-04-12 |title=Nansun Shi |url=https://www.scmp.com/article/676543/nansun-shi |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20231105025047/https://www.scmp.com/article/676543/nansun-shi |archive-date=2023-11-05 |access-date=2025-10-04 |website=[[South China Morning Post]] |language=en}}</ref>{{Sfn|Fu|1994}}{{Sfn|Fang|2004|p=12}}}} Chow, who had been emotionally connecting with the film's dialogue, was also similarly impressed by the production. He allowed Woo additional days to shoot with him for free when things went over budget.<ref name="Vulture_Ebiri2023" />{{Sfn|Morton|2016|p=64}} Woo gave Chow considerable improvisational freedom, accepting the actor's suggestion to give Mark a toothpick to put in his mouth in order to make him seem cooler.<ref name="XinminEveningNews_Wu2017">{{Cite web |last=Wu |first=Xuying |author-mask=Wu Xuying (吴旭颖) |date=2017-11-14 |title=《英雄本色》重映首映礼 吴宇森追忆张国荣哽咽落泪-手机新民网 |trans-title=''A Better Tomorrow'' re-screening premiere: John Woo chokes back tears remembering Leslie Cheung |url=https://wap.xinmin.cn/content/31333716.html |url-status=live |archive-url=https://web.archive.org/web/20251001201422/https://wap.xinmin.cn/content/31333716.html |archive-date=2025-10-01 |access-date=2025-10-01 |website=[[Xinmin Evening News]] |language=zh}}</ref> Woo also used Chow's real-life experience with [[Ringo Lam]] as the basis for the scene where Mark recalls how he and Ho were forced to drink urine at gunpoint.<ref name="OrientalDailyNews_Siu2021">{{Cite web |last=Siu |first=Nga-man |author-mask=Siu Nga-man (蕭雅文) |date=2021-08-04 |title=《英雄本色》35周年祭 揭開鮮為人知秘聞 |trans-title=The 35th anniversary tribute for ''A Better Tomorrow'' uncovers little-known secrets |url=https://hk.on.cc/hk/bkn/cnt/entertainment/20210804/bkn-20210804121117618-0804_00862_001.html |url-status=live |archive-url=https://web.archive.org/web/20251001202351/https://hk.on.cc/hk/bkn/cnt/entertainment/20210804/bkn-20210804121117618-0804_00862_001.html |archive-date=2025-10-01 |access-date=2025-10-01 |website=[[Oriental Daily News]] |language=zh}}</ref>{{Sfn|Logan|1996|p=118}} According to the director, Chow recounted that he and Lam were coerced into drinking an entire bottle of alcohol after Lam unintentionally insulted the owner of the restaurant they were dining at.{{Sfn|Fu|1994}} Chow was not the only actor to draw upon his life experiences to use in his performance. Ti stated in interviews that he used his close friendship with fellow Shaw Brothers actor [[Alexander Fu Sheng]] as the basis for Ho and Kit's relationship.{{Sfn|Williams|2012|p=41}}

{{Multiple image
| direction         = horizontal
| total_width       = 350
| image1            = Sunning Plaza exit.JPG
| image2            = HK Kln City 九龍城 Kowloon City District 土瓜灣道 To Kwa Wan Road near Kwei Chow Street February 2021 SSG 24.jpg
| caption1          = 
| caption2          = 
| footer            = The entrance of [[Sunning Plaza]] in 2013, and the Merit Industrial Centre (red building) in 2021
}}

Many locations throughout Hong Kong were used during shooting. The scene where Mark is first seen buying [[Rice noodle roll|rice noodle rolls]] from a street vendor was shot on Jackson Road in [[Central, Hong Kong|Central]].<ref name="AliveBusinessWeekly_Ke2019">{{Cite web |last=Ke |first=Xiaoxiang |author-mask=Ke Xiaoxiang (柯曉翔) |date=2019-03-21 |title=中環，追經典港片場景 |trans-title=In Central, chasing classic Hong Kong film scenes |url=https://alive.businessweekly.com.tw/Article/ARTL000132894 |url-status=live |archive-url=https://web.archive.org/web/20220512233601/https://alive.businessweekly.com.tw/Article/ARTL000132894 |archive-date=2022-05-12 |access-date=2022-05-12 |website=Alive |publisher=Business Weekly |language=zh}}</ref>{{Sfn|Ho|2005|p=267}}<ref name="FilmPilgrimage_Wong2017">{{Cite web |last=Wong |first=Gary |author-link=Gary Wong |date=2017-02-16 |title=英雄本色 |trans-title=''A Better Tomorrow'' |url=https://film-pilgrimage.com/2017/02/16/%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2-2/ |archive-url=https://web.archive.org/web/20251001203131/https://film-pilgrimage.com/2017/02/16/%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2-2/ |archive-date=2025-10-01 |access-date=2025-10-01 |website=Film Pilgrimage |language=zh}}</ref> On the DVD commentary, Bey Logan identifies the exterior used to represent the hospital that Ho's father is staying at as the [[Chinese University of Hong Kong]].<ref name="ABTCommentary_HospitalExterior">{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=7:26}}</ref> The scene where Ho sees Shing mistreat Mark was shot outside [[Sunning Plaza]].<ref name="YahooNewsHK_IMPeiDeath_2019">{{Cite news |date=2019-05-16 |title=黃錦星追憶大師 《英雄本色》新寧大廈攞景 |trans-title=Wong Kam-sing recalls the great master [I. M. Pei]; ''A Better Tomorrow'' shot on location at Sunning Plaza |url=https://hk.news.yahoo.com/%E8%B2%9D%E8%81%BF%E9%8A%98%E9%80%9D%E4%B8%96-%E9%BB%83%E9%8C%A6%E6%98%9F%E8%BF%BD%E6%86%B6%E5%A4%A7%E5%B8%AB-%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2-%E6%96%B0%E5%AF%A7%E5%A4%A7%E5%BB%88%E6%94%9E%E6%99%AF-020900480.html |url-status=live |archive-url=https://web.archive.org/web/20251001213143/https://hk.news.yahoo.com/%E8%B2%9D%E8%81%BF%E9%8A%98%E9%80%9D%E4%B8%96-%E9%BB%83%E9%8C%A6%E6%98%9F%E8%BF%BD%E6%86%B6%E5%A4%A7%E5%B8%AB-%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2-%E6%96%B0%E5%AF%A7%E5%A4%A7%E5%BB%88%E6%94%9E%E6%99%AF-020900480.html |archive-date=2025-10-01 |access-date=2025-10-01 |work=[[Yahoo! News|Yahoo! News Hong Kong]] |language=zh |agency=[[Sing Tao Daily]]}}</ref><ref name="HK01_IMPeiDeath_Zhang2019">{{Cite web |last=Cheung |first=Ga-man |author-mask=Cheung Ga-man (張嘉敏) |date=2019-05-17 |title=造就《英雄本色》經典場面 建築為電影取景常客 |trans-title=[I. M. Pei] contributes to a classic scene from ''A Better Tomorrow'', the buildings have acted as regular film shooting locations |url=https://www.hk01.com/社會新聞/329986/貝聿銘逝世-造就-英雄本色-經典場面-建築為電影取景常客 |url-status=live |archive-url=https://web.archive.org/web/20220512225002/https://www.hk01.com/%E7%A4%BE%E6%9C%83%E6%96%B0%E8%81%9E/329986/%E8%B2%9D%E8%81%BF%E9%8A%98%E9%80%9D%E4%B8%96-%E9%80%A0%E5%B0%B1-%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2-%E7%B6%93%E5%85%B8%E5%A0%B4%E9%9D%A2-%E5%BB%BA%E7%AF%89%E7%82%BA%E9%9B%BB%E5%BD%B1%E5%8F%96%E6%99%AF%E5%B8%B8%E5%AE%A2 |archive-date=2022-05-12 |access-date=2022-05-12 |website=[[HK01]] |language=zh}}</ref><ref name="SCMP_Leung2019">{{Cite news |last=Leung |first=Rachel |date=2019-05-17 |title=Famed Architect I.M. Pei's Legacy Stands Tall in Hong Kong Through Bank of China Tower |url=https://www.scmp.com/news/hong-kong/article/3010698/hong-kong-famed-architect-im-peis-legacy-stands-tall-through-bank |url-access=subscription |archive-url=https://web.archive.org/web/20190517105115/https://www.scmp.com/news/hong-kong/article/3010698/hong-kong-famed-architect-im-peis-legacy-stands-tall-through-bank |archive-date=2019-05-17 |access-date=2023-10-10 |work=[[South China Morning Post]]}}</ref> The underground car park shootout was filmed at the Merit Industrial Centre ({{Lang-zh|c=美華工業中心|labels=no}}) in [[To Kwa Wan]].<ref name="HKET_Sam2019">{{Cite web |last=Sam |first=Chi-gong |author-mask=Sam Chi-gong (岑志剛) |date=2019-04-12 |title=電影發燒友舊區朝聖 尋味本土歷史與人情 |trans-title=Movie fans go on a pilgrimage to old districts to ponder over local history and human emotions |url=https://topick.hket.com/article/2323698 |url-status=live |archive-url=https://web.archive.org/web/20251001234200/https://topick.hket.com/article/2323698 |archive-date=2025-10-01 |access-date=2025-10-01 |website=TOPick |publisher=[[Hong Kong Economic Times]] |language=zh}}</ref><ref name="HKET_Fung2021">{{Cite web |last=Fung |first=Paak-wai |author-mask=Fung Paak-wai (馮柏偉) |date=2021-04-23 |title=漫步土瓜灣尋電影場景足迹 《英雄本色》Mark哥停車場35年無變 |trans-title=Walking through To Kwa Wan to trace the footprints of film scenes: Mark's parking lot from ''A Better Tomorrow'' has not changed for 35 years |url=https://topick.hket.com/article/2939751/%E3%80%90%E6%9C%AC%E5%9C%B0%E9%81%8A%E3%80%91%E6%BC%AB%E6%AD%A5%E5%9C%9F%E7%93%9C%E7%81%A3%E5%B0%8B%E9%9B%BB%E5%BD%B1%E5%A0%B4%E6%99%AF%E8%B6%B3%E8%BF%B9%E3%80%80%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8BMark%E5%93%A5%E5%81%9C%E8%BB%8A%E5%A0%B435%E5%B9%B4%E7%84%A1%E8%AE%8A |url-status=live |archive-url=https://web.archive.org/web/20251001234637/https://topick.hket.com/article/2939751/%E3%80%90%E6%9C%AC%E5%9C%B0%E9%81%8A%E3%80%91%E6%BC%AB%E6%AD%A5%E5%9C%9F%E7%93%9C%E7%81%A3%E5%B0%8B%E9%9B%BB%E5%BD%B1%E5%A0%B4%E6%99%AF%E8%B6%B3%E8%BF%B9%E3%80%80%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8BMark%E5%93%A5%E5%81%9C%E8%BB%8A%E5%A0%B435%E5%B9%B4%E7%84%A1%E8%AE%8A |archive-date=2025-10-01 |access-date=2025-10-01 |website=TOPick |publisher=[[Hong Kong Economic Times]] |language=zh}}</ref> The [[Tin Hau Temple, Joss House Bay|Tin Hau Temple in Joss House Bay]] was used as the site of the ransom exchange between Shing, Ho and Mark.<ref name="FilmPilgrimage_Wong2017" /> Other filming locations include the former [[Central Police Station (Hong Kong)|Central Police Station]],<ref name="HKCinemagic_WongPodvin2010">{{Cite web |last1=Wong |first1=Gary |author-link=Gary Wong |last2=Podvin |first2=Thomas |date=2010-05-22 |title=Mapping Hong Kong Film Locations |url=http://www.hkcinemagic.com/en/page.asp?aid=326&page=1#61505 |url-status=dead |archive-url=https://web.archive.org/web/20190129094824/http://www.hkcinemagic.com/en/page.asp?aid=326&page=1 |archive-date=2019-01-29 |access-date=2025-10-01 |website=[[Hong Kong Cinemagic]]}}</ref> the [[Wo Hop Shek Public Cemetery]],<ref name="ABTCommentary_Cemetery">{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=31:00}}</ref> and the shipyards in [[Aberdeen, Hong Kong|Aberdeen]].<ref name="ABTCommentary_Shipyards">{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=58:10}}</ref> Logan states that due to the necessity of using a local stunt team, the scene where Ho and Shing get double-crossed in Taipei was actually shot in the [[New Territories]], with the exterior shots of the Taiwanese police cars filmed separately in Taiwan.<ref name="ABTCommentary_ShotInNewTerritoriesAndTaiwan" /> Also filmed in Taiwan was the sequence where Mark learns of Ho's arrest, which was shot on {{Interlanguage link|Zhonghua Road|lt=Zhonghua Road|zh|中華路 (臺北市)}} in Taipei.<ref name="FilmPilgrimage_Wong2017" /> The tunnels where Ho and Shing hide in after being ambushed are Hong Kong's anti-aircraft tunnels, which were primarily used during World War II.<ref name="ABTCommentary_AntiAircraftTunnels">{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=22:13}}</ref> The prison sequence was also shot in Hong Kong, as directors like Woo were granted filming access to the local prisons and police training grounds by the government during the 1980s.<ref name=":0">{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=28:26}}</ref> Logan notes that scenes inside Kit and Jackie's apartment were filmed on a set similar to ones used on a Hong Kong television series.<ref name="ABTCommentary_KitAndJackiesApartmentSet">{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=18:03}}</ref>

Shooting was eventually completed on schedule, between a time frame of 80 to 100 days.{{Sfn|Fang|2004|p=12}} According to the ''[[Oriental Daily News]]'', Woo made a few cuts in post-production to reduce the film's length. This included a scene introducing Mark's wife—played by Fanny Sieh ({{Lang-zh|c=薛芷倫|labels=no}})—as well as a sex scene between Kit and Jackie.<ref name="OrientalDailyNews_Siu2021" />

=== Music ===
[[Joseph Koo]] served as ''A Better Tomorrow''<nowiki/>'s composer. He primarily used synthesisers for the background score, writing more dramatic music in the lead up to the action sequences.{{Sfn|Leung|2011|p=50}} Koo also composed the film's theme song, "{{Interlanguage link|In the Sentimental Past|lt=In the Sentimental Past|zh|當年情}}", with lyrics by frequent collaborator [[James Wong Jim]], and sung by Cheung.{{Sfn|Spring|2015|loc=The Synthesizer Score in ''A Better Tomorrow''}} Written in the [[Relative key|relative keys]] of [[E major]] and [[C minor]], it is a melancholic musical piece featuring harmonica, strings, keyboard, drums, and guitar.<ref name="EDBHK_AnalysisOfJosephKoo">{{Cite web |title=Analysis of Joseph Koo's Cantonese Popular Songs |url=https://www.edb.gov.hk/attachment/en/curriculum-development/kla/arts-edu/resources/mus-curri/Joseph-koo-analysis-e.pdf |url-status=live |archive-url=https://web.archive.org/web/20250515023021/https://www.edb.gov.hk/attachment/en/curriculum-development/kla/arts-edu/resources/mus-curri/Joseph-koo-analysis-e.pdf |archive-date=2025-05-15 |access-date=2025-10-08 |website=[[Education Bureau]]}}</ref> Lyrically, "In the Sentimental Past" is about a warm reunion between individuals happy to re-express their feelings for each other.{{Sfn|Van den Troost|2024b|p=241}} Scholar Julian Stringer described the melody of "In the Sentimental Past" as a "lilting, haunting melody" that "denotes pain, suffering and emotional trauma".{{Sfn|Stringer|1997|p=31}} While Koo used the song as a [[Motif (music)|musical motif]] at key emotional points throughout the movie, the full version with lyrics is played at the film's conclusion.{{Sfn|Stringer|1997|p=31}}{{Sfn|Leung|2011|pp=51–52}} 

In addition to Koo's contributions, ''A Better Tomorrow'' also uses a few pop songs. For the sequence where Mark plants his weapons in several flowerpots, the [[Hokkien pop]] song "Don't Lose Your Will" ({{Lang-zh|c=免失志|labels=no}}) by Taiwanese singer [[Chen Hsiao-yun]] is used.<ref name="HK01_Tsang2022">{{Cite web |last=Chang |first=Git-ying |author-mask=Chang Git-ying (曾潔盈) |date=2022-05-15 |title=【輕談淺唱不夜天】Mafia romantic world讓你耳朵變「大佬」！ |trans-title=The "mafia romantic world" makes your ears become "big brother"! |url=https://www.hk01.com/眾樂迷/770408/輕談淺唱不夜天-mafia-romantic-world讓你耳朵變-大佬 |url-status=live |archive-url=https://web.archive.org/web/20231105092051/https://www.hk01.com/%E7%9C%BE%E6%A8%82%E8%BF%B7/770408/%E8%BC%95%E8%AB%87%E6%B7%BA%E5%94%B1%E4%B8%8D%E5%A4%9C%E5%A4%A9-mafia-romantic-world%E8%AE%93%E4%BD%A0%E8%80%B3%E6%9C%B5%E8%AE%8A-%E5%A4%A7%E4%BD%AC |archive-date=2023-11-05 |access-date=2025-10-01 |website=[[HK01]] |language=zh}}</ref><ref>{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=25:39}}</ref> The film also includes a version of "[[Tomorrow Will Be Better]]" sung by the [[Wong Tai Sin Children's Choir]],<ref>{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=1:13:11}}</ref> and [[Roman Tam]]'s "{{Interlanguage link|Toiling Life in the Wind and Rain|lt=Toiling Life in the Wind and Rain|zh|幾許風雨}}", which was a cover of "Heenari" ({{Korean|hangul=희나리|labels=no}}) by {{Interlanguage link|Koo Chang-mo|lt=Koo Chang-mo|ko|구창모 (가수)|preserve=yes}}.{{Sfn|Spring|2015|loc=The Synthesizer Score in ''A Better Tomorrow''}}{{Sfn|Fang|2004|p=52}} It also utilises music composed by [[Peter Gabriel]] from the 1984 film ''[[Birdy (film)|Birdy]],''<ref name="ScreenAnarchy_Murray2016">{{Cite web |last=Murray |first=Darren |date=2016-07-19 |title=The ''Better Tomorrow'' Series – an Appraisal |url=https://screenanarchy.com/2016/07/the-better-tomorrow-series---an-appraisal-contrib.html |url-status=live |archive-url=https://web.archive.org/web/20160720164627/http://screenanarchy.com/2016/07/the-better-tomorrow-series---an-appraisal-contrib.html |archive-date=2016-07-20 |access-date=2022-04-21 |website=[[Screen Anarchy]]}}</ref><ref>{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=27:09}}</ref> as well as a track from [[Brian Eno]]'s 1978 album ''[[Music for Films]]''.{{Sfn|Goble|2018}}

== Design ==

The overarching design goals during production were to make the film feel modern and glamourous.{{Sfn|Fang|2004|p=111}} Art director Bennie Lui recalled, "John Woo wants it to be as gritty as ''[[Taxi Driver]]'', but Tsui Hark wants it to be urban and urbane."{{Sfn|Ho|2005|p=267}} To fulfill Woo's requirement that the actors "look good in slow motion", {{Interlanguage link|Bruce Yu|lt=Bruce Yu|zh|余家安}}, the film's costume designer, dressed the cast in [[Armani]] clothing.{{Sfn|Fang|2004|pp=111–112}} Yu was responsible for conceiving Mark's coat-and-sunglasses look,<ref name="Sina_2022">{{Cite web |last= |date=2022-08-03 |title=香港著名美术指导余家安去世，《英雄本色》小马哥形象出自他手！ |trans-title=Famous Hong Kong art director Bruce Yu passes away; the image of Brother Mark in ''A Better Tomorrow'' came from his hand! |url=https://k.sina.cn/article_6182704574_1708495be0010128xi.html?from=ent&subch=film |url-status=dead |archive-url=https://web.archive.org/web/20231105021026/https://k.sina.cn/article_6182704574_1708495be0010128xi.html?from=ent&subch=film |archive-date=2023-11-05 |access-date=2025-10-02 |website=[[Sina Corporation|Sina Entertainment]] |language=zh}}</ref><ref name="MingPao_2022_BruceYuObituary">{{Cite news |date=2022-08-04 |title=三膺金像獎 炮製《英雄本色》Mark哥look 張國榮梅艷芳御用造型師余家安逝世 |trans-title=Three-time Hong Kong Film Awards winner who created Brother Mark's look in ''A Better Tomorrow''; Leslie Cheung and Anita Mui's exclusive stylist Bruce Yu passes away |url=https://ol.mingpao.com/ldy/showbiz/news/20220804/1659552237989/%E4%B8%89%E8%86%BA%E9%87%91%E5%83%8F%E7%8D%8E-%E7%82%AE%E8%A3%BD%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8Bmark%E5%93%A5look-%E5%BC%B5%E5%9C%8B%E6%A6%AE%E6%A2%85%E8%89%B7%E8%8A%B3%E5%BE%A1%E7%94%A8%E9%80%A0%E5%9E%8B%E5%B8%AB%E4%BD%99%E5%AE%B6%E5%AE%89%E9%80%9D%E4%B8%96 |url-status=live |archive-url=https://web.archive.org/web/20251010033636/https://ol.mingpao.com/ldy/showbiz/news/20220804/1659552237989/%E4%B8%89%E8%86%BA%E9%87%91%E5%83%8F%E7%8D%8E-%E7%82%AE%E8%A3%BD%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8Bmark%E5%93%A5look-%E5%BC%B5%E5%9C%8B%E6%A6%AE%E6%A2%85%E8%89%B7%E8%8A%B3%E5%BE%A1%E7%94%A8%E9%80%A0%E5%9E%8B%E5%B8%AB%E4%BD%99%E5%AE%B6%E5%AE%89%E9%80%9D%E4%B8%96 |archive-date=2025-10-10 |access-date=2025-10-10 |work=[[Ming Pao]] |language=zh}}</ref> an outfit that combined the styles of several of Woo's cinema idols. Mark would wear a trench coat like the one worn by [[Alain Delon]]'s character from ''Le Samourai'',{{Sfn|Stokes|Braaten|2020a|pp=29–30}}{{Sfn|Elder|2013|p=161}} sport [[Ray-Ban]] sunglasses similar to ones worn by [[Ken Takakura]], and shoot guns like [[Steve McQueen]] and [[Clint Eastwood]].{{Sfn|Staskiewicz|2009}}{{Sfn|Fang|2004|pp=111–112}} Some of the costume design choices were symbolic. Woo stated that Shing was dressed in white to symbolise his former purity as an innocent person who "got trapped by the dark side of life".{{Sfn|Ho|2005|p=267}}{{Sfn|Fang|2004|pp=114–115}} According to Bey Logan, the black leather jacket Ho wears midway through the film is a callback to a similar jacket worn by Patrick Lung's character in ''The Story of a Discharged Prisoner''.<ref name="ABTCommentary_BlackLeatherJacket">{{Cite AV media |title=A Better Tomorrow |last=Bey |first=Logan |type=DVD |publisher=Optimum Releasing |time=50:25}}</ref>

Woo wanted to highlight the violence in the film to "make the audiences sense the invisible and widespread power of the underworld".{{Sfn|Heard|2000|p=50}}{{Sfn|Ho|2005|p=266}} Assistant art director Tim Yip used ''[[The Godfather (film series)|The Godfather]]''<nowiki/>'s suave portrayal of the mafia as inspiration.<ref name="TimYip_SCMP_Yau2021" /> The film's gunfights were partially inspired by the continual confrontations between good and evil in [[Western (genre)|Westerns]], as well as the martial arts choreography from ''wuxia'' films.<ref name=":1">{{Harvtxt|Woo|1998|p=55}} quoted in {{Harvtxt|Stokes|Hoover|1999|p=35}}</ref>{{Sfn|Szeto|2011|p=77}} Woo has stated that ''A Better Tomorrow'' was the first time he tried incorporating [[Dual wield|dual wielding]] pistols in a film. The idea stemmed from discussions he had with the [[Property master|prop master]] on the logistics of Mark killing 15 people in the restaurant shootout. Woo wanted his hero to use a handgun because he felt they possessed a "great spirit" to them that was reminiscent of Chinese swords. After being excited by the percussive qualities of the firing of a [[Beretta]], he realised that two pistols could rhythmically communicate Mark's anger in combat.{{Sfn|de Semlyen|2024|pp=92–93}}<ref name="MissionImpossible2Commentary_DuelWield">{{Cite AV media |title=Mission Impossible II: Audio commentary |date=2000 |last=John |first=Woo |author-link=John Woo |type=DVD |language=en |publisher=[[Paramount Pictures]] |time=1:16:52}}</ref> To emphasise the power of the handguns, six different sounds were layered on top of each other for the film's gunfire sound effects.{{Sfn|de Semlyen|2024|p=93}}

== Release ==

=== Context ===
[[Martial arts film|Martial arts films]] became popular throughout Hong Kong in the 1960s and 1970s, with the [[kung fu film]] eclipsing the popularity of the ''wuxia'' film throughout the 1970s.{{Sfn|Cheuk|2008|p=87}}{{Sfn|Szeto|2011|p=25}} However, by the early 1980s, local audiences began to grow tired of the traditional period pieces that were typical of the genre.<ref name="ABT_SCMP_Havis2021">{{Cite web |last=Havis |first=Richard James |date=2021-10-31 |title=Like Martial Arts Movies But with Guns: How John Woo's ''A Better Tomorrow'' Launched Action-Film Era in Hong Kong, and the ''Wuxia'' and Kung Fu Roots of Hits Like ''The Killer'' and ''City on Fire'' |url=https://www.scmp.com/lifestyle/entertainment/article/3154117/martial-arts-movies-guns-how-john-woos-better-tomorrow |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20211030221956/https://www.scmp.com/lifestyle/entertainment/article/3154117/martial-arts-movies-guns-how-john-woos-better-tomorrow |archive-date=2021-10-30 |access-date=2022-04-21 |website=[[South China Morning Post]] |language=en}}</ref>{{Sfn|Yip|2017|p=187}} Instead, comedic movies saw mainstream success throughout the decade, often ranking in the top 10 of the highest-grossing films for that year.{{Sfn|Chu|2003|p=68}} By 1986, several popular comedy films, such as ''[[Mr. Vampire]]'' (1985) and ''[[Twinkle, Twinkle, Lucky Stars]]'' (1985) had been produced. While some movies like ''[[Yes, Madam (1985 film)|Yes, Madam]]'' (1985) and ''[[In the Line of Duty (film series)|Royal Warriors]]'' (1986) involved police work, their focus on [[girls with guns]] meant that they did not examine brotherly relationships like ''A Better Tomorrow'' did.{{Sfn|Hall|2012a|p=96}}

Because of those audience trends, Cinema City was not expecting the movie to perform well financially.{{Sfn|Aufderheide|1987|p=74}} Tsui recalled that unhappy studio executives asked him to "burn the film" midway through production.{{Sfn|Rizov|2014}} As a result, ''A Better Tomorrow'' was minimally advertised in Hong Kong.<ref name="BFI_Bittel2019">{{Cite web |last=Bitel |first=Anton |date=2019-07-10 |title=Heroic Bloodshed: How Hong Kong's Style Was Swiped by Hollywood |url=https://www.bfi.org.uk/features/heroic-bloodshed-hong-kong-hollywood-cycle-influence |url-status=live |archive-url=https://web.archive.org/web/20210831022758/https://www.bfi.org.uk/features/heroic-bloodshed-hong-kong-hollywood-cycle-influence |archive-date=2021-08-31 |access-date=2022-04-21 |website=[[British Film Institute]] |language=en}}</ref> The studio was also concerned with Chow's poor box office reputation: unlike the other actors, his portrait was not included in the film's publicity stills, and he received third billing in the credits behind Ti and Cheung.{{Sfn|Fang|2004|p=12}} Despite Cinema City's misgivings however, both action movies and crime dramas had risen in popularity with local audiences. The realistically gritty ''[[Long Arm of the Law (film)|Long Arm of the Law]]'' (1984) had won multiple [[Hong Kong Film Award|Hong Kong Film Awards]], and Cinema City's own action-oriented ''[[Aces Go Places (film series)|Aces Go Places]]'' films had performed well at the box office.{{Sfn|Fang|2004|p=10}} In addition, the kung fu film genre had already started to modernise to cater to audience tastes. As evidenced by the success of movies like [[Jackie Chan]]'s ''[[Police Story (1985 film)|Police Story]]'' (1985), directors were transitioning to making action films set in contemporary Hong Kong, with fight scenes containing gunplay and [[hand-to-hand combat]] instead of swordfighting.{{Sfn|Law|Bren|2004|p=286}}{{Sfn|Needham|2012|p= 25}}

=== Box office ===
{{quote box
| text = Seeing ''A Better Tomorrow'' on opening night remains one of the greatest experiences of my movie-watching life. In ninety-five minutes, I watched the audience change. Having seen hundreds, if not thousands, of kung fu films with international audiences, I had never seen a crowd react the way the normally reserved, even jaded, Hong Kong filmgoers did to this somehow familiar yet totally different experience.
| author = [[Ric Meyers]]
| source = in an interview for a book about [[John Wick]], a movie series inspired by Woo films like ''A Better Tomorrow''{{Sfn|Gross|Altman|2022|pp=70–71}}
| align = right
| width = 30%
}}

''A Better Tomorrow'' was released in Hong Kong on 2 August 1986.{{Sfn|Morton|2016|p=60}} First shown at a midnight sneak preview, its initial screening received an extremely positive audience reception.{{Sfn|Dannen|Long|1997|p=42}} Woo recalled that "the people went crazy" while watching the film,{{Sfn|Dannen|Long|1997|p=42}} and Chow noted that "there was shouting and clapping of hands, which is not something that happens in Hong Kong movies."{{Sfn|Heard|2000|pp=209–210}} The film went on to become the number one movie of 1986, grossing {{HKDConvert|34651324|lk=on|year=1986|to=USD|force=yes|exact=on|showdate=no}} during its exhibition.{{Sfn|Morton|2016|p=62}} While the average theatrical run in Hong Kong is normally brief, lasting one to three weeks depending on a film's popularity, ''A Better Tomorrow'' ran for a then-unheard of sixty-one days in theatres.{{Sfn|Bordwell|2011|p=72}}

The film's release was rolled out across Asia over the course of the year. In Taiwan, it was released on 8 August 1986, selling 249,468 tickets across 128 screens until its last showing on 31 December of that year. It would gross {{Currency|16880798|TWD|linked=yes}} during its theatrical run, placing seventh at the Taiwanese box office of 1986.<ref name="TWBoxOffice">{{Cite web |title=Taiwanese Box Office Results of 1986 |url=http://cinema.nccu.edu.tw/box/3a/3a86.htm |url-status=dead |archive-url=https://web.archive.org/web/20010421214724/http://cinema.nccu.edu.tw/box/3a/3a86.htm |archive-date=2001-04-21 |access-date=2022-06-17 |website=The Database of Taiwan Cinema |language=zh}}</ref> First shown in South Korea on 23 May 1987 with Mandarin dubbing,<ref name="ChosunIlbo_Byun2016">{{Cite web |last=Byun |first=Hee-won |date=2016-01-29 |title='응팔세대'의 영웅… 30년 만에 극장으로 |trans-title=The hero of the ''Reply 1988'' generation... after 30 years, to the theatre |url=https://www.chosun.com/site/data/html_dir/2016/01/29/2016012900051.html |url-status=live |archive-url=https://web.archive.org/web/20220428084437/https://www.chosun.com/site/data/html_dir/2016/01/29/2016012900051.html |archive-date=2022-04-28 |access-date=2022-04-28 |website=[[The Chosun Ilbo]] |language=ko}}</ref><ref name="Cine21_Jang2008">{{Cite web |last=Jang |first=Young-yup |date=2008-08-06 |title=한국 최초의 오리지널 버전 상영 <영웅본색> |trans-title=Korea's first screening of the original version of ''A Better Tomorrow'' |url=http://www.cine21.com/news/view/?mag_id=52480 |url-status=live |archive-url=https://web.archive.org/web/20200529005639/http://www.cine21.com/news/view/?mag_id=52480 |archive-date=2020-05-29 |access-date=2022-07-02 |website=[[Cine21]] |language=ko}}</ref> ''A Better Tomorrow'' was not initially a big success there,<ref name="BizHankook_Jang2016">{{Cite web |last=Jang |first=Ik-chang |date=2016-09-28 |title=홍콩 느와르의 전설 '영웅본색' |trans-title=The Hong Kong noir legend ''A Better Tomorrow'' |url=https://www.bizhankook.com/bk/article/11418 |url-status=live |archive-url=https://web.archive.org/web/20240726033646/https://www.chosun.com/site/data/html_dir/2016/01/29/2016012900051.html |archive-date=2024-07-26 |access-date=2025-10-02 |website=Biz.Hankook |language=ko}}</ref><ref name="LecturerNews_Hang2021">{{Cite web |last=Hang |first=Sang-hyung |date=2021-01-17 |title=영화 '영웅본색1' "세 남자의 뜨거운 우정을 그린 작품! 주윤발·장국영·적룡 주연" |trans-title=Film ''A Better Tomorrow'': "A work that portrays the burning friendship of three men! Starring Chow Yun-fat, Leslie Cheung, and Ti Lung |url=http://www.lecturernews.com/news/articleView.html?idxno=59567 |url-status=dead |archive-url=https://web.archive.org/web/20231108142830/http://www.lecturernews.com/news/articleView.html?idxno=59567 |archive-date=2023-11-08 |access-date=2025-10-02 |website=Korea Lecturer News |language=ko}}</ref><ref name="SeoulShinmun_Kim2016">{{Cite web |last=Kim |first=Dong-ryul |date=2016-05-06 |title=[김동률 교수의 1980's 청춘의 재발견] 홍콩 누아르에 바친다 |trans-title=Professor Kim Dong-ryul’s rediscovery of youth in the 1980s: Dedicated to Hong Kong Noir |url=https://www.seoul.co.kr/news/newsView.php?id=20160506017003 |url-status=live |archive-url=https://web.archive.org/web/20160506234709/http://seoul.co.kr/news/newsView.php?id=20160506017003 |archive-date=2016-05-06 |access-date=2022-04-28 |website=[[Seoul Shinmun]] |language=ko}}</ref> selling less than 100,000 tickets during its initial run.{{Sfn|Choi|2010b|p=145}} However, it grew a sizeable cult following after it began screening in smaller [[Discount theater|second-run theatres]], selling 126,156,260 tickets cumulatively<ref name="KOBIS_ABTTicketSalesInKorea">{{Cite web |title=KOFIC 영화관 입장권 통합전산망 :: 영화정보 |trans-title=KOFIC Movie Theatre Ticket Integrated Computer Network |url=https://www.kobis.or.kr/kobis/business/mast/mvie/searchMovieList.do |access-date=2022-07-02 |website=[[Korean Film Council]] |language=ko}}</ref>{{Efn|This citation links to a dynamic web page. As such, results for ''A Better Tomorrow'' will be displayed by entering its Korean title, 영웅본색, in the search bar labeled '영화명' (movie name) and clicking the '조회' (search) button.}} and paving the way for the sequel's mainstream success in the country.{{Sfn|An|2001|p=104}} This particular run was notable, given that the popularity of Hong Kong films in Korea had diminished during the 1980s.{{Sfn|Choi|2010b|p=145}}

''A Better Tomorrow'' has been re-released several times, such as in 2011 for the film's 25th anniversary of its Japanese release,<ref name="CinemaTodayJP_2011">{{Cite web |date=2011-02-02 |title=香港映画祭り！『男たちの挽歌』にチョウ・ユンファ、ジェット・リー、トニー・レオン、レスリー・チャンら名優続々!! |trans-title=Hong Kong film festival! With ''A Better Tomorrow'' and featuring Chow Yun-fat, Jet Li, Tony Leung, Leslie Cheung and other famous actors one after another!! |url=https://www.cinematoday.jp/news/N0030045 |url-status=live |archive-url=https://web.archive.org/web/20251002061015/https://www.cinematoday.jp/news/N0030045 |archive-date=2025-10-02 |access-date=2025-10-02 |website=Cinema Today |language=ja}}</ref> and in 2016 for its 30th anniversary in Korea.<ref name="KoreaTimes_Kim2016">{{Cite web |last=Kim |first=Ji-soo |date=2016-01-29 |title=Hong Kong Film ''Better Tomorrow'' to Open at Theaters Again |url=https://www.koreatimes.co.kr/www/culture/2022/05/135_196727.html |url-status=live |archive-url=https://web.archive.org/web/20231109044244/https://www.koreatimes.co.kr/www/culture/2022/05/135_196727.html |archive-date=2023-11-09 |access-date=2025-10-02 |website=[[The Korea Times]] |language=en}}</ref> In 2014, it was announced that the [[Shanghai International Film Festival]], in collaboration with sponsor [[Jaeger-LeCoultre]] and [[film preservation]] laboratory [[Cineteca di Bologna|L'Immagine Ritrovata]], would begin restoring ''A Better Tomorrow'' the following year.{{Sfn|Hendrix|2015}}<ref name="SIFF_ABT4KRestorationPressRelease">{{Cite press release |title=Debut of 4K Restored Film Program |date=2014-04-21 |publisher=[[Shanghai International Film Festival]] |url=https://www.siff.com/english/content?aid=import-cms-1207 |access-date=2025-10-02 |archive-url=https://web.archive.org/web/20251002064804/https://www.siff.com/english/content?aid=import-cms-1207 |archive-date=2025-10-02}}</ref><ref name="ChinaDaily_Liu2014">{{Cite news |last=Liu |first=Wei |date=2014-06-19 |title=Watchmaker Takes Time to Restore Film Classics |url=https://www.chinadaily.com.cn/culture/2014-06/19/content_17599423.htm |url-status=live |archive-url=https://web.archive.org/web/20140619035220/http://www.chinadaily.com.cn/culture/2014-06/19/content_17599423.htm |archive-date=2014-06-19 |access-date=2022-10-14 |work=[[China Daily]] |pages=2–3}}</ref>{{Sfn|Gelardi|2020}} This project was started in January 2015 and completed in May;<ref name="SCMP_Zhao2015">{{Cite news |last=Zhao |first=Shirley |date=2015-05-31 |title=Italian Job: Firms Sets Up in Hong Kong to Restore Movies from Golden Age |url=https://www.scmp.com/news/hong-kong/economy/article/1813326/italian-job-firms-sets-hong-kong-restore-movies-golden-age |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20180418033507/http://www.scmp.com/news/hong-kong/economy/article/1813326/italian-job-firms-sets-hong-kong-restore-movies-golden-age |archive-date=2018-04-18 |access-date=2022-10-14 |work=[[South China Morning Post]]}}</ref> the restored film would be screened at the [[2015 Shanghai International Film Festival]],<ref name="ScreenAnarchy_Marsh2015">{{Cite web |last=Marsh |first=James |date=2015-06-13 |title=L'Immagine Ritrovata Asia Opens for Business in Hong Kong |url=https://screenanarchy.com/2015/06/limmagine-ritrovata-asia-opens-in-hong-kong-gallery.html |url-status=live |archive-url=https://web.archive.org/web/20250620020102/https://screenanarchy.com/2015/06/limmagine-ritrovata-asia-opens-in-hong-kong-gallery.html |archive-date=2025-06-20 |access-date=2025-10-02 |website=[[ScreenAnarchy]]}}</ref> as well as the [[Hong Kong International Film Festival]] in 2016.<ref name="SCMP_Scott2016">{{Cite news |last=Scott |first=Mathew |date=2016-11-07 |title=Hong Kong's Film Restorers Work Tirelessly in Tough Conditions to Bring Back to Life Cantonese Classics |url=https://www.scmp.com/special-reports/xxiv/article/2042948/labour-love-bede-cheng-tze-wang-gets-kick-out-preserving |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20210906190642/https://www.scmp.com/special-reports/xxiv/article/2042948/labour-love-bede-cheng-tze-wang-gets-kick-out-preserving |archive-date=2021-09-06 |access-date=2022-10-14 |work=[[South China Morning Post]]}}</ref> A 4K remastered version was released theatrically in Japan on 22 April 2022 to celebrate the 35th anniversary of the film's Japanese release date.<ref name="CinemaToday2022">{{Cite web |date=2022-03-04 |title=『男たちの挽歌』4Kリマスター版公開決定！ |trans-title=4K remastered version of "A Better Tomorrow" to be released! |url=https://www.cinematoday.jp/news/N0128941 |url-status=live |archive-url=https://web.archive.org/web/20251002070908/https://www.cinematoday.jp/news/N0128941 |archive-date=2025-10-02 |access-date=2025-10-02 |website=Cinema Today |language=ja}}</ref><ref name="Eiga2022">{{Cite web |date=2022-03-04 |title=「男たちの挽歌」4K修復リマスター版が4月22日公開 "香港ノワール"の金字塔 : 映画ニュース |trans-title=''A Better Tomorrow'' 4K restored remaster will be released on 22 April; a monumental achievement of "Hong Kong noir" |url=https://eiga.com/news/20220304/8/ |archive-url=https://web.archive.org/web/20220304035849/https://eiga.com/news/20220304/8/ |archive-date=2022-03-04 |access-date=2022-04-28 |website=Eiga.com |language=ja}}</ref> In North America, a remastered version will be screened as part of the Hong Kong Cinema Classics retrospective presented by [[Shout! Studios]] and [[GKIDS]]. First shown at the [[American Cinematheque]] and the [[IFC Center]] in August 2025, the programme will continue throughout 2026 in multiple cities across the United States and Canada.<ref name="IndieWire_Bergeson2025">{{Cite web |last=Bergeson |first=Samantha |date=2025-06-26 |title=John Woo Favorites Among Shout! Studios’ Hong Kong Classics Retrospective |url=https://www.indiewire.com/news/general-news/shout-studios-hong-kong-classics-series-1235135274/ |archive-url=https://web.archive.org/web/20250626200944/https://www.indiewire.com/news/general-news/shout-studios-hong-kong-classics-series-1235135274/ |archive-date=2025-06-26 |access-date=2025-08-01 |website=[[IndieWire]] |language=en-US}}</ref><ref name="UPI_Topel2025">{{Cite news |last=Topel |first=Fred |date=2025-08-04 |title=John Woo, Tsui Hark Retrospective to Play U.S., Canada Through 2026 |url=https://www.upi.com/Entertainment_News/Movies/2025/08/04/John-Woo-Tsui-Hark-retrospective/3471754326045/ |archive-url=https://archive.today/20251002072935/https://www.upi.com/Entertainment_News/Movies/2025/08/04/John-Woo-Tsui-Hark-retrospective/3471754326045/ |archive-date=2025-10-02 |access-date=2025-10-02 |work=[[United Press International]]}}</ref><ref name="GKIDS_HongKongCinemaClassics">{{Cite web |title=Hong Kong Cinema Classics |url=https://gkids.com/golden-princess/ |archive-url=https://web.archive.org/web/20250726063920/https://gkids.com/golden-princess/ |archive-date=2025-07-26 |access-date=2025-08-31 |website=[[GKIDS]] |language=en-US}}</ref>

Despite the movie's popularity across Asia, it never received a theatrical release in mainland China.<ref name="ChinaFilmInsider_2017">{{Cite web |date=2017-10-25 |title=Headlines from China: John Woo's ''A Better Tomorrow'' to Hit Chinese Cinema Screens for the First Time |url=https://chinafilminsider.com/headlines-from-china-john-woo-a-better-tomorrow-china-release/ |url-status=live |archive-url=https://web.archive.org/web/20180209232822/http://chinafilminsider.com/headlines-from-china-john-woo-a-better-tomorrow-china-release/ |archive-date=2018-02-09 |access-date=2022-05-24 |website=China Film Insider}}</ref><ref name="AppleDailyTW_Yu2017">{{Cite web |last=Yu |first=Ruofei |author-mask=Yu Ruofei (宇若霏) |date=2017-11-05 |title=睽違30年 吳宇森《英雄本色》中國首映 |trans-title=After a hiatus of 30 years, John Woo's ''A Better Tomorrow'' premieres in China |url=https://tw.appledaily.com/entertainment/20171105/MXG7XKIPVQTSZOBT4JWV4PHVCA/ |url-status=dead |archive-url=https://web.archive.org/web/20220524051631/https://tw.appledaily.com/entertainment/20171105/MXG7XKIPVQTSZOBT4JWV4PHVCA/ |archive-date=2022-05-24 |access-date=2022-05-24 |website=[[Apple Daily (Taiwan)|Apple Daily]] |language=zh}}</ref>{{Efn|At the time of the film's release, the mainland Chinese government enforced a strict quota of non-mainland-produced films that could be shown in the country.{{Sfn|Zhou|2017|p=24}}}} This did not stop Chinese audiences from watching pirated [[Bootleg recording|bootleg copies]] of the film that were smuggled into the mainland.<ref name="StraitsTimes_Chan2012" />{{Sfn|Jia|2010|p=48}} However, on 17 November 2017, Cantonese and Mandarin dubs of the remastered version were officially released in the country, grossing over {{Currency|3 million|USD|passthrough=yes|linked=no}} on its opening weekend.<ref name="TheNumbers_ABTBoxOffice">{{Cite web |title=''Ying Xiong Ben Se'' (Hong Kong) |url=https://www.the-numbers.com/movie/Ying-Xiong-Ben-Se-(Hong-Kong)#tab=summary |url-status=live |archive-url=https://www.the-numbers.com/movie/Ying-Xiong-Ben-Se-%28Hong-Kong%29 |archive-date=2025-10-02 |access-date=2025-10-02 |website=[[The Numbers (website)|The Numbers]] |publisher=Nash Information Services}}</ref><ref name="Sina_2017">{{Cite web |last= |date=2017-11-10 |title=《英雄本色》修复版画质提升 三兄弟盛世美颜再现 |trans-title=The restored version of ''A Better Tomorrow'' has improved picture quality; the three brothers' beautiful faces re-emerge |url=https://ent.sina.com.cn/m/c/2017-11-10/doc-ifynstfh3626156.shtml |url-status=live |archive-url=https://web.archive.org/web/20251002075709/https://ent.sina.com.cn/m/c/2017-11-10/doc-ifynstfh3626156.shtml |archive-date=2025-10-02 |access-date=2025-10-02 |website=[[Sina Corporation|Sina Entertainment]] |language=zh}}</ref> The film went on to gross over {{Currency|4.8 million|USD|linked=no|passthrough=yes}} during its mainland theatrical run.<ref name="BoxOfficeMojo_ABTBoxOffice">{{Cite web |title=''A Better Tomorrow'' (2017 Re-release) |url=https://www.boxofficemojo.com/releasegroup/gr607867397/?ref_=bo_tt_gr_2 |url-status=live |archive-url=https://web.archive.org/web/20251002080300/https://www.boxofficemojo.com/releasegroup/gr607867397/?ref_=bo_tt_gr_2 |archive-date=2025-10-02 |access-date=2025-10-02 |website=[[Box Office Mojo]]}}</ref>
== Reception ==

=== Critical response ===
''A Better Tomorrow'' was released in Hong Kong to general acclaim by critics. Karen Fang states that contemporary reviews praised the film for being "explosive but sentimental" and "full of masculinity",<ref>{{cite news |last=Sek |first=Kei |author-link=Sek Kei |date=1986-08-30 |others=Translated by Edward Leung |title=Film Teahouse |trans-title= |url= |access-date= |work=[[Ming Pao]] |language=zh}} Quoted in {{harvtxt|Fang|2004|pp=|p=37}}</ref> with [[David Bordwell]] remarking that most Hong Kong critics believed ''A Better Tomorrow'' to be Woo's best work.{{Sfn|Bordwell|2011|p=93}} According to Jenny Lau of ''[[Journal of Cinema and Media Studies|Cinema Journal]]'', local reviewers liked the film not necessarily for its violence, but more for its successful adaptation of traditional ''wuxia'' tropes and action sequences.{{Sfn|Lau|1998|p=21}} Hong Kong critic [[Li Cheuk-to]] credited ''A Better Tomorrow''<nowiki/>'s success to its more thoroughly developed story, consistent melodramatic tone, and stylised violence. He also suggested that the heroic protagonists resonated with audiences feeling politically anxious over the upcoming [[handover of Hong Kong]].{{Sfn|Lent|1990|p=114}}

Over the years, English-language critics were generally positive about the film. [[Glenn Kenny]] of ''[[Entertainment Weekly]]'' said that American audiences would find ''A Better Tomorrow'' a welcome respite from most of the generic action movies made by Hollywood.{{Sfn|Kenny|1994}} A reviewer for ''[[Variety (magazine)|Variety]]'' described the movie as a "fine vehicle" for Woo, calling it a significant departure from the comedies that he had previously directed.{{Sfn|Variety|1985}} With many of the reviews being retrospectively written after the international success of Woo's later films, several critics chose to compare and contrast ''A Better Tomorrow'' with ''[[The Killer (1989 film)|The Killer]]'' (1989) and ''[[Hard Boiled]]'' (1992). Alan Morrison of ''[[Empire (magazine)|Empire]]'' said that many of Woo's stylistic hallmarks were present in the film, albeit in a rudimentary form.{{Sfn|Morrison|2000}} Both Keith Phipps of ''[[The A.V. Club]]'' and Chris Gramlich of ''[[Exclaim!]]'' preferred watching ''The Killer'' and ''Hard Boiled'',<ref name="AVClub_Phipps2002">{{Cite web |last=Phipps |first=Keith |date=2002-04-19 |title=''A Better Tomorrow'' |url=https://www.avclub.com/a-better-tomorrow-1798197349 |url-status=live |archive-url=https://web.archive.org/web/20210730083903/https://www.avclub.com/a-better-tomorrow-1798197349 |archive-date=2021-07-30 |access-date=2022-05-04 |website=[[The A.V. Club]] |language=en-US}}</ref>{{Sfn|Gramlich|2004}} with Gramlich explaining that he felt Woo was still trying to refine his approach with ''A Better Tomorrow''.{{Sfn|Gramlich|2004}} ''[[The Austin Chronicle]]''<nowiki/>'s Marc Savlov said that while the movie was not as polished as ''The Killer'', nor as complex as ''[[Bullet in the Head]]'' (1990), it was still a good representation of Woo's filmmaking style. He also believed that ''A Better Tomorrow'' was essential viewing for anyone interested in Hong Kong cinema.<ref name="AustinChronicle_Savlov1993">{{Cite web |last=Savlov |first=Marc |date=1993-03-05 |title=Movie Review: ''A Better Tomorrow'' |url=https://www.austinchronicle.com/events/film/1993-03-05/a-better-tomorrow/ |url-status=live |archive-url=https://web.archive.org/web/20250816150654/https://www.austinchronicle.com/events/film/1993-03-05/a-better-tomorrow/ |archive-date=2025-08-16 |access-date=2025-10-02 |website=[[The Austin Chronicle]] |language=en-US}}</ref>

Johnathan Crow of ''[[AllMovie]]'' praised Woo's "baroque" visual style. He stated that the [[Tracking shot|tracking shots]], [[fast cutting]], and [[slow motion]] explosions helped deliver an emotional, melodramatic experience that elevated the film beyond traditional action cinema.<ref name="AllMovie_ABTReview_Crow">{{Cite web |last=Crow |first=Johnathan |title=''A Better Tomorrow'' Review |url=http://www.allmovie.com/movie/a-better-tomorrow-v5168/review |url-status=deviated |archive-url=https://web.archive.org/web/20230406150246/http://www.allmovie.com/movie/a-better-tomorrow-v5168/review |archive-date=2023-04-06 |access-date=2025-10-02 |website=[[AllMovie]]}}</ref> A ''[[TV Guide]]'' reviewer echoed this sentiment, commenting that Woo's clear, purposeful direction made each new [[plot point]] seem like an unavoidable outcome.<ref name="TVGuideReview">{{Cite web |title=''A Better Tomorrow'' |url=https://www.tvguide.com/movies/a-better-tomorrow/review/2030129630/ |url-status=deviated |archive-url=https://web.archive.org/web/20231105091350/https://www.tvguide.com/movies/a-better-tomorrow/review/2030129630/ |archive-date=2023-11-05 |access-date=2025-10-02 |website=[[TV Guide]] |language=en}}</ref> Both Morrison and Kenny liked the final shootout; Kenny said that it was "one of the most ridiculously exhilarating—or exhilaratingly ridiculous—sequences of its kind."{{Sfn|Kenny|1994}} Writing for the ''[[Los Angeles Times]]'', [[Kevin Thomas (film critic)|Kevin Thomas]] said that he enjoyed the action and likeable characters, believing the film was a hallmark of Hong Kong cinema.<ref name="LATimes_Thomas1993">{{Cite news |last=Thomas |first=Kevin |author-link=Kevin Thomas (film critic) |date=1993-11-24 |title=Movie Review: Woo's ''Tomorrow'' Balances Emotion and Violence |url=https://www.latimes.com/archives/la-xpm-1993-11-24-ca-60201-story.html |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20251002170544/https://www.latimes.com/archives/la-xpm-1993-11-24-ca-60201-story.html |archive-date=2025-10-02 |access-date=2025-10-02 |website=[[Los Angeles Times]] |language=en-US}}</ref> Thomas also liked Koo's music, writing that the sentimental score was a great match for the film's visual energy.<ref name="LATimes_Thomas1993" /> In contrast, ''Variety'' criticised the melodrama, finding the movie "contrived" and full of "overdone violence".{{Sfn|Variety|1985}} Gramlich said that too much emphasis was placed on an overly-complex story containing shoddy dialogue.{{Sfn|Gramlich|2004}} 

Many critics praised Chow's performance as Mark. David Chute of ''[[Film Comment]]'' believed that Chow gave a "mesmerizing lead performance" that evoked [[Robert Mitchum]], [[Ken Takakura]] and [[Steve McQueen]].{{Sfn|Chute|1987|p=71}} ''[[Rolling Stone]]''<nowiki/>'s Peter Kenis commended the film for making Chow "the ultimate cool-as-fuck Asian badass".{{Sfn|Kenis|2004}} Morrison said that the actor stole the show,{{Sfn|Morrison|2000}} a sentiment also shared by Phipps.<ref name="AVClub_Phipps2002" /> Conversely, ''Variety'' dismissed Chow and Cheung's performances as overacting. However, they praised Ti's "silent masculine presence" throughout the film, and appreciated the actor's understated vulnerability in his role as Ho.{{Sfn|Variety|1985}} ''[[TV Guide]]'' also believed Ti expressed the internal struggle of his character convincingly, and found Waise Lee's portrayal of Shing a standout.<ref name="TVGuideReview" /> Thomas singled out Woo's ability to get strong acting performances from his cast.<ref name="LATimes_Thomas1993" />
=== Accolades ===
''A Better Tomorrrow'' won two awards at the [[6th Hong Kong Film Awards]]: [[Hong Kong Film Award for Best Film|Best Film]] and [[Hong Kong Film Award for Best Actor|Best Actor]] (Chow).{{Sfn|Morton|2016|p=62}} It also earned nine further nominations for [[Hong Kong Film Award for Best Director|Best Director]] (Woo), Best Actor (Ti), [[Hong Kong Film Award for Best Supporting Actor|Best Supporting Actor]] (Lee), [[Hong Kong Film Award for Best Screenplay|Best Screenplay]] (Woo), [[Hong Kong Film Award for Best Art Direction|Best Art Direction]] (Benny Lui Chi-leung), [[Hong Kong Film Award for Best Cinematography|Best Cinematography]] (Wong Wing-hang), [[Hong Kong Film Award for Best Editing|Best Film Editing]] (Ma Kam), [[Hong Kong Film Award for Best New Performer|Best New Performer]] (Lee), and [[Hong Kong Film Award for Best Original Film Score|Best Original Film Score]] (Koo).<ref name="HKFAA_6thAwardsWinners">{{Cite web |title=香港電影金像獎 |trans-title=List of nominees and awardees of the 6th Hong Kong Film Awards |url=http://www.hkfaa.com/winnerlist06.html |url-status=live |archive-url=https://web.archive.org/web/20250813185547/https://www.hkfaa.com/winnerlist06.html |archive-date=2025-08-13 |access-date=2025-10-02 |website=[[Hong Kong Film Awards]] |language=zh}}</ref>

At the [[23rd Golden Horse Awards]], the film won the awards for Best Director (Woo), Best Leading Actor (Ti), Best Cinematography (Wong), and Best Sound Recording. In addition to Chow also receiving a nomination for Best Leading Actor, the film was further nominated for Best Feature Film, Best Supporting Actor (Lee), Best Film Editing (Ma), and Best Original Music (Koo).<ref name="GoldenHorse_23rdAwardsWinners">{{Cite web |title=Taipei Golden Horse Film Festival Nominees and Winners |url=https://www.goldenhorse.org.tw/awards/nw/?serach_type=flim&sc=8&search_regist_year=1986&ins=22 |url-status=live |archive-url=https://web.archive.org/web/20251002171121/https://www.goldenhorse.org.tw/awards/nw/?serach_type=flim&sc=8&search_regist_year=1986&ins=22 |archive-date=2025-10-02 |access-date=2025-10-02 |website=[[Golden Horse Film Festival and Awards|Taipei Golden Horse Film Festival]] |language=zh}}</ref>

== Post-release ==

=== Home media ===
In an essay examining the development of China's independent films, director [[Jia Zhangke]] named ''A Better Tomorrow'' as one of the popular Hong Kong films that were smuggled into the mainland by video pirates.{{Sfn|Jia|2010|p=48}} Similarly, [[Bootleg recording|bootleg recordings]] helped the film establish a [[cult following]] amongst Hong Kong cinema fans in North America.<ref name="LATimes_Leydon1993">{{Cite news |last=Leydon |first=Joe |author-link=Joe Leydon |date=1993-01-03 |title=New Gun in Town |url=https://www.latimes.com/archives/la-xpm-1993-01-03-ca-1074-story.html |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20251002171338/https://www.latimes.com/archives/la-xpm-1993-01-03-ca-1074-story.html |archive-date=2025-10-02 |access-date=2025-10-02 |website=[[Los Angeles Times]] |language=en-US}}</ref><ref name="LATimes_Kehr2002">{{Cite news |last=Kehr |first=Dave |author-link=Dave Kehr |date=2002-06-09 |title=For the Auteur of Action, a Thoughtful Turn |url=https://www.nytimes.com/2002/06/09/movies/for-the-auteur-of-action-a-thoughtful-turn.html |url-access=registration |url-status=live |archive-url=https://web.archive.org/web/20251002174936/https://www.nytimes.com/2002/06/09/movies/for-the-auteur-of-action-a-thoughtful-turn.html |archive-date=2025-10-02 |access-date=2025-10-02 |work=[[The New York Times]] |language=en-US |issn=0362-4331}}</ref> The film was first released in America on [[VHS]] in 1994.{{Sfn|Kenny|1994}}<ref name="TVGuideReview" /> It was later packaged with its sequels in a trilogy box set and released by Tai Seng Video on 26 May 1998.{{Sfn|Fisher|1998}}

On 16 January 2001, [[Anchor Bay Entertainment]] released VHS and DVD versions of the film in North America. The VHS was in [[widescreen]] and dubbed into English, while the DVD featured both English and Cantonese audio.{{Efn|Attributed to multiple sources.<ref name="AnchorBay_ABTVHS">{{Cite web |title=''A Better Tomorrow'' VHS Information from Anchor Bay |url=http://anchorbayentertainment.com/product/product.asp?sku=SV11295 |url-status=dead |archive-url=https://web.archive.org/web/20040819220129/http://anchorbayentertainment.com/product/product.asp?sku=SV11295 |archive-date=2004-08-19 |access-date=2022-09-20 |website=[[Anchor Bay Entertainment]]}}</ref><ref name="ArizonaRepub_CanoMurillo2001">{{Cite news |last=Cano-Murillo |first=Kathy |date=2001-01-11 |title=Pretty Women Rear Their ''Ugly'' Heads |work=[[The Arizona Republic]] |page=20 |id={{ProQuest|237972388}} |quote=''Coyote Ugly'' comes out on VHS (priced for rental) and DVD Tuesday. Other releases include ''American Movie'' (VHS), ''Sleepwalkers'' (DVD) and ''A Better Tomorrow'' (DVD and VHS widescreen dubbed in English).}}</ref><ref name="WindsorStar_Lee2000">{{Cite news |last=Lee |first=Luaine |date=2000-12-15 |title=Showbiz Notes: Petrie Wants Director-Proof Set |url= |access-date= |work=[[The Windsor Star]] |page=B5 |id={{ProQuest|254373892}} |quote=Before director John Woo became the No. 1 choice on the menu in the U.S. he was hot stuff in Hong Kong. Since he came to the states he's made ''Mission Impossible 2'', ''Hard Target'' and ''Face/Off''. But two of his classic Hong Kong films, ''A Better Tomorrow'' and ''A Better Tomorrow II'', are due out on video and DVD on Jan. 16.}}</ref>{{Sfn|Pratt|2004|pp=142–143}}<ref name="DetroitFreePress_Lawson2001">{{Cite news |last=Lawson |first=Terry |date=2001-01-23 |title=Chow Yun-fat, John Woo Made Splash in ''Tomorrow'' |work=[[Detroit Free Press]] |page=E4 |id={{ProQuest|1270439186}}}}</ref><ref name="MorningCall_Longdorf2001">{{Cite news |last=Longdorf |first=Amy |date=2001-01-19 |title=A Bevy of Classics Make Their Disc Debuts |work=[[The Morning Call]] |location=Allentown, Pennsylvania |page=D4 |id={{ProQuest|392968294}}}}</ref><ref name="Amazon_ABTDVD">{{Cite web |title=''A Better Tomorrow'' DVD Product Listing |url=https://www.amazon.com/Better-Tomorrow-Chow-Yun-Fat/dp/6305972532/ |url-status=live |archive-url=https://web.archive.org/web/20100912211019/http://www.amazon.com/Better-Tomorrow-Chow-Yun-Fat/dp/6305972532 |archive-date=2010-09-12 |access-date=2023-01-18 |website=[[Amazon (company)|Amazon]] |asin=6305972532}}</ref>}} Anchor Bay later released ''A Better Tomorrow'' and its sequel as a box set on 2 March 2004.<ref name="AnchorBayABT1&2">{{Cite web |title=''A Better Tomorrow 1 & 2'' Information from Anchor Bay |url=http://www.anchorbayentertainment.com/product/boxset.asp?sku=DV12738 |url-status=dead |archive-url=https://web.archive.org/web/20051023054210/http://www.anchorbayentertainment.com/product/boxset.asp?sku=DV12738 |archive-date=2005-10-23 |access-date=2022-09-20 |website=[[Anchor Bay Entertainment]]}}</ref><ref name="Amazon_ABT1&2">{{Cite web |title=''A Better Tomorrow I and II'' Product Listing |url=https://www.amazon.com/Better-Tomorrow-II/dp/B0001BKBDO/ |url-status=live |archive-url=https://web.archive.org/web/20180731014008/https://www.amazon.com/Better-Tomorrow-II/dp/B0001BKBDO |archive-date=2018-07-31 |access-date=2023-01-18 |website=[[Amazon (company)|Amazon]] |asin=B0001BKBDO}}</ref> In the United Kingdom, a DVD titled ''A Better Tomorrow Collector's Edition'' was first released on 30 December 2002.<ref name="BBC_Haflidason2002">{{Cite web |last=Haflidason |first=Almar |date=2002-12-23 |title=Review: ''A Better Tomorrow'' Collector's Edition DVD |url=https://www.bbc.co.uk/films/2002/12/23/a_better_tomorrow_1986_ce_dvd_review.shtml |url-status=live |archive-url=https://web.archive.org/web/20251002180200/https://www.bbc.co.uk/films/2002/12/23/a_better_tomorrow_1986_ce_dvd_review.shtml |archive-date=2025-10-02 |access-date=2025-10-02 |website=[[BBC]]}}</ref> Another Region 2 DVD release by Optimum Asia was released on 26 June 2006. The two-disc package contained a 90-minute cut of the film presented in 1.85:1 aspect ratio, with additional features like audio commentary, a trailer, and a documentary on Woo called ''Crossings''.<ref name="HKCinemagic_Lanuque2006">{{Cite web |last=Lanuque |first=Arnaud |date=2006-06-16 |title=Test DVD Optimum: ''A Better Tomorrow'' Ultimate Edition |url=http://www.hkcinemagic.com/en/page.asp?aid=182&page=1 |url-status=live |archive-url=https://web.archive.org/web/20190426142320/http://www.hkcinemagic.com/en/page.asp?aid=182&page=1 |archive-date=2019-04-26 |access-date=2022-09-20 |website=[[Hong Kong Cinemagic]]}}</ref>{{Sfn|Macnab|2006|p=94}}

Following these releases, the film was never released on [[Blu-ray]] or streaming services outside of Asia for nearly two decades due to licensing issues.<ref name="Inverse_Scott2025">{{Cite web |last=Scott |first=Lyvie |date=2025-01-14 |title=John Woo's Iconic Action Films Will Finally Be Available to Watch — Legally |url=https://www.inverse.com/entertainment/hong-kong-action-movies-john-woo-shout-studios |url-status=live |archive-url=https://web.archive.org/web/20250122044336/https://www.inverse.com/entertainment/hong-kong-action-movies-john-woo-shout-studios |archive-date=2025-01-22 |access-date=2025-04-28 |website=[[Inverse (website)|Inverse]] |language=en}}</ref>{{Sfn|Debruge|2025}} However, after announcing in January 2025 that they had acquired worldwide rights from [[Golden Princess Film Production]],{{Sfn|Ramachandran|2025a}} [[Shout! Studios]] gave ''A Better Tomorrow'' and its sequels a digital release on 8 July of that year.{{Sfn|Ramachandran|2025b}} Shout! also included the film as one of the titles shown on a new [[free ad-supported streaming television]] (FAST) channel of theirs called Hong Kong Fight Club.<ref name="TheWrap_Taylor2025">{{Cite web |last=Taylor |first=Drew |date=2025-07-16 |title=Shout! TV Launches Hong Kong Fight Club FAST Channel This August, Featuring John Woo, Jackie Chan Classics |url=https://www.thewrap.com/hong-kong-fight-club-fast-channel-shout-tv-john-woo-jackie-chan/ |url-status=live |archive-url=https://web.archive.org/web/20250720200736/https://www.thewrap.com/hong-kong-fight-club-fast-channel-shout-tv-john-woo-jackie-chan/ |archive-date=2025-07-20 |access-date=2025-10-02 |website=[[TheWrap]] |language=en-US}}</ref> In October 2025, [[The Criterion Collection]] added ''A Better Tomorrow'' to their [[video on demand]] (VOD) streaming service, The Criterion Channel.<ref name="TheFilmStage_Newman2025">{{Cite web |last=Newman |first=Nick |date=2025-09-18 |title=October on the Criterion Channel Includes John Carpenter, Body Horror, Edward Yang, Hong Kong & More |url=https://thefilmstage.com/october-on-the-criterion-channel-includes-john-carpenter-body-horror-edward-yang-hong-kong-more/ |url-status=live |archive-url=https://web.archive.org/web/20251002183859/https://thefilmstage.com/october-on-the-criterion-channel-includes-john-carpenter-body-horror-edward-yang-hong-kong-more/ |archive-date=2025-10-02 |access-date=2025-10-02 |website=The Film Stage |language=en-US}}</ref><ref name="TheCriterionCollection_2025">{{Cite web |date=2025-09-18 |title=The Criterion Channel's October 2025 Lineup |url=https://www.criterion.com/current/posts/8922-the-criterion-channel-s-october-2025-lineup |url-status=live |archive-url=https://web.archive.org/web/20250919173730/https://www.criterion.com/current/posts/8922-the-criterion-channel-s-october-2025-lineup |archive-date=2025-09-19 |access-date=2025-09-19 |website=[[The Criterion Collection]] |language=en}}</ref> Shout! will release a seven-disc box set containing both 4K and Blu-ray versions of the entire ''A Better Tomorrow'' trilogy on 18 November 2025.<ref name="TheDigitalBits_Hunt2025">{{Cite web |last=Hunt |first=Bill |date=2025-09-03 |title=''Hard Boiled'' & ''A Better Tomorrow'' in 4K, a ''Tron'' Update, ''Emperor's New Groove'' 4K, ''Creepshow: The Series'', ''Naked Gun'' & RIP Graham Greene |url=https://thedigitalbits.com/columns/bill-hunt/my-two-cents/item/3206-hard-boiled-a-better-tomorrow-in-4k-a-tron-update-emperor-s-new-groove-4k-creepshow-the-series-naked-gun-rip-graham-greene |url-status=live |archive-url=https://web.archive.org/web/20251002192124/https://thedigitalbits.com/columns/bill-hunt/my-two-cents/item/3206-hard-boiled-a-better-tomorrow-in-4k-a-tron-update-emperor-s-new-groove-4k-creepshow-the-series-naked-gun-rip-graham-greene |archive-date=2025-10-02 |access-date=2025-10-02 |website=The Digital Bits |language=en-gb}}</ref><ref name="GameSpot_Bonthuys2025">{{Cite web |last=Bonthuys |first=Darryn |date=2025-09-08 |title=Four Legendary John Woo Action Movies Release on 4K Blu-ray This Fall |url=https://www.gamespot.com/articles/john-woo-a-better-tomorrow-trilogy-hard-boiled-4k-blu-ray-hong-kong-cinema-classics/1100-6534476/ |archive-url=https://web.archive.org/web/20250909002535/https://www.gamespot.com/articles/john-woo-a-better-tomorrow-trilogy-hard-boiled-4k-blu-ray-hong-kong-cinema-classics/1100-6534476/ |archive-date=2025-09-09 |access-date=2025-10-02 |website=[[GameSpot]] |language=en-US}}</ref>

=== Other media ===
Merchandise based on ''A Better Tomorrow'' has been released over the years. In 2016, toy manufacturer Enterbay issued a [[List of scale model sizes|1:6 scale]] [[action figure]] of Mark Lee.<ref name="Enterbay_ABTMarkLeeFigure">{{Cite web |title=1/6 A Better Tomorrow – Mark Lee Action Figure |url=https://www.enterbay.com/products/1-6-a-better-tomorrow |url-status=dead |archive-url=https://web.archive.org/web/20211205025502/https://www.enterbay.com/collections/1-6-%E7%B3%BB%E5%88%97%E5%8F%AF%E5%8B%95%E4%BA%BA%E5%81%B6%E7%B3%BB%E5%88%97/products/1-6-a-better-tomorrow |archive-date=2021-12-05 |access-date=2022-04-29 |website=Enterbay |language=en}}</ref><ref name="HKET_Toysoul_2016">{{Cite web |date=2016-12-15 |title=TOYSOUL開鑼 8大必睇位 |trans-title=TOYSOUL opens: 8 big must-see places |url=https://topick.hket.com/article/1559301/TOYSOUL開鑼　8大必睇位 |url-status=live |archive-url=https://web.archive.org/web/20251002210640/https://topick.hket.com/article/1559301/TOYSOUL%E9%96%8B%E9%91%BC%E3%80%808%E5%A4%A7%E5%BF%85%E7%9D%87%E4%BD%8D |archive-date=2025-10-02 |access-date=2025-10-02 |website=TOPick |publisher=[[Hong Kong Economic Times]] |language=zh}}</ref><ref name="YahooNewsHK_Kwok2016">{{Cite web |last=Kwok |first=Jimmy |date=2016-11-26 |title=「Mark哥」Figure神還原 ENTERBAY 英雄本色 |trans-title="Brother Mark" figure's godlike restoration: ENTERBAY ''A Better Tomorrow'' |url=https://hk.news.yahoo.com/mark%E5%93%A5-figure%E7%A5%9E%E9%82%84%E5%8E%9F-enterbay-%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2-064955711.html |url-status=live |archive-url=https://web.archive.org/web/20251002213120/https://hk.news.yahoo.com/mark%E5%93%A5-figure%E7%A5%9E%E9%82%84%E5%8E%9F-enterbay-%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2-064955711.html |archive-date=2025-10-02 |access-date=2025-10-02 |website=[[Yahoo! News|Yahoo! News Hong Kong]] |language=zh}}</ref><ref name="Nerdist_Marnell2016">{{Cite web |last=Marnell |first=Blair |date=2016-12-05 |title=Chow Yun-Fat's Mark Lee is ''A Better Tomorrow'' Deluxe Action Figure |url=https://archive.nerdist.com/chow-yun-fats-mark-lee-is-a-better-tomorrow-deluxe-action-figure/ |url-status=live |archive-url=https://web.archive.org/web/20200517202844/https://archive.nerdist.com/chow-yun-fats-mark-lee-is-a-better-tomorrow-deluxe-action-figure/ |archive-date=2020-05-17 |access-date=2022-09-23 |website=[[Nerdist]]}}</ref> The figure came with multiple accessories, such as a pair of pistols, cigarettes, and bundles of money.<ref name="ChosunIlbo_Kim2016_EnterbayFigure">{{Cite news |last=Kim |first=Hyung-won |date=2016-11-22 |title=영웅본색 '주윤발'이 돌아왔다…엔터베이 영웅본색 액션피규어 출시 |trans-title=Chow Yun-fat from ''A Better Tomorrow'' returns... Enterbay's ''A Better Tomorrow'' action figure is released |url=https://it.chosun.com/news/articleView.html?idxno=2016112285009 |url-status=live |archive-url=https://web.archive.org/web/20251002220024/https://it.chosun.com/news/articleView.html?idxno=2016112285009 |archive-date=2025-10-02 |access-date=2025-10-02 |work=[[The Chosun Ilbo]] |language=ko}}</ref> Beginning in 2018, an officially-licensed comic book adaptation by Wong Shui-pan ({{Lang-zh|c=黃水斌|labels=no}}) was released over the span of three issues.<ref name="GameOverHK_Yu2019">{{Cite web |last=Wai |first=Chi-yat |author-mask=Wai Chi-yat (尉遲一) |date=2019-01-31 |title=《英雄本色鋼筆手繪漫畫》1.0再版 黃水斌加聲效字 |trans-title="''A Better Tomorrow'' Fountain Pen Hand-Drawn Comics" 1.0 reprint; Wong Shui-pan adds onomatopoeia |url=https://www.gameover.com.hk/news/433349 |url-status=dead |archive-url=https://web.archive.org/web/20231105085700/https://www.gameover.com.hk/news/433349 |archive-date=2023-11-05 |access-date=2025-10-02 |website=gameover.com.hk |language=zh}}</ref><ref name="ShuipanWorkshop_ABTComic">{{Cite web |title=英雄本色電影鋼筆手繪漫畫1.0‧彩色封面 |trans-title=''A Better Tomorrow'' Film Fountain Pen Hand-Drawn Comic 1.0 – Colour Cover |url=https://www.shuipanworkshop.com/product/%e8%8b%b1%e9%9b%84%e6%9c%ac%e8%89%b2%e9%9b%bb%e5%bd%b1%e9%8b%bc%e7%ad%86%e6%89%8b%e7%b9%aa%e6%bc%ab%e7%95%ab1-0%e2%80%a7%e5%bd%a9%e8%89%b2%e5%b0%81%e9%9d%a2/ |url-status=live |archive-url=https://web.archive.org/web/20251002225106/https://www.shuipanworkshop.com/product/%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E9%9B%BB%E5%BD%B1%E9%8B%BC%E7%AD%86%E6%89%8B%E7%B9%AA%E6%BC%AB%E7%95%AB1-0%E2%80%A7%E5%BD%A9%E8%89%B2%E5%B0%81%E9%9D%A2/ |archive-date=2025-10-02 |access-date=2025-10-02 |website=Shuipan Workshop |language=zh}}</ref>{{Sfn|Xu|2017}}

In September 2019, it was announced that musical director {{Interlanguage link|Wang Yong-beom|lt=Wang Yong-beom|ko|왕용범}} would be adapting the film and its sequel into a South Korean [[Musical theatre|stage musical]].<ref name="MaeilBusinessNewspaper_Shin2024_ABTMusicalCastingLineup">{{Cite news |last=Shin |first=Young-eun |date=2024-09-25 |title='영웅본색' 유준상·이장우·최대철, 1차 캐스팅 라인업 공개 |trans-title=''A Better Tomorrow'''s first casting lineup revealed: Yoo Jun-sang, Lee Jang-woo, and Choi Dae-chul |url=https://www.mk.co.kr/news/hot-issues/8994969 |url-status=live |archive-url=https://web.archive.org/web/20251011175958/https://www.mk.co.kr/news/hot-issues/8994969 |archive-date=2025-10-11 |access-date=2025-10-11 |work=[[Maeil Business Newspaper]] |language=ko}}</ref><ref name="NewsPim_Yang2019_ABTWorldPremiere">{{Cite news |last=Yang |first=Jin-young |date=2019-09-25 |title=유준상·이장우·최대철 뮤지컬 '영웅본색', 12월 17일 월드프리미어 |trans-title=Musical ''A Better Tomorrow'', with Yoo Jun-sang, Lee Jang-woo and Choi Dae-chul, has world premiere on 17 December |url=https://www.newspim.com/news/view/20190925000668 |url-status=live |archive-url=https://web.archive.org/web/20251011193819/https://www.newspim.com/news/view/20190925000668 |archive-date=2025-10-11 |access-date=2025-10-11 |work=[[NewsPim]] |language=ko}}</ref> With music composed by Lee Seong-jun ({{Korean|hangul=이성준|labels=no}}),<ref name="MaeilBusinessNewspaper_ABTPoster_Shin2019">{{Cite news |last=Shin |first=Young-eun |date=2019-09-19 |title=뮤지컬 '영웅본색' 포스터 공개…왕용범 연출X이성준 작곡가 참여 |trans-title=Poster for the musical ''A Better Tomorrow'' made public... Directed by Wang Yong-beom and composed by Lee Seong-jun |url=https://www.mk.co.kr/star/hot-issues/view/2019/09/743727/ |url-status=live |archive-url=https://web.archive.org/web/20251002233116/https://www.mk.co.kr/news/hot-issues/8986459 |archive-date=2025-10-02 |access-date=2025-10-02 |work=[[Maeil Business Newspaper]] |language=ko}}</ref> the musical would use ''A Better Tomorrow'' as the basis for its first act, with its second act utilising scenes from ''A Better Tomorrow II'' and multiple flashback sequences to tell Kit's perspective.<ref name="Newspim_ABTMusicalInfo_Yang2020">{{Cite news |last=Yang |first=Jin-young |date=2020-01-22 |title='영웅본색' 왕용범 연출·유준상 "폼잡기보다는 축제처럼 즐기시기 바랐죠" |trans-title=''A Better Tomorrow'' director Wang Yong-beom and Yoo Jun-sang: "Rather than put on airs, we hope you enjoy it like a festival." |url=https://www.newspim.com/news/view/20200121000772 |url-status=live |archive-url=https://web.archive.org/web/20251002234537/https://www.newspim.com/news/view/20200121000772 |archive-date=2025-10-02 |access-date=2025-10-02 |work=[[NewsPim]] |language=ko}}</ref> Featuring an [[ensemble cast]] of actors{{Efn|The three leads were cast as follows:

{{Bulleted list |
[[Yoo Jun-sang]], [[Im Tae-kyung]] and [[Min Woo-hyuk]] as Ho (name localised as Song Ja-ho, or {{Korean|hangul=송자호|labels=no|links=no}})<ref name="Chosun_Kim2019">{{Cite news |last=Kim |first=Hyung-joong |date=2019-09-25 |title=뮤지컬 '영웅본색', 유준상·이장우·최대철 등 호화 캐스팅 |trans-title=Musical ''A Better Tomorrow'' has luxurious cast such as Yoo Jun-sang, Lee Jang-woo, and Choi Dae-chul |url=https://sports.chosun.com/entertainment/2019-09-25/201909250100174570012057 |url-status=dead |archive-url=https://web.archive.org/web/20250124192839/https://sports.chosun.com/entertainment/2019-09-25/201909250100174570012057 |archive-date=2025-01-24 |access-date=2025-10-03 |work=[[The Chosun Ilbo]] |language=ko}}</ref><ref name="HeraldPop_Kim2019">{{Cite news |last=Kim |first=Na-yul |date=2019-10-14 |title='영웅본색' 오늘(14일) 1차 티켓 오픈..압도적 캐스팅 '눈길' |trans-title=First round of tickets for ''A Better Tomorrow'' opens today (the 14th)... Overwhelming casting 'attracts attention' |url=https://www.heraldpop.com/article/2126153 |url-status=live |archive-url=https://web.archive.org/web/20251003064523/https://www.heraldpop.com/article/2126153 |archive-date=2025-10-03 |access-date=2025-10-03 |work=Herald Pop |publisher=[[Herald Corporation]] |language=ko}}</ref> 
|[[Lee Jang-woo]], [[Han Ji-sang]], and {{Interlanguage link|Park Yeong-su|lt=Park Yeong-su|ko|박영수 (1982년)}} as Kit (localised as Song Ja-geol, or {{Korean|hangul=송자걸|labels=no|links=no}})<ref name="HeraldPop_Kim2019" /><ref name="XportsNews_Kim2019">{{Cite news |last=Kim |first=Hyun-jung |date=2019-09-25 |title=유준상·이장우·최대철, '영웅본색' 캐스팅…강렬한 캐릭터 포스터 |trans-title=Yoo Joon-sang, Lee Jang-woo, Choi Dae-chul cast in ''A Better Tomorrow''... striking character posters |url=https://www.xportsnews.com/article/1173538 |url-status=live |archive-url=https://web.archive.org/web/20251003070044/https://www.xportsnews.com/article/1173538 |archive-date=2025-10-03 |access-date=2025-10-03 |work=Xports News |language=ko}}</ref><ref name="Newsen_Lee2019">{{Cite news |last=Lee |first=Min-ji |date=2019-10-11 |title=한지상, 뮤지컬 '영운본색' 송자걸 役 합류 |trans-title=Han Ji-sang joins the musical ''A Better Tomorrow'' as Song Ja-geol |url=https://www.newsen.com/news_view.php?uid=201910111126202410 |url-status=live |archive-url=https://web.archive.org/web/20251003071405/https://www.newsen.com/news_view.php?uid=201910111126202410 |archive-date=2025-10-03 |access-date=2025-10-03 |work=Newsen |language=ko}}</ref><ref name="DongaIlbo_ABTConceptPhoto_Jo2019">{{Cite news |last=Jo |first=Yoo-kyung |date=2019-11-26 |title='영웅본색' 한지상x박영수x이장우, 궁금증 자아내는 자걸 역 콘셉트 사진 |trans-title=Han Ji-sang, Park Young-soo, Lee Jang-woo in ''A Better Tomorrow'', concept photos of the role of Ja-geol that arouse curiosity |url=https://sports.donga.com/article/all/20191126/98538085/2 |url-status=live |archive-url=https://web.archive.org/web/20251003083549/https://sports.donga.com/article/all/20191126/98538085/2 |archive-date=2025-10-03 |access-date=2025-10-03 |work=[[The Dong-a Ilbo]] |language=ko}}</ref>
|[[Choi Dae-chul]] and Park Min-seong ({{Korean|hangul=박민성|labels=no}}) as Mark<ref name="XportsNews_Kim2019" /><ref name="HeraldPop_Kim2019" />}}

The musical also featured:

{{Bulleted list |
{{Interlanguage link|Kim Dae-jong|lt=Kim Dae-jong|ko|김대종}} and {{Interlanguage link|Park In-bae|lt=Park In-bae|ko|박인배}} as Shing (localised as Ah-Seong, or {{Korean|hangul=아성|labels=no|links=no}})<ref name="HeraldPop_Kim2019" /><ref name="Newsen_Park2019">{{Cite news |last=Park |first=Soo-in |date=2019-09-25 |title=유준상 이장우 최대철 뮤지컬 '영웅본색' 출연, 1차 라인업이 이정도 |trans-title=Yoo Joon-sang, Lee Jang-woo, and Choi Dae-chul appear in the musical ''A Better Tomorrow'', and this is just the first lineup |url=https://www.newsen.com/news_view.php?uid=201909251314308010 |url-status=live |archive-url=https://web.archive.org/web/20251003090155/https://www.newsen.com/news_view.php?uid=201909251314308010 |archive-date=2025-10-03 |access-date=2025-10-03 |work=Newsen |language=ko}}</ref><ref name="KED_ParkInBae_Kim2019">{{Cite news |last=Kim |first=Na-kyung |date=2019-11-21 |title=뮤지컬 '영웅본색' 박인배, 개성 담은 2차 컨셉 사진 공개 |trans-title=Park In-bae of the musical ''A Better Tomorrow'' reveals a second concept photo with individuality |url=https://www.hankyung.com/life/article/201911214300I |url-status=live |archive-url=https://archive.today/20221006224611/https://www.hankyung.com/life/article/201911214300I |archive-date=2022-10-06 |access-date=2022-10-06 |work=[[Korea Economic Daily]] |language=ko}}</ref>
|[[J-Min]], {{Interlanguage link|Song Ju-hui|lt=Song Ju-hui|ko|송주희 (1990년)}}, and {{Interlanguage link|Jeong Yu-ji|lt=Jeong Yu-ji|ko|정유지}} as Peggy, a minor character in ''A Better Tomorrow II''.<ref name="Newsen_Park2019" />
}}}} and songs from both the first two films and Leslie Cheung's discography,<ref name="TheHankyoreh_Nam2020">{{Cite news |last=Nam |first=Ji-eun |date=2020-01-09 |title='영웅본색' 명장면이 눈앞에…공연 무대로 돌아온 명작들 |trans-title=The famous scenes of ''A Better Tomorrow'' before your eyes... The masterpieces that returned to the stage |url=https://www.hani.co.kr/arti/culture/culture_general/923834.html |url-status=live |archive-url=https://web.archive.org/web/20250124192455/https://www.hani.co.kr/arti/culture/culture_general/923834.html |archive-date=2025-01-24 |access-date=2025-10-03 |work=[[The Hankyoreh]] |language=ko}}</ref><ref name="HankookIlbo_MusicalGenX_Kim2020">{{Cite news |last=Kim |first=Pyo-hyang |date=2020-01-21 |title=뮤지컬 '영웅본색' 4050 아재 극장으로 불러들였다 |trans-title=''A Better Tomorrow'' musical brought 40–50-year-old men into the theatre |url=https://www.hankookilbo.com/News/Read/202001201879376084 |url-status=live |archive-url=https://web.archive.org/web/20251003015207/https://www.hankookilbo.com/News/Read/202001201879376084 |archive-date=2025-10-03 |access-date=2025-10-03 |work=[[Hankook Ilbo]] |language=ko}}</ref><ref name="MaeilBusinessNewspaper_ABTMusicalSongs_Shin2019">{{Cite news |last=Shin |first=Young-eun |date=2019-10-31 |title=뮤지컬 '영웅본색' 원작 영화 OST, 뮤지컬 넘버로 재탄생 |trans-title=Musical ''A Better Tomorrow'': the soundtrack of the original film reborn into musical numbers |url=https://www.mk.co.kr/news/hot-issues/9046252 |url-status=live |archive-url=https://web.archive.org/web/20250124193143/https://www.mk.co.kr/news/hot-issues/9046252 |archive-date=2025-01-24 |access-date=2025-10-03 |work=Star Today |publisher=[[Maeil Business Newspaper]] |language=ko}}</ref> it premiered at the KEPCO Art Centre in Seoul on 17 December 2019.<ref name="MaeilBusinessNewspaper_Shin2024_ABTMusicalCastingLineup" /> Receiving generally positive reviews for its special effects and performances,{{Efn|Attributed to multiple sources.<ref name="SeoulEconomy_Jeong2019">{{Cite news |last=Jeong |first=Da-hoon |date=2019-12-21 |title=뮤지컬 '영웅본색' 프리뷰 공연 성료..영화보다 더 영화 같은 '짜릿함' |trans-title=The preview performance of the musical ''A Better Tomorrow'' was successfully completed... is a "thrill" more movie-like than the movie |url=https://www.sedaily.com/NewsView/1VS5THAOW6 |url-status=live |archive-url=https://web.archive.org/web/20251003002620/https://www.sedaily.com/NewsView/1VS5THAOW6 |archive-date=2025-10-03 |access-date=2025-10-03 |work=Seoul Economic Daily |language=ko}}</ref><ref name="KED_ABTMusicalInfo_Kim2019">{{Cite news |last=Kim |first=Soo-jung |date=2019-12-27 |title=그 시절 우리가 사랑했던 사내들, 뮤지컬 <영웅본색> |trans-title=The men we loved back then, the musical ''A Better Tomorrow'' |url=https://magazine.hankyung.com/money/article/202101203531c |url-status=live |archive-url=https://web.archive.org/web/20251003005343/https://magazine.hankyung.com/money/article/202101203531c |archive-date=2025-10-03 |access-date=2025-10-03 |work=[[The Korea Economic Daily]] |language=ko}}</ref><ref name="MaeilBusinessNewspaper_ABTMusicalInfo_Shin2019">{{Cite news |last=Shin |first=Young-eun |date=2019-12-30 |title=뮤지컬 '영웅본색', 무대에서 되살아날 홍콩 느와르의 전설 |trans-title=''A Better Tomorrow'' musical, the legend of Hong Kong noir that will be revived on stage |url=https://www.mk.co.kr/news/hot-issues/9125159 |url-status=live |archive-url=https://web.archive.org/web/20251003021938/https://www.mk.co.kr/news/hot-issues/9125159 |archive-date=2025-10-03 |access-date=2025-10-03 |work=[[Maeil Business Newspaper]] |language=ko}}</ref><ref name="KyunghangShinmun_Oh2020">{{Cite news |last=Oh |first=Dae-hyuk |date=2020-01-03 |title=뮤지컬 '영웅본색'이 바라는 이 시대의 영웅 |trans-title=The hero of this era that the ''A Better Tomorrow'' musical hopes for |url=https://sports.khan.co.kr/article/202001031615003 |url-status=live |archive-url=https://web.archive.org/web/20251003024431/https://sports.khan.co.kr/article/202001031615003 |archive-date=2025-10-03 |access-date=2025-10-03 |work=[[Kyunghyang Shinmun]] |language=ko}}</ref><ref name="ChosunIlbo_ABTMusicalInfo_Kim2020">{{Cite news |last=Kim |first=Hyung-joong |date=2020-01-05 |title=[공연 리뷰] 무대에 되살아난 80년대 홍콩 느와르의 전설, 뮤지컬 '영웅본색' |trans-title=The 80s Hong Kong noir of legend reborn on the stage, ''A Better Tomorrow'' musical |url=https://www.chosun.com/site/data/html_dir/2020/01/05/2020010500415.html |url-status=live |archive-url=https://archive.today/20251003035047/https://www.chosun.com/site/data/html_dir/2020/01/05/2020010500415.html |archive-date=2025-10-03 |access-date=2025-10-03 |work=[[The Chosun Ilbo]] |language=ko}}</ref><ref name="Newspim_HarmonyTempoLyricismABT_Yang2020">{{Cite news |last=Yang |first=Jin-young |date=2020-01-11 |title='영웅본색' 템포와 서정성의 조화…영화 속 인물 살아온 듯 |trans-title=The harmony of the tempo and lyricism of ''A Better Tomorrow''... it's as if the characters in the movie had come to life |url=https://www.newspim.com/news/view/20200110000861 |url-status=live |archive-url=https://web.archive.org/web/20251003040743/https://www.newspim.com/news/view/20200110000861 |archive-date=2025-10-03 |access-date=2025-10-03 |work=[[NewsPim]] |language=ko}}</ref><ref name="MaeilBusinessNewspaper_ABTMusicalInfo_Hwang2020">{{Cite news |last=Hwang |first=Seung-kyung |date=2020-02-05 |title=뮤지컬로 돌아온 홍콩 느와르 <영웅본색> |trans-title=Hong Kong noir ''A Better Tomorrow'' returns as a musical |url=https://www.mk.co.kr/news/culture/9191313 |url-status=live |archive-url=https://web.archive.org/web/20251003041424/https://www.mk.co.kr/news/culture/9191313 |archive-date=2025-10-03 |access-date=2025-10-03 |work=[[Maeil Business Newspaper]] |language=ko}}</ref>}} the musical was scheduled to run until 22 March 2020,<ref name="Newsis_ABTMusicalInfo_Lee2019">{{Cite news |last=Lee |first=Jae-hoon |date=2019-12-24 |title=영화에 대한 철저한 오마주···뮤지컬 '영웅본색' |trans-title=A thorough homage to the film... ''A Better Tomorrow'' musical |url=https://www.newsis.com/view/?id=NISX20191224_0000869518&cID=10701&pID=10700 |url-status=live |archive-url=https://web.archive.org/web/20231113155308/https://www.newsis.com/view/?id=NISX20191224_0000869518 |archive-date=2023-11-13 |access-date=2025-10-03 |work=[[Newsis]] |language=ko}}</ref> in January 2020, additional showings were added at the {{Interlanguage link|Keimyung Art Centre|lt=Keimyung Art Centre|ko|계명아트센터}} in [[Daegu]] from 10–12 April.<ref name="Yonhap_ABTDaegu_Lee2020">{{Cite news |last=Lee |first=Deok-gi |date=2020-01-25 |title=뮤지컬 '영웅본색' 4월 대구서 공연 |trans-title=''A Better Tomorrow'' musical to be performed in Daegu in April |url=https://www.yna.co.kr/view/AKR20200123160500053?input=1195m |url-status=live |archive-url=https://web.archive.org/web/20250124192500/https://www.yna.co.kr/view/AKR20200123160500053 |archive-date=2025-01-24 |access-date=2025-10-03 |work=[[Yonhap News Agency]] |language=ko}}</ref> However, on 10 February 2020, the production company suspended all future performances of the musical, citing the [[COVID-19 pandemic in South Korea|COVID-19 pandemic]] and offering refunds to ticket holders.<ref name="Newsen_ABTSuspendedCovid_Park2020">{{Cite news |last=Park |first=Soo-in |date=2020-02-10 |title='영웅본색' 제작사 측 "11일부터 공연중단, 신종 코로나 확산방지" |trans-title=The production company of ''A Better Tomorrow'': "The show will be suspended from the 11th to prevent the spread of COVID-19" |url=https://www.newsen.com/news_view.php?uid=202002101330168010 |url-status=live |archive-url=https://web.archive.org/web/20251003043351/https://www.newsen.com/news_view.php?uid=202002101330168010 |archive-date=2025-10-03 |access-date=2025-10-03 |work=Newsen |language=ko}}</ref><ref name="KED_Kim2020_ABTClosesEarly">{{Cite news |last=Kim |first=So-yeon |date=2020-02-10 |title=우한 폐렴 때문에…뮤지컬 '영웅본색' 조기 폐막 |trans-title=Due to the Wuhan pneumonia... the musical ''A Better Tomorrow'' closes early |url=https://www.hankyung.com/article/202002104994H |url-status=live |archive-url=https://web.archive.org/web/20251011201022/https://www.hankyung.com/article/202002104994H |archive-date=2025-10-11 |access-date=2025-10-11 |work=[[The Korea Economic Daily]] |language=ko}}</ref> Shortly after, multiple reports surfaced alleging that the production company failed to pay some of the actors and crew for their work on the project.<ref name="AsiaTodayKR_MusicalUnpaidWages_Jeon2020">{{Cite news |last=Jeon |first=Hye-won |date=2020-03-10 |title=뮤지컬계 임금 미지급 사태, 언제까지 반복되나 |trans-title=The unpaid wage situation in the musical industry: how long will this be repeated? |url=https://www.asiatoday.co.kr/view.php?key=20200310010005876 |url-status=live |archive-url=https://web.archive.org/web/20251003044258/https://www.asiatoday.co.kr/kn/view.php?key=20200310010005876 |archive-date=2025-10-03 |access-date=2025-10-03 |work=Asia Today Korea |language=ko}}</ref><ref name="OSEN_MusicalCancellations_Park2020">{{Cite news |last=Park |first=So-young |date=2020-02-18 |title=뮤지컬 '위윌락유' '영웅본색', 공연 취소 논란..코로나 아닌 출연료 문제 |trans-title=Musicals ''We Will Rock You'' and ''A Better Tomorrow'', controversy over the cancellation of performances... Not coronavirus, but a performance fee issue |url=https://www.osen.co.kr/article/G1111311578 |url-status=live |archive-url=https://web.archive.org/web/20251003044647/https://www.osen.co.kr/article/G1111311578 |archive-date=2025-10-03 |access-date=2025-10-03 |work=OSEN |language=ko}}</ref> A ''[[Newsis]]'' article stated that despite the musical attracting middle-aged audiences, it was not very popular amongst the target demographic of people in their 20s and 30s.<ref name="Newsis_MusicalCanceledCovid_Lee2020">{{Cite news |last=Lee |first=Jae-hoon |date=2020-02-10 |title=신종 코로나 확산, 뮤지컬 '영웅본색' 공연 취소 |trans-title=COVID-19 spreads, performance of the musical ''A Better Tomorrow'' cancelled |url=https://www.newsis.com/view/?id=NISX20200210_0000913973 |url-status=live |archive-url=https://web.archive.org/web/20251003052005/https://www.newsis.com/view/?id=NISX20200210_0000913973 |archive-date=2025-10-03 |access-date=2025-10-03 |work=[[Newsis]]}}</ref>

In March 2024, it was announced in Japan that another stage musical based on the film would begin showing in the country that year.<ref name="StageNatalie_2024_MatsukuraKawashimaCostar">{{Cite web |date=2024-03-16 |title=Travis Japan松倉海斗・川島如恵留W主演、音楽劇「男たちの挽歌」演出は鄭義信 |trans-title=Travis Japan's Kaito Matsukura and Noel Kawashima co-star, ''A Better Tomorrow'' musical directed by Chong WIshing |url=https://natalie.mu/stage/news/565293 |url-status=live |archive-url=https://web.archive.org/web/20241219003837/https://natalie.mu/stage/news/565293 |archive-date=2024-12-19 |access-date=2025-05-11 |website=[[Natalie (website)|Stage Natalie]] |language=ja}}</ref> This version was written and directed by playwright {{Interlanguage link|Chong Wishing|ja|鄭義信}}, who made major changes to the story. In his adaptation, Ho is an injured participant of the [[1989 Tiananmen Square protests and massacre|1989 Tiananmen Square protests]] who accepts Mark's suggestion to move to Hong Kong. After seven years pass, the pair join the triad, starting their counterfeiting operation one year before the [[Handover of Hong Kong|handover of the territory]].<ref name="Oricon_2024">{{Cite web |date=2024-03-16 |title=Travis Japan松倉海斗&川島如恵留、音楽劇でW主演 香港映画の傑作『男たちの挽歌』を舞台化 |trans-title=Travis Japan's Kaito Matsukura and Noel Kawashima co-star in musical play, adapting the Hong Kong movie masterpiece ''A Better Tomorrow'' for the stage |url=https://www.oricon.co.jp/news/2318778/full/ |archive-url=https://web.archive.org/web/20240315233935/https://www.oricon.co.jp/news/2318778/full/ |archive-date=2024-03-15 |access-date=2025-10-20 |website=[[Oricon]] |language=ja}}</ref> Two members of [[Travis Japan]], {{Interlanguage link|Kaito Matsukura|ja|松倉海斗}} and {{Interlanguage link|Noel Kawashima|ja|川島如恵留}}, were cast as Kit and Mark respectively, with [[Sho Aoyagi]] playing Ho.<ref name="StageNatalie_2024_MatsukuraKawashimaCostar" /><ref name="NikkanSports_2024">{{Cite news |date=2024-03-16 |title=Travis Japan松倉海斗＆川島如恵留が音楽劇ダブル主演「男たちの挽歌」の舞台版 |trans-title=Travis Japan's Kaito Matsukura and Noel Kawashima co-star in a musical play, the stage version of ''A Better Tomorrow'' |url=https://www.nikkansports.com/entertainment/news/202403150000873.html |archive-url=https://web.archive.org/web/20251020185659/https://www.nikkansports.com/entertainment/news/202403150000873.html |archive-date=2025-10-20 |access-date=2025-10-20 |work=[[Nikkan Sports]] |publisher=[[The Asahi Shimbun]] |language=ja}}</ref> The musical was performed from 24 June to 8 July 2024 at the [[Nippon Seinenkan]] in Shinjuku, and then from 12–16 July at the [[Orix Theater|Orix Theatre]] in Osaka.<ref name="StageNatalie_2024_VisualsUnveiled">{{Cite web |date=2024-04-15 |title=松倉海斗・川島如恵留がW主演の音楽劇「男たちの挽歌」青柳翔らのビジュアル解禁 |trans-title=Kaito Matsukura and Noel Kawashima co-star in musical ''A Better Tomorrow'', Sho Aoyagi and others' visuals unveiled |url=https://natalie.mu/stage/news/569451 |url-status=live |archive-url=https://web.archive.org/web/20250123155740/https://natalie.mu/stage/news/569451 |archive-date=2025-01-23 |access-date=2025-10-03 |website=[[Natalie (website)|Stage Natalie]] |language=ja}}</ref>
== Thematic analysis ==

=== Chivalry, loyalty and male bonding ===
{{Quote box
| quote = In ancient China, the people are a lot more spiritual and they have a code about honour, loyalty, and chivalry. Something about chivalry, if you got help from the others, you got to pay back double to the others and help out, and always [be] grateful and appreciate what you've got. And people like helping each other, that's our spirit. People can sacrifice themselves for the others.
| author = John Woo
| source = in a 1997 interview with Michael Singer{{Sfn|Singer|2005|p=139}}
| width = 30%
}}
''A Better Tomorrow'' is a modern adaptation of ''[[wuxia]]'' films, combining chivalric Chinese traditions with contemporary gunplay.{{Sfn|Fang|2010|p=562}}{{Sfn|Lam|2016}} Woo takes inspiration from the partially [[Confucianism|Confucian]] moral codes of ''wuxia''<nowiki/>'s swordsmen characters (''[[youxia]]''),{{Sfn|Soe|2019|p=464}} and the long-standing rituals of the Triads, which are rooted in [[Taoism]].{{Sfn|Soe|2019|p=464}}{{Sfn|Nochimson|2007|p=72}} Ho and Mark are portrayed as heroic outlaws who operate outside of the boundaries of mainstream society, like their ''wuxia'' counterparts living in the ''[[jianghu]]''.{{Sfn|Ho|2014|pp=91–92}} They adhere to a conceptual "system of brotherhood, honour and justice" called ''[[Yi (philosophy)|yi]]'' ({{Lang-zh|c={{linktext|義}}|l=righteousness|labels=no|j=ji6}}), and swear by a personal code of loyalty called ''yi qi'' ({{Lang-zh|c={{linktext|義氣}}|l=breath of yi|labels=no|j=ji6 hei3}}).{{Sfn|Teo|1997|pp=175–176}}{{Sfn|Lam|2016}}{{Sfn|Stokes|Hoover|1999|p=42}} Conversely, Shing follows what Lisa Odham Stokes and Michael Hoover define as choosing ''jing'' ({{Lang-zh|c={{linktext|精}}|l=essence|labels=no|j=zing1}}) over ''qing'' ({{Lang-zh|c={{linktext|情}}|l=feeling|labels=no|j=cing4}}). Unlike Ho and Mark, who possess the chivalrous trait of having empathy for others (''qing''), Shing is willing to betray his brotherhood because he values caring for his physical being (''jing'') first.{{Sfn|Stokes|Hoover|1999|pp=40, 47–48}}
[[File:Accademia - Pietà Martinengo by Giovanni Bellini Cat.883.jpg|left|thumb|The ''[[Martinengo Pietà]]'' ({{Circa|1505}}) by [[Giovanni Bellini]]. Mark's death evokes this and other versions of the [[Pietà]], an artistic representation of the [[Lamentation of Christ]] featuring the [[Mary, mother of Jesus|Virgin Mary]].]]
To show the similarities between biological and Triad brotherhood, Woo introduces mirrored relationships between the characters. Ho is the mature older brother of Kit, a [[blood brother]] to Mark, and a trusted mentor to Shing.{{Sfn|Hall|2012a|p=71}}{{Sfn|Chen|2022|p=223}} These parallels in kinship are reinforced through language: Mark is deferentially addressed with the honorific ''gor'' ({{Lang-zh|c={{linktext|哥}}|labels=no|l=older brother}}), and characters use the phrase ''dai lo'' ({{Lang-zh|c={{linktext|大佬}}|l=big brother|labels=no}}) to refer to their Triad superiors.{{Sfn|Lam|2016}}{{Sfn|Fang|2004|p=24}} Problems arise when Kit and Shing reject their Confucian duty of [[filial piety]] towards their ''dai lo'': a grieving Kit demands Ho address him as "sir", and Shing double-crosses Ho for his own gain.{{Sfn|Lam|2016}} These parallel violations of ''yi qi'' are presented through repeated scenes and symmetrical [[Shot (filmmaking)|shot]] compositions, with Mark commonly used as the axis for [[Cut (transition)|cuts]] to highlight his importance as the film's emotional centre.{{Sfn|Fang|2004|p=15}} Stephen Teo wrote that Mark "represents an aestheticised model of the ''wuxia'' hero-cum-contemporary killer."{{Sfn|Teo|2011|p=162}} Despite becoming crippled, he draws upon the strength of his brotherly friendship with Ho to overcome his disability and transform into a heroic figure.{{Sfn|Nochimson|2007|pp=81–82}} Mark's devotion to the Triad code compels him to return and help Ho in the final firefight, and he displays his heroism in his plea to Kit to remember his fraternal loyalty, pushing Kit out of the way of Shing's gunfire.{{Sfn|Fang|2004|pp=28–29}} When Mark dies, Woo employs the [[Christian symbolism|Christian imagery]] of a [[pietà]] to associate his death with [[Jesus]]. This religious reference highlights Mark as both a victim and hero who sacrifices themselves to rekindle Ho and Kit's relationship, and thus restore a world of traditional values and [[homosociality]].{{Sfn|Van den Troost|2024b|pp=239–241}}{{Sfn|Szeto|2011|p=87}} Likewise, Ho gives up his freedom by pressuring Kit to arrest him, knowing that his brother's career will be salvaged by bringing him to justice.{{Sfn|Gates|2001|p=64}}

Some authors have discussed the film's usage of [[Melodrama (film genre)|melodrama]] and how its portrayal of brotherhood has been interpreted by some Western audiences as [[Homoeroticism|homoerotic]].{{Sfn|Williams|1995|p=48}}{{Sfn|Reynaud|2000|p=62}}{{Sfn|Sandell|2001a}} According to Julian Stringer, ''A Better Tomorrow'' presents masculinity differently from American films, as it combines the masculine "doing" genres (like action, where men take measures to drive the narrative) with the feminine "suffering" genres (like melodrama, where female characters have their agency impaired). In Woo's "male melodramas", men participate in both violence and heroism, while also experiencing intense sadness and loss.{{Sfn|Stringer|1997|pp=29–30}}{{Sfn|Choi|2010a|pp=67⁠–68}} ''A Better Tomorrow'' fits into the melodramatic mode because the agency of its male protagonist is impacted by familial duties. Ho is reluctant to seek revenge on Shing because he wants to regain Kit's trust, as well as to honour his promise to his father of leaving the Triads.{{Sfn|Choi|2010a|pp=67⁠–68}} Woo also differs from American action films in that he avoids showing physically sculpted bodies. Instead, he prefers to showcase both "stylish clothes and accessories" as well as male emotional vulnerability, presented as intimate gazes between men.{{Sfn|Lu|2011|p=108}}{{Sfn|Stringer|1997|p=32}} Fang stated that this level of closeness, shown in Ho's post-prison reunion with Mark, is usually only reserved in Hollywood action films for impending character deaths.{{Sfn|Fang|2004|p=24}} Jillian Sandell wrote that these moments underscore the importance of male bonding within the Triad code of honour, allowing Ho and Mark to foster a connection that is both "emotionally and materially fulfilling" despite their bleak circumstances.{{Sfn|Sandell|2001a}} Stringer argued that this depiction is not inherently homosexual, since it represses sexuality instead of foregrounding it.{{Sfn|Stringer|1997|p=32}} Mikel Koven believed that interpreting Woo's gangster films as homoerotic misreads how the Hong Kong audience sees the male relationships.{{Sfn|Koven|1997|p=55}} Woo has echoed this sentiment, stating, "In my culture there is no hiding. If we need to cry, we cry. If you need to hug someone you do it whether they are your lover or your friend."{{Sfn|Fang|2004|p=124}}

=== Societal change ===
''A Better Tomorrow'' has been interpreted as commentary on the disappearance of tradition with societal change. Woo was spurred to direct the film out of concern that traditional values in Hong Kong were being eroded by modernisation.{{Sfn|Woo|2014|p=145}}{{Sfn|Fang|2004|p=10}} Caleb Kelso-March commented that the film portrays "conditions of capitalist modernity" found in Hong Kong at the time, such as the spread of organised crime and financial uncertainty.{{Sfn|Kelso-March|2020|p=57}} Mark and Ho are depicted as men of humble beginnings who have risen the ranks of a capitalist society by becoming successful counterfeiters of American currency.{{Sfn|Ho|2014|pp=90–91}}{{Sfn|Vesia|2002}} Sam Ho remarked that the code of brotherhood that Mark and Ho observe allows for illegal activities like counterfeiting, since mainstream Hong Kong society is not directly impacted by the forging of foreign currency. Shing's rise to power however, hurts on multiple fronts: his betrayal erodes the traditional values of the criminal underworld, and his move into drug trafficking directly harms Hong Kong civilians.{{Sfn|Ho|2014|pp=93–94}}{{Sfn|Lam|2016}} According to Karen Fang, Shing's ability to use money and power to escape consequence highlights the "degradation of justice in modern society."{{Sfn|Fang|2004|p=30}}

Jillian Sandell described the three protagonists as "loner heroes" who become marginalised from their respective organisations. Kit's policeman career is stalled by his brother's criminal affiliations, and Ho and Mark's position in the Triad is upended when Shing usurps their power and status. Ho tries to legitimise himself by joining a taxi company run by ex-convicts, but he ultimately fails to "live outside the institutions available within Hong Kong capitalism" once Shing's subordinates ransack the company.{{Sfn|Sandell|2001a}} Sandell said that Mark represents the "supreme loner" whose code of honour causes him to reject any organisation; this lack of affiliation spells his inevitable death. According to her, Mark symbolically dies from fatigue instead of literal injury, since his kind of heroism is a "throwback to China's past with no place in contemporary Hong Kong".{{Sfn|Sandell|2001a}}

While Woo has maintained that ''A Better Tomorrow'' was not intended as political commentary,{{Sfn|Fang|2004|p=118}} various scholars have viewed the film as a meditation on the anxieties surrounding the impending 1997 [[handover of Hong Kong]].<ref name="HKFilmCritics_Chan2010">{{Cite journal |last=Chan |first=Ga-ming |author-mask=Chan Ga-ming (陳嘉銘) |date=November 2010 |title=十大香港電影 － 第二位：《英雄本色》（1986） |trans-title=Top 10 Hong Kong movies – #2: ''A Better Tomorrow'' (1986) |url=https://www.filmcritics.org.hk/film-review/node/2015/07/01/%E5%8D%81%E5%A4%A7%E9%A6%99%E6%B8%AF%E9%9B%BB%E5%BD%B1-%EF%BC%8D-%E7%AC%AC%E4%BA%8C%E4%BD%8D%EF%BC%9A%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8B%EF%BC%881986%EF%BC%89 |url-status=live |journal=HKinema |language=zh |publisher=[[Hong Kong Film Critics Society]] |issue=12 |archive-url=https://web.archive.org/web/20251003214154/https://www.filmcritics.org.hk/film-review/node/2015/07/01/%E5%8D%81%E5%A4%A7%E9%A6%99%E6%B8%AF%E9%9B%BB%E5%BD%B1-%EF%BC%8D-%E7%AC%AC%E4%BA%8C%E4%BD%8D%EF%BC%9A%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8B%EF%BC%881986%EF%BC%89 |archive-date=2025-10-03 |access-date=2025-10-03}}</ref>{{Sfn|Abbas|2002|p=24}}{{Sfn|Sandell|2001a}} According to Tony Williams, Mark's dialogue about Hong Kong is an example of this uneasiness: after reflecting on the region's nighttime beauty with Ho, Mark grimly states, "Like most things, it won't last. That's for sure."{{Sfn|Williams|1997|pp=147–148}} Kin-yan Szeto said that the marginalised characters form bonds over this uncertainty, equating Ho's struggle between loyalty and the law with Hong Kong's sense of identity between the United Kingdom and China.{{Sfn|Szeto|2011|p=78}} Film critic [[Li Cheuk-to]] suggested that the film's popularity in Hong Kong might have stemmed from its role as an outlet for frustration over the August 1986 construction of the nearby [[Daya Bay Nuclear Power Plant]] in Guangdong. Li said that local audiences, concerned over the environmental impacts of nuclear power as well as Hong Kong's lack of autonomy over the plant's construction, empathised with Mark's feelings on personally fighting to "regain what we have lost".{{Sfn|Li|1994|p=174}}

=== Cinematic homage and meta-reference ===
According to Woo, the world in ''A Better Tomorrow'' is an amalgamation of both his personal memories and his love of cinema.{{Sfn|Ciecko|1997|p=223}} Film scholar Po Fung said that the film's narrative structure contains similarities to Chang Cheh's ''[[The Duel (1971 film)|The Duel]]'' (1971),<ref name="HKFCS_Po2014">{{Cite web |last=Po |first=Fung |author-mask=Po Fung (蒲鋒) |date=2014-04-15 |title=大決鬥和《英雄本色》的變奏 |trans-title=The Duel and variations of ''A Better Tomorrow'' |url=https://www.filmcritics.org.hk/film-review/node/2015/07/13/大決鬥和《英雄本色》的變奏 |url-status=live |archive-url=https://web.archive.org/web/20251003214949/https://www.filmcritics.org.hk/film-review/node/2015/07/13/%E5%A4%A7%E6%B1%BA%E9%AC%A5%E5%92%8C%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8B%E7%9A%84%E8%AE%8A%E5%A5%8F |archive-date=2025-10-03 |access-date=2025-10-03 |website=[[Hong Kong Film Critics Society]] |language=zh}}</ref> with Magnan-Park observing that Mark's self-sacrifice mirrors the martyrdom endings in Chang's films.{{Sfn|Magnan-Park|2007|p=42}} The movie also bears some resemblance to another [[Shaw Brothers Studio|Shaw Brothers]] film, ''[[The Brothers (1979 film)|The Brothers]]'' (1979).<ref name="BFI_Bittel2019" /> Li Cheuk-to further identified ''wuxia'' films directed by [[Chor Yuen]] and written by [[Gu Long]] as additional possible references.{{Sfn|Li|1994|p=176}} Anne T. Ciecko said that the film shares a relationship with Japanese ''[[Samurai cinema|chambara]]'' films,{{Sfn|Ciecko|2006|p=171}} and Tony Williams highlighted the influence of [[Yakuza film|yakuza films]] on Woo's work, as they both involve "similar conflicts involving ancient loyalty and modern values".{{Sfn|Williams|1997|p=139}} Both Kristof Van den Troost and Karen Fang note that the film's iconic shot of Mark lighting a cigarette with a flaming bank note is similar to a sequence in [[Ng See-yuen]]'s ''[[Anti-Corruption (film)|Anti-Corruption]]'' (1975).{{Sfn|Van den Troost|2017|p=58}}{{Sfn|Fang|2004|p=16}}

{{quote box
| text = [Arthur Penn] used strong [[Film theory|film language]] to explore the stunning romanticism and beauty of life and death. [...] [[Warren Beatty|Warren {{bracket|Beatty}}]] and [[Faye Dunaway|Faye {{bracket|Dunaway}}]] look at each other with that knowing smile. They feel the end but they also feel eternity. The duality of knowing they are going to die but also knowing that their love will live on afterward. That is the romance that makes me hold my breath.
| author = John Woo
| source = 2002 interview with Karen Fang{{Sfn|Fang|2004|p=115}}
| align = right
| width = 30%
}}

Woo also borrows liberally from non-Asian cinema. From [[French New Wave]] films, he adopted the costuming of Alain Delon in Jean-Pierre Melville's ''Le Samouraï''. Fang said that these cinematic inclusions "foreground the film's stylisation and demonstrate how [Woo's] own film self-consciously pursues the 'coolness' that Woo constantly praises."{{Sfn|Fang|2004|pp=14–15}} Woo also looked at American cinema for inspiration: Mark's slow-motion restaurant entrance was a nod to [[Martin Scorsese]]'s ''[[Mean Streets]]'' (1973).<ref name="ScreenAnarchy_Murray2016" /> He was also heavily influenced by [[Arthur Penn]]'s romanticised depiction of the deaths of the titular characters in ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'' (1967), and sought to recreate that feeling for Mark's death.{{Sfn|Fang|2004|pp=115–116}} Fang believed that the film superficially shares some of the aesthetics of [[film noir]], such as its [[low-key lighting]] and pessimistic outlook, but differs in its hopeful, redemptive ending where Ho handcuffs himself to Kit.{{Sfn|Fang|2004|pp=30–31}}

Kenneth E. Hall said that ''A Better Tomorrow'' can be interpreted as an allegorical, semi-autobiographical work referencing Woo's own feelings and experiences.{{Sfn|Hall|2012a|pp=73–74}} Like Ho and Mark, whose good fortunes run out after travelling to Taiwan, Woo experienced major dissatisfaction over being sent there by Cinema City to oversee its regional office. He also stayed in Taiwan for roughly the same amount of time as Ho's three-year prison sentence.{{Sfn|Fang|2004|p=20}}{{Sfn|Hall|2012a|p=74}} Ho and Mark's friendship can thus be read as an allegory for Tsui Hark's support of Woo.{{Sfn|Fang|2004|p=10}} The inclusion of Ken, who helps Ho reintegrate into society by giving him work, parallels Tsui rescuing Woo's career by letting him return to Hong Kong to direct ''A Better Tomorrow''.{{Sfn|Hall|2012a|pp=74–75}}

In an idea mirroring Patrick Lung's own acting role in ''The Story of a Discharged Prisoner'', Woo casts himself as a police inspector. This cameo can also be viewed as self-reflexive, in that Woo's character is shown gradually understanding—and even admiring—the gangsters over time.{{Sfn|Fang|2004|pp=19–20}} In an interview, Woo stated, "I always believe that if you want to catch a thief you have to think like him and act like him, first. Then you can make your judgement."{{Sfn|Fang|2004|p=113}} Fang drew similarities between the cameo appearances of Woo, [[Woody Allen]], and [[Alfred Hitchcock]] in their respective films; these acting roles indicate authorial control of their work.{{Sfn|Fang|2004|p=20}} This self-referential understanding is further deepened by Woo's decision to let the cast direct his acting; such a collaborative role reversal reinforces the film's themes of brotherhood and having empathy for others.{{Sfn|Fang|2004|pp=20–21}}

== Legacy ==
The film's box office success positively impacted the careers of many of its participants. It turned both Woo and Chow into superstars in Asia, and helped forge a partnership in which Chow would star in many of the director's following films.{{Sfn|Donovan|2014|p=181}}{{Sfn|Hampton|1998}} Woo was granted more creative freedom for his projects,{{Sfn|Fang|2004|p=44}} and some of his shelved films, like ''[[Heroes Shed No Tears (1986 film)|Heroes Shed No Tears]]'' (1986), were released to capitalise on his newfound popularity.{{Sfn|Elder|2005b|p=43}} It would also lead to a decades-long work relationship between Woo and [[Terence Chang]], who would produce several of Woo's films in the future.{{Sfn|Hall|2012b|p=103}}

Chow's performance in the film turned him into a local icon,<ref name="Sina_Wen2009">{{Cite web |last=Wen |first=Shenting |author-mask=Wen Shenting (文沈汀) |date=2009-08-31 |title=香港黑帮电影：审美化的江湖 |trans-title=Hong Kong gangster films: The aestheticization of the ''jianghu'' |url=https://news.sina.com.cn/c/sd/2009-08-31/114218547667_5.shtml |url-status=live |archive-url=https://web.archive.org/web/20090904015435/http://news.sina.com.cn/c/sd/2009-08-31/114218547667_5.shtml |archive-date=2009-09-04 |access-date=2022-05-13 |website=Southern Metropolis Weekly |publisher=Sina |page=5 |language=zh}}</ref>{{Sfn|Morton|2016|p=61}} with him becoming known as "Brother Mark" in Hong Kong for years.{{Sfn|Leung|2011|p=50}} As a result of the movie's success, Chow began to receive a barrage of acting opportunities, enabling him to be cast in almost three dozen films from 1986 to 1989. Many of these movies became Hong Kong box-office successes, such as ''[[Prison on Fire]]'', ''[[Tragic Hero (film)|Tragic Hero]]'', and ''[[An Autumn's Tale]]'' (all 1987 and the third, fourth, and fifth highest-grossing films that year respectively), ''[[The Eighth Happiness]]'' (highest-grossing film of 1988), and ''[[God of Gamblers]]'' (highest-grossing movie of 1989).{{Sfn|Fang|2004|p=42}}

Ti and Cheung also benefited from the film's success. His career rejuvenated, Ti would star alongside Chow in other Cinema City films throughout the late 1980s, such as ''[[Tiger on the Beat]]'' and ''[[City War]]'' (both 1988).{{Sfn|Williams|2012|p=41}} Cheung's performance as Kit, meanwhile, was considered to be a breakthrough acting role, strengthening his reputation as a multi-talented entertainer.<ref name="NYT_2003">{{Cite news |last= |first= |date=2003-04-02 |title=Leslie Cheung, 46, Pop Singer and Film Actor in Gay Roles |url=https://www.nytimes.com/2003/04/02/arts/leslie-cheung-46-pop-singer-and-film-actor-in-gay-roles.html |url-access=registration |url-status=live |archive-url=https://web.archive.org/web/20201024081555/https://www.nytimes.com/2003/04/02/arts/leslie-cheung-46-pop-singer-and-film-actor-in-gay-roles.html |archive-date=2020-10-24 |access-date=2022-05-11 |work=[[The New York Times]] |language=en-US |issn=0362-4331 |agency=[[Agence France-Presse]]}}</ref><ref name="Guardian_Bergan2003">{{Cite web |last=Bergan |first=Ronald |date=2003-04-05 |title=Obituary: Leslie Cheung |url=http://www.theguardian.com/news/2003/apr/05/guardianobituaries |url-status=live |archive-url=https://web.archive.org/web/20251003225828/https://www.theguardian.com/news/2003/apr/05/guardianobituaries |archive-date=2025-10-03 |access-date=2025-10-03 |website=[[The Guardian]] |language=en}}</ref><ref name="MalayMail_2003">{{Cite news |date=2003-04-03 |title=Rare Artiste Who Excelled in Singing and Acting |work=[[Malay Mail]] |location=Kuala Lumpur |page=23 |id={{ProQuest|326239118}}}}</ref> The theme song that he sang, "In the Sentimental Past", won three awards at the [[1986 Jade Solid Gold Best Ten Music Awards Presentation]]: a Gold Song award for being in the top ten best songs,<ref name="1986JadeSolidGoldAwards_10BestMusicAwards">{{Cite web |title=1986年度十大勁歌金曲頒獎典禮 |trans-title=1986 Jade Solid Gold Best Ten Music Awards Presentation |url=http://tvcity.tvb.com/jsg/awards/awards_4957565416481164106171108186113170247166177188250.html |url-status=dead |archive-url=https://web.archive.org/web/20120305085645/http://tvcity.tvb.com/jsg/awards/awards_4957565416481164106171108186113170247166177188250.html |archive-date=2012-03-05 |access-date=2022-05-11 |website=[[TVB]] |language=zh}}</ref> and two additional awards for Best Composition and Best Music Arrangement.<ref name="1986JadeSolidGoldAwards_OtherAwards">{{Cite web |title=1986年度十大勁歌金曲頒獎典禮 (其他獎項) |trans-title=1986 Jade Solid Gold Best Ten Music Awards Presentation (Other Awards) |url=http://tvcity.tvb.com/jsg/awards/awards_4957565416822816576188250182181.html |url-status=dead |archive-url=https://web.archive.org/web/20080111015529/http://tvcity.tvb.com/jsg/awards/awards_4957565416822816576188250182181.html |archive-date=2008-01-11 |access-date=2022-05-11 |website=[[TVB]] |language=zh}}</ref> The song also won an award at the 1986 RTHK Top 10 Gold Songs Awards.<ref name="1986RTHKTop10GoldSongsAwards">{{Cite web |title=歷年十大中文金曲頒獎 - 第九屆 (1986) |trans-title=The Top 10 Gold Songs Awards over the years – 9th edition (1986) |url=http://rthk9.rthk.hk/classicschannel/goldsong09.htm |url-status=dead |archive-url=https://web.archive.org/web/20210924094049/http://rthk9.rthk.hk/classicschannel/goldsong09.htm |archive-date=2021-09-24 |access-date=2022-05-11 |website=[[RTHK]] |language=zh}}</ref> In 1987, Cheung would sign with Cinema City and its record label subsidiary, [[Cinepoly Records]].<ref name="HKFA_LeslieCheungBio">{{Cite web |title=Leslie Cheung 張國榮 |url=https://www.filmarchive.gov.hk/documents/6.-Research-and-Publication/06-02-Filmmakers-Search/English/Leslie-CHEUNG_e.pdf |archive-url=https://web.archive.org/web/20251003230916/https://www.filmarchive.gov.hk/documents/6.-Research-and-Publication/06-02-Filmmakers-Search/English/Leslie-CHEUNG_e.pdf |archive-date=2025-10-03 |access-date=2025-10-03 |website=[[Hong Kong Film Archive]]}}</ref> At Cinepoly, he would release the best-selling album of 1987, ''[[Summer Romance]]'', which would sell over 350,000 copies and be certified seven times platinum.<ref name="SCMP_Mok2018">{{Cite web |last=Mok |first=Laramie |date=2018-09-12 |title=Leslie Cheung's Five Most Remarkable Dancing Scenes |url=https://www.scmp.com/magazines/style/people-events/article/2163817/happy-birthday-leslie-cheung-canto-pop-princes-five |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20191030183352/https://www.scmp.com/magazines/style/people-events/article/2163817/happy-birthday-leslie-cheung-canto-pop-princes-five |archive-date=2019-10-30 |access-date=2022-05-11 |website=[[South China Morning Post]] |language=en}}</ref>{{Sfn|Chu|2017|p=79}}

=== Cultural influence ===
Upon its release, the film sparked avid enthusiasm amongst Hong Kong audiences. Influenced by the movie's preoccupation with honour and loyalty, they began using the [[honorific]] "gor" ({{Lang-zh|c={{linktext|哥}}|labels=no}}) in casual slang to address each other.{{Sfn|Fang|2004|p=39}} Young men in Hong Kong began trying to emulate Mark by wearing long coats and sunglasses, despite the local humidity.{{Sfn|Donovan|2014|p=181}}{{Sfn|Bliss|2002|p=29}} This fashion trend caused Alain Delon's branded sunglasses to sell out in Asia, spurring the actor to write a thank-you letter to Woo.<ref name="SCMP_Chan2010">{{Cite news |last=Chan |first=Tessa |date=2010-09-10 |title=Bad Boy Charm |url=https://www.scmp.com/article/724321/bad-boy-charm |url-access=subscription |archive-url=https://web.archive.org/web/20250604085447/https://www.scmp.com/article/724321/bad-boy-charm |archive-date=2025-06-04 |access-date=2025-06-21 |work=[[South China Morning Post]]}}</ref> The long coat also subsequently began to be colloquially known as a "Mark coat" ({{Lang-zh|c=Mark哥褸|j=Mark go1 lau5}}) in reference to the character.{{Sfn|Donovan|2014|p=181}}{{Sfn|Bliss|2002|p=29}}

''A Better Tomorrow'' shaped the immediate production trends of Hong Kong cinema; [[Sek Kei]] wrote that after just a month in theatres, the movie had "effectively modernized the male role in martial arts action films in the past."<ref name=":2">{{Cite news |last=Sek |first=Kei |author-link=Sek Kei |date=1986-08-30 |others=Translated by Edward Leung |title=Film Teahouse |work=[[Ming Pao]]}} Quoted in {{harvtxt|Fang|2004|p=38}}</ref>  Kristof Van den Troost said that as a result of the movie's popularity, future Hong Kong crime films would shift away from gritty realism and adopt a more melodramatic tone.<ref>{{Harvtxt|Van den Troost|2024a|pp=186–187}} quoted in {{Harvtxt|Van den Troost|2024b|p=235}}</ref> Generally credited as the genesis of "[[gun fu]]",<ref name="IndieWire_OFalt2017">{{Cite web |last=O'Falt |first=Chris |date=2017-07-07 |title=Beyond ''Baby Driver'': 4 Action Genres Every Diehard Fan Must Know |url=https://www.indiewire.com/2017/07/anthony-bourdain-international-action-baby-driver-1201851536/ |url-status=live |archive-url=https://web.archive.org/web/20251003234417/https://www.indiewire.com/features/general/anthony-bourdain-international-action-baby-driver-1201851536/ |archive-date=2025-10-03 |access-date=2025-10-03 |website=[[IndieWire]] |language=en}}</ref><ref name="HollywoodReporter_Rahman2016">{{Cite web |last=Rahman |first=Abid |date=2016-03-15 |title=When John Woo's ''A Better Tomorrow'' Introduced 'Gun Fu' |url=https://www.hollywoodreporter.com/movies/movie-news/john-woos-a-better-tomorrow-875740/ |url-status=live |archive-url=https://web.archive.org/web/20251003234632/https://www.hollywoodreporter.com/movies/movie-news/john-woos-a-better-tomorrow-875740/ |archive-date=2025-10-03 |access-date=2025-10-03 |website=[[The Hollywood Reporter]] |language=en-US}}</ref> ''A Better Tomorrow'' marked the starting point for the [[heroic bloodshed]] genre.<ref name="AVClub_Rife2018">{{Cite web |last=Rife |first=Katie |date=2018-06-01 |title=Chow Yun-fat Rose to Stardom as a Scene-Stealing Rogue in an Early John Woo Classic |url=https://www.avclub.com/chow-yun-fat-rose-to-stardom-as-a-scene-stealing-rogue-1826358635 |url-status=live |archive-url=https://web.archive.org/web/20251003235149/https://www.avclub.com/chow-yun-fat-rose-to-stardom-as-a-scene-stealing-rogue-1826358635 |archive-date=2025-10-03 |access-date=2025-10-03 |website=[[The A.V. Club]] |language=en-us}}</ref>{{Sfn|Grant|2012|p=637}}{{Sfn|Scharres|1993|pp=66, 68}}{{Efn|Heroic bloodshed is what English-language writers use to describe the ''yingxiongpian'' ({{Lang-zh|c=英雄片|j=jing1 hung4 pin3|l=hero movie|labels=no}}), an existing Chinese-language term for the genre of movies inspired by ''A Better Tomorrow''. This term is derived from the original film's Chinese title.{{Sfn|Fang|2004|pp=50, 78}}{{Sfn|Teo|1997|p=178}}}} For a few years, a wave of gangster films were released in Hong Kong that imitated the tone, characters and themes found in Woo's work.{{Sfn|Charles|2000|p=264}}{{Sfn|Morton|2016|p=62}} This partially contributed to the rapid growth of the Hong Kong film industry throughout the 1980s, with gangster movies representing 40% of the films produced in 1989.{{Sfn|Ryan|1995}} Some heroic bloodshed films, like [[Ringo Lam]]'s ''[[City on Fire (1987 film)|City on Fire]]'' (1987) and ''[[Full Contact (1992 film)|Full Contact]]'' (1992)—both of which star Chow Yun-fat—became successful in their own right. ''City on Fire'' earned both Chow and Lam a Hong Kong Film Award for Best Actor and Best Director, respectively.{{Sfn|Fang|2004|p=48}}

Similar to its reception in Hong Kong, the film grew a devoted fan base in South Korea through its distribution in second-run theatres.{{Sfn|An|2001|p=104}} Enamoured by Chow's character, South Korean men also began styling themselves after him;{{Sfn|An|2001|p=107}} according to Kim Seung-goo, they would retroactively self-identify as "the generation of hero Chow".<ref>{{Harvtxt|Kim|2017}} quoted in {{Harvtxt|Yoon|2024|p=55}}</ref> The popularity of ''A Better Tomorrow'' helped drive demand for more Hong Kong cinema releases in the country, including more heroic bloodshed films.{{Sfn|An|2001|p=104}}{{Sfn|Lee|2006|p=99}} Jinsoo An commented that Korean journalists, recognising the relative novelty of ideas expressed in heroic bloodshed, conceived the term "Hong Kong noir" to describe the overarching "pessimistic energy and allegorical implications" found in the genre.{{Sfn|An|2001|pp=104–105}}  The success of ''A Better Tomorrow'' helped its sequel achieve mainstream popularity in South Korea upon its release in 1988, with ''A Better Tomorrow II'' becoming the ninth highest-grossing film that year.{{Sfn|An|2001|p=104}} While ''A Better Tomorrow'' was resigned to fringe appearances in Western markets due to a lack of prior mainstream interest in Hong Kong cinema, Karen Fang stated that the film helped the development of international film markets for Hong Kong.{{Sfn|Fang|2004|pp=65, 88–89}}

''A Better Tomorrow'' has been referenced numerous times across film and television.{{Efn|References to ''A Better Tomorrow'' in Chinese-language film and television are attributed to these particular sources.{{Sfn|Fang|2004|p=49}}{{Sfn|Fang|2016|p=283}}{{Sfn|Lee|2024}}{{Sfn|Teo|2017|p=106}}{{Sfn|Fan|2019|p=169}}{{Sfn|Mello|2019|p=252}}<ref name="HK01_Chan2022">{{Cite web |last=Chan |first=Wing-si |author-mask=Chan Wing-si (陳穎思) |date=2022-06-14 |title=精裝追女仔｜三個角色同一人演 呢位客串演員竟然係三級片導演 |trans-title=The Romancing Star: Three different roles are played by the same person, and this guest actor is a Category 3 director |url=https://www.hk01.com/電影/781008/精裝追女仔-三個角色同一人演-呢位客串演員竟然係三級片導演 |url-status=live |archive-url=https://web.archive.org/web/20220614211511/https://www.hk01.com/%E9%9B%BB%E5%BD%B1/781008/%E7%B2%BE%E8%A3%9D%E8%BF%BD%E5%A5%B3%E4%BB%94-%E4%B8%89%E5%80%8B%E8%A7%92%E8%89%B2%E5%90%8C%E4%B8%80%E4%BA%BA%E6%BC%94-%E5%91%A2%E4%BD%8D%E5%AE%A2%E4%B8%B2%E6%BC%94%E5%93%A1%E7%AB%9F%E7%84%B6%E4%BF%82%E4%B8%89%E7%B4%9A%E7%89%87%E5%B0%8E%E6%BC%94 |archive-date=2022-06-14 |access-date=2025-10-06 |website=[[HK01]] |language=zh}}</ref><ref name="HKETTOPick_InGeekWeTrust_Homage_2022">{{Cite web |date=2022-01-20 |title=【IT狗】神還原周潤發《英雄本色》經典場面 陳湛文致敬Mark哥拍攝富心思 |trans-title=Amazing reconstruction of Chow Yun-fat's classic scene in ''A Better Tomorrow'': Peter Chan pays tribute to Brother Mark for his thoughtful shooting |url=https://topick.hket.com/article/3160381/%E3%80%90IT%E7%8B%97%E3%80%91%E7%A5%9E%E9%82%84%E5%8E%9F%E5%91%A8%E6%BD%A4%E7%99%BC%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8B%E7%B6%93%E5%85%B8%E5%A0%B4%E9%9D%A2%E3%80%80%E9%99%B3%E6%B9%9B%E6%96%87%E8%87%B4%E6%95%ACMark%E5%93%A5%E6%8B%8D%E6%94%9D%E5%AF%8C%E5%BF%83%E6%80%9D |url-status=live |archive-url=https://web.archive.org/web/20251006023937/https://topick.hket.com/article/3160381/%E3%80%90IT%E7%8B%97%E3%80%91%E7%A5%9E%E9%82%84%E5%8E%9F%E5%91%A8%E6%BD%A4%E7%99%BC%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8B%E7%B6%93%E5%85%B8%E5%A0%B4%E9%9D%A2%E3%80%80%E9%99%B3%E6%B9%9B%E6%96%87%E8%87%B4%E6%95%ACMark%E5%93%A5%E6%8B%8D%E6%94%9D%E5%AF%8C%E5%BF%83%E6%80%9D |archive-date=2025-10-06 |access-date=2025-10-06 |website=TOPick |publisher=[[Hong Kong Economic Times]] |language=zh}}</ref>

References to the film in South Korean film and television are attributed to the following sources.{{Sfn|Lau|2015|p=35}}{{Sfn|Liew|Sun|2020|p=33}}<ref name="NoCutNews_ExtremeJob_Yoo2019">{{Cite web |last=Yoo |first=Won-jeong |date=2019-02-19 |title=#복고 #평점 #캐릭터…'극한직업' 이유있는 신드롬 |trans-title=#Retro #ratings #characters... ''Extreme Job'', a syndrome with reason |url=https://www.nocutnews.co.kr/news/5106120 |url-status=live |archive-url=https://web.archive.org/web/20251004042314/https://www.nocutnews.co.kr/news/5106120 |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[No Cut News]] |language=ko}}</ref><ref name="HeraldCorp_KoreanWaveABT_Ham2021">{{Cite web |last=Ham |first=Young-hoon |date=2021-03-25 |title=한류 이전 '향류', 색계·영웅본색·아비정전의 홍콩 그곳 |trans-title=Before the Korean Wave, the "Hong Kong wave": the Hong Kong places of ''Lust, Caution'', ''A Better Tomorrow'', and ''Days of Being Wild'' |url=https://mbiz.heraldcorp.com/article/2583181 |url-status=live |archive-url=https://web.archive.org/web/20251004043320/https://mbiz.heraldcorp.com/article/2583181 |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Herald Corporation]] |language=ko}}</ref><ref name="YahooTW2022">{{Cite web |date=2022-04-01 |title=周潤發靠此片鹹魚翻身、劉在錫一聽主題曲就瘋掉！你不能錯過《英雄本色》的10大理由 |trans-title=Chow Yun-fat relied on this film to make his comeback, Yoo Jae-suk goes crazy when he hears the theme song! Top 10 reasons why you can't miss ''A Better Tomorrow'' |url=https://tw.news.yahoo.com/%E5%91%A8%E6%BD%A4%E7%99%BC%E9%9D%A0%E6%AD%A4%E7%89%87%E9%B9%B9%E9%AD%9A%E7%BF%BB%E8%BA%AB%E3%80%81%E5%8A%89%E5%9C%A8%E9%8C%AB%E4%B8%80%E8%81%BD%E4%B8%BB%E9%A1%8C%E6%9B%B2%E5%B0%B1%E7%98%8B%E6%8E%89%EF%BC%81%E4%BD%A0%E4%B8%8D%E8%83%BD%E9%8C%AF%E9%81%8E%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8B%E7%9A%84-10-%E5%A4%A7%E7%90%86%E7%94%B1-085651670.html |url-status=live |archive-url=https://web.archive.org/web/20251004045416/https://tw.news.yahoo.com/%E5%91%A8%E6%BD%A4%E7%99%BC%E9%9D%A0%E6%AD%A4%E7%89%87%E9%B9%B9%E9%AD%9A%E7%BF%BB%E8%BA%AB%E3%80%81%E5%8A%89%E5%9C%A8%E9%8C%AB%E4%B8%80%E8%81%BD%E4%B8%BB%E9%A1%8C%E6%9B%B2%E5%B0%B1%E7%98%8B%E6%8E%89%EF%BC%81%E4%BD%A0%E4%B8%8D%E8%83%BD%E9%8C%AF%E9%81%8E%E3%80%8A%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2%E3%80%8B%E7%9A%84-10-%E5%A4%A7%E7%90%86%E7%94%B1-085651670.html |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Yahoo! News|Yahoo! News Taiwan]] |language=zh}}</ref><ref name="HKETTOPick_RunningMan_2018">{{Cite web |date=2018-12-19 |title=周潤發捐身家做善事感動韓國網民 《Running Man》來港欲野生捕獲發哥 |trans-title=Chow Yun-fat donated his total wealth to do good deeds, moving Korean netizens; ''Running Man'' came to Hong Kong to wanted to capture Brother Fat in the wild |url=https://topick.hket.com/article/2233897 |url-status=live |archive-url=https://web.archive.org/web/20251004050720/https://topick.hket.com/article/2233897 |archive-date=2025-10-04 |access-date=2025-10-04 |website=TOPick |publisher=[[Hong Kong Economic Times]] |language=zh}}</ref>}} In Japan, Chow's appearance as Mark inspired the designs and characterisations of similar characters in ''[[Mobile Fighter G Gundam]]'' and ''[[Black Lagoon]]''.{{Sfn|Law|2021|p=191}}<ref name="MangaNews2013">{{Cite web |date=2013-02-12 |title=Rencontre avec Rei Hiroe |url=https://www.manga-news.com/index.php/actus/2012/12/12/Rencontre-avec-Rei-Hiroe |url-status=live |archive-url=https://web.archive.org/web/20251003235817/https://www.manga-news.com/index.php/actus/2012/12/12/Rencontre-avec-Rei-Hiroe |archive-date=2025-10-03 |access-date=2025-10-03 |website=manga-news.com |language=fr}}</ref><ref name="AniGamers_Ink2016">{{Cite web |last=Ink |date=2016-07-05 |title=Rei Hiroe Talks Film Inspiration and Black Lagoon's Birth |url=http://www.anigamers.com/interviews/black-lagoon-rei-hiroe-interview-animenext-2016 |url-status=live |archive-url=https://web.archive.org/web/20251004001111/https://anigamers.com/interviews/black-lagoon-rei-hiroe-interview-animenext-2016/ |archive-date=2025-10-04 |access-date=2025-10-04 |website=Ani-Gamers |language=en}}</ref> Woo himself alluded to the film in a future directorial work, ''[[Just Heroes]]'' (1989), where a character would plant firearms in potted plants like Mark.{{Sfn|Holland|2000|p=22}}{{Sfn|Morton|2016|p=165}}  Many directors like [[Quentin Tarantino]], [[Robert Rodriguez]], and [[the Wachowskis]] acknowledge its influence on their work,<ref name="HollywoodReporter_Rahman2016" /> with Tarantino recalling that he also tried to dress like Chow for weeks after watching the film.{{Sfn|Fang|2004|p=79}} Filmmaker [[Benny Chan (filmmaker)|Benny Chan]] stated that he repeatedly watched ''A Better Tomorrow'' for inspiration while directing ''[[The White Storm]]'' (2013).<ref name="SCMP_Lee2013">{{Cite web |last=Lee |first=Edmund |date=2013-12-04 |title=Director Benny Chan Pays Tribute to True Action Heroes |url=https://www.scmp.com/magazines/48hrs/article/1368755/director-benny-chan-pays-tribute-true-action-heroes |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20200824065825/https://www.scmp.com/magazines/48hrs/article/1368755/director-benny-chan-pays-tribute-true-action-heroes |archive-date=2020-08-24 |access-date=2022-05-04 |website=[[South China Morning Post]] |language=en}}</ref> In 2023, a video clip of an animated beaver passionately lip-syncing a monologue delivered by Chow in the film became an [[Internet meme]]. Originally posted by a Chinese animator on [[Bilibili]] the previous year, the video gained significant traction after being reposted on [[TikTok]].<ref name="Complex_Price2023">{{Cite web |last=Price |first=Joe |date=2023-12-13 |title='Chinese Beaver' Who's Reached His Breaking Point Has the Entire Internet in Its Feels |url=https://www.complex.com/pop-culture/a/backwoodsaltar/chinese-beaver-meme-internet-in-feels |archive-url=https://web.archive.org/web/20231214070534/https://www.complex.com/pop-culture/a/backwoodsaltar/chinese-beaver-meme-internet-in-feels |archive-date=2023-12-14 |access-date=2025-08-31 |website=[[Complex Networks|Complex]] |language=en}}</ref>{{Sfn|Yang|Jiang|2024}}

=== Critical reassessment ===
After consulting a panel of industry filmmakers and critics, the [[Hong Kong Film Awards]] ranked ''A Better Tomorrow'' second in its 2005 list of the Best 100 Chinese Motion Pictures.<ref name="ChinaDaily20043">{{Cite web |date=2004-12-22 |title=Hong Kong Film Awards to Celebrate Chinese Cinema |url=https://www.chinadaily.com.cn/english/doc/2004-12/22/content_402387.htm |url-status=live |archive-url=https://web.archive.org/web/20250825092226/http://www.chinadaily.com.cn/english/doc/2004-12/22/content_402387.htm |archive-date=2025-08-25 |access-date=2025-10-04 |website=[[China Daily]]}}</ref><ref name="HKFAA100Films3">{{Cite web |title=最佳華語片一百部 |trans-title=The Best 100 Chinese Motion Pictures |url=http://www.hkfaa.com/news/100films.html |url-status=dead |archive-url=https://web.archive.org/web/20191022211054/http://www.hkfaa.com/news/100films.html |archive-date=2019-10-22 |access-date=2025-10-04 |website=[[Hong Kong Film Awards]] |language=zh}}</ref> In 2010, members of the [[Hong Kong Film Critics Society]] voted the film as one of the Top 10 Hong Kong Films.<ref name="HKFilmCritics_Top10Movies_20103">{{Cite web |date=2010-10-29 |title=「十大香港電影」及「十大華語電影」名單公佈 |trans-title=Lists of the "Top 10 Hong Kong Movies" and "Top 10 Chinese-Language Movies" announced |url=https://www.filmcritics.org.hk/zh-hant/%E5%AD%B8%E6%9C%83%E6%B4%BB%E5%8B%95/%E5%AD%B8%E6%9C%83%E5%8B%95%E6%85%8B/%E3%80%8C%E5%8D%81%E5%A4%A7%E9%A6%99%E6%B8%AF%E9%9B%BB%E5%BD%B1%E3%80%8D%E5%8F%8A%E3%80%8C%E5%8D%81%E5%A4%A7%E8%8F%AF%E8%AA%9E%E9%9B%BB%E5%BD%B1%E3%80%8D%E5%90%8D%E5%96%AE%E5%85%AC%E4%BD%88 |url-status=live |archive-url=https://web.archive.org/web/20251004052808/https://www.filmcritics.org.hk/zh-hant/%E5%AD%B8%E6%9C%83%E6%B4%BB%E5%8B%95/%E5%AD%B8%E6%9C%83%E5%8B%95%E6%85%8B/%E3%80%8C%E5%8D%81%E5%A4%A7%E9%A6%99%E6%B8%AF%E9%9B%BB%E5%BD%B1%E3%80%8D%E5%8F%8A%E3%80%8C%E5%8D%81%E5%A4%A7%E8%8F%AF%E8%AA%9E%E9%9B%BB%E5%BD%B1%E3%80%8D%E5%90%8D%E5%96%AE%E5%85%AC%E4%BD%88 |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Hong Kong Film Critics Society]] |language=zh}}</ref> The film was listed at number{{nbsp}}17 on the [[Golden Horse Film Festival and Awards|Taipei Golden Horse Film Festival]]'s list of the 100 Greatest Chinese-Language Films in 2011.<ref name="FilmBiz_Cremin20113">{{Cite web |last=Cremin |first=Stephen |date=2011-01-27 |title=Horse Announces Greatest Chinese Films |url=http://www.filmbiz.asia/news/horse-announces-greatest-chinese-films |url-status=dead |archive-url=https://web.archive.org/web/20120306140603/http://www.filmbiz.asia/news/horse-announces-greatest-chinese-films?utm_source=fba&utm_medium=email&utm_campaign=weekly |archive-date=2012-03-06 |access-date=2022-05-15 |website=[[Film Business Asia]]}}</ref> That same year, the [[Hong Kong Film Archive]] included ''A Better Tomorrow'' in its 100 Must-See Hong Kong Movies exhibition. According to the curators, this programme featured a collection of films best representative of the region's "rich cinematic heritage".<ref name="ScreenAnarchy_Marsh20113">{{Cite web |last=Marsh |first=James |date=2011-09-19 |title=Hong Kong Film Archive Presents 100 Must-See Movies |url=https://screenanarchy.com/2011/09/hong-kong-film-archive-presents-100-must-see-movies.html |url-status=live |archive-url=https://web.archive.org/web/20251004053123/https://screenanarchy.com/2011/09/hong-kong-film-archive-presents-100-must-see-movies.html |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[ScreenAnarchy]]}}</ref><ref name="LCSDHK_100MustSeeHKMovies_20113">{{Citation |title=100 Must-See Hong Kong Movies |date=2011 |url=https://www.lcsd.gov.hk/ce/CulturalService/filmprog/promo/2011ms100/100_Must_See_Booklet.pdf |access-date=2022-05-04 |archive-url=https://web.archive.org/web/20120113070229/https://www.lcsd.gov.hk/ce/CulturalService/filmprog/promo/2011ms100/100_Must_See_Booklet.pdf |archive-date=2012-01-13 |publisher=[[Hong Kong Film Archive]]}}</ref> The 6th [[Jackie Chan Action Movie Awards]] in 2021 also listed the film as one of the top 10 best Chinese action films.<ref name="Sohu_TheBeijingNews_Zhou20213">{{Cite web |last=Zhou |first=Huixiaowan |author-mask=Zhou Huixiaowan (周慧晓婉) |date=2021-10-17 |title=第六届成龙国际动作电影周闭幕，华语十大经典动作电影发布 |trans-title=The 6th Jackie Chan International Action Film Week concludes, top ten classic Chinese-language action films announced |url=https://www.sohu.com/a/495536401_114988 |url-status=live |archive-url=https://web.archive.org/web/20251004054156/https://www.sohu.com/a/495536401_114988 |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Sohu]] |publisher=[[The Beijing News]] |language=zh}}</ref>

{{Rotten Tomatoes prose|93|7.3|14|ref=yes|access-date=2025-10-19|archive-url=https://web.archive.org/web/20251019182034/https://www.rottentomatoes.com/m/better_tomorrow|archive-date=2025-10-19}} {{Metacritic film prose|78|7|ref=yes|access-date=2025-10-19|archive-url=https://web.archive.org/web/20251019182725/https://www.metacritic.com/movie/a-better-tomorrow/|archive-date=2025-10-19}} ''Rotten Tomatoes'' placed the film on its list of 140 essential action movies.<ref name="RottenTomatoes_140EssentialActionMovies3">{{Cite web |title=140 Essential Action Movies to Watch Now |url=https://editorial.rottentomatoes.com/guide/140-essential-action-movies-to-watch-now/ |url-status=live |archive-url=https://web.archive.org/web/20251004054835/https://editorial.rottentomatoes.com/guide/140-essential-action-movies-to-watch-now/ |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Rotten Tomatoes]] |language=en-US}}</ref> ''[[Time Out (magazine)|Time Out]]'' listed the film first in its ranking of the 100 best Hong Kong films.<ref name="TimeOut_LeungCheung20222">{{Cite web |last1=Leung |first1=Jenny |last2=Cheung |first2=Catharina |date=2022-08-25 |title=The 100 Best Hong Kong Movies |url=https://www.timeout.com/hong-kong/film/best-hong-kong-movies |url-status=live |archive-url=https://web.archive.org/web/20220825123714/https://www.timeout.com/hong-kong/film/best-hong-kong-movies |archive-date=2022-08-25 |access-date=2025-10-08 |website=[[Time Out Group|Time Out Hong Kong]] |language=en-GB}}</ref> The magazine also placed it number{{nbsp}}40 in its list of the 101 best action films ever made.<ref name="TimeOut_Hendrix_etal_20253">{{Cite magazine |last=Hendrix |first=Grady |author-link=Grady Hendrix |last2=Frankel |first2=Eddy |last3=Su |first3=Yu An |last4=Rothkopf |first4=Joshua |last5=Johnston |first5=Trevor |last6=Clark |first6=Ashley |last7=Huddleston |first7=Tom |last8=Uhlich |first8=Keith |last9=Calhoun |first9=Dave |display-authors=1 |date=2025-04-02 |title=The Best Action Movies of All Time |url=https://www.timeout.com/film/the-101-best-action-movies-ever-made |archive-url=https://web.archive.org/web/20251008052629/https://www.timeout.com/film/the-101-best-action-movies-ever-made |archive-date=2025-10-08 |access-date=2025-10-08 |magazine=[[Time Out (magazine)|Time Out]]}}</ref> In 2021, ''[[The Guardian]]'' listed it number{{nbsp}}18 on its list of the 30 best mobster movies,<ref name="TheGuardian_Billson20213">{{Cite web |last=Billson |first=Anne |date=2021-09-09 |title=The 30 Best Mobster Movies – Ranked! |url=https://www.theguardian.com/film/2021/sep/09/the-30-best-mobster-movies-ranked |url-status=live |archive-url=https://web.archive.org/web/20251004064848/https://www.theguardian.com/film/2021/sep/09/the-30-best-mobster-movies-ranked |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[The Guardian]] |language=en}}</ref> and ''[[GamesRadar+]]'' ranked it number{{nbsp}}9 in its 2025 list of the 32 greatest action films of the 1980s.<ref name="GamesRadarPlus_Francisco20253">{{Cite web |last=Francisco |first=Eric |date=2025-03-05 |title=The 32 Greatest '80s Action Movies |url=https://www.gamesradar.com/entertainment/movies/the-32-greatest-80s-action-movies/ |url-status=live |archive-url=https://web.archive.org/web/20251004065903/https://www.gamesradar.com/entertainment/movies/the-32-greatest-80s-action-movies/ |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[GamesRadar+]] |language=en}}</ref>

== Sequels and spin-offs ==
The success of ''A Better Tomorrow'' spawned two more movies. ''[[A Better Tomorrow II]]'' (1987) was a narrative sequel that followed Ho and Kit as they investigate Ho's former boss, Lung.{{Sfn|Stokes|Hoover|1999|p=48}} To take advantage of Chow's newfound superstardom—despite his character's death in the first film—the actor was recast as Mark's twin brother, Ken.{{Sfn|Bordwell|2011|p=204}} Woo and Tsui's creative disagreements throughout its production badly strained their friendship.{{Sfn|Hall|2012a|p=77}} ''A Better Tomorrow II'' performed well at the box office, earning {{Currency|23 million|HKD|passthrough=yes|linked=no}} and becoming the sixth highest-grossing film that year.{{Sfn|Fang|2004|pp=44–45}}

The fractured partnership between Woo and Tsui led to Woo not returning as director for the next film in the series. After collaborating on ''[[The Killer (1989 film)|The Killer]]'' (1989), Woo directed ''[[Bullet in the Head]]'' (1990) without Tsui's involvement, basing his movie off of a script he had intended as a prequel to ''A Better Tomorrow''.<ref name="ScreenAnarchy_Murray2016" />{{Sfn|Hall|2012a|p=77}} Tsui would instead direct his own prequel film, ''[[A Better Tomorrow III: Love & Death in Saigon]]'' (1989). This depicted Mark's trip to Saigon during the [[Vietnam War]] to bring his cousin and uncle back to Hong Kong.{{Sfn|Fang|2004|pp=45–46}}{{Sfn|Cheuk|2008|p=98}} For this movie, Tsui explored Mark's origin story, giving him a female mentor and love interest portrayed by [[Anita Mui]].{{Sfn|Bordwell|2011|p=120}}{{Sfn|Hughes|2005|p=258}} ''A Better Tomorrow III'' made {{Currency|18 million|HKD|passthrough=yes|linked=no}},{{Sfn|Lau|2000|p=174}} reaching eighth place at the box office and earning two nominations at the [[9th Hong Kong Film Awards]].{{Sfn|Morton|2016|p=170}}

The plot of ''A Better Tomorrow'' has been reused multiple times by other films. [[Sanjay Gupta (director)|Sanjay Gupta]] unofficially reworked several elements into his 1994 Hindi movie, ''[[Aatish: Feel the Fire]]''.{{Sfn|Smith|2013|p=190}}<ref name="ScreenAnarchy_Golden2016">{{Cite web |last=Golden |first=Lee B. |date=2016-06-27 |title=Place Your Bets! First Fung, Now Ding Up to Remake Woo's ''A Better Tomorrow'' |url=https://screenanarchy.com/2016/06/place-your-bets-first-fung-now-ding-up-to-remake-woos-a-better-tomorrow-contrib.html |url-status=live |archive-url=https://web.archive.org/web/20251004074932/https://screenanarchy.com/2016/06/place-your-bets-first-fung-now-ding-up-to-remake-woos-a-better-tomorrow-contrib.html |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[ScreenAnarchy]]}}</ref> Officially, it has also been remade twice. After Korean production company Fingerprint Pictures acquired the rights to remake the film in 2006,<ref name="ScreenDaily_Shackleton2006">{{Cite web |last=Shackleton |first=Liz |date=2006-05-24 |title=Fortune Star Sells Remake Rights to ''A Better Tomorrow'' |url=https://www.screendaily.com/fortune-star-sells-remake-rights-to-a-better-tomorrow/4027415.article |url-status=live |archive-url=https://web.archive.org/web/20251004075126/https://www.screendaily.com/fortune-star-sells-remake-rights-to-a-better-tomorrow/4027415.article |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Screen International|Screen Daily]] |language=en}}</ref> they produced ''[[A Better Tomorrow (2010 film)|A Better Tomorrow]]'' (2010) directed by [[Song Hae-sung]], with Woo acting as [[executive producer]].<ref name="ScreenDaily_Noh2009">{{Cite web |last=Noh |first=Jean |date=2009-12-08 |title=Song Boards Korean Remake of ''A Better Tomorrow'' |url=https://www.screendaily.com/song-boards-korean-remake-of-a-better-tomorrow/5008883.article |url-status=live |archive-url=https://web.archive.org/web/20251004075613/https://www.screendaily.com/song-boards-korean-remake-of-a-better-tomorrow/5008883.article |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Screen International|Screen Daily]] |language=en}}</ref> Starring [[Joo Jin-mo (actor, born 1974)|Joo Jin-mo]], [[Song Seung-heon]], and [[Kim Kang-woo]] as the three protagonists,<ref name="KoreaTimes_Lee2010">{{Cite web |last=Lee |first=Hyo-won |date=2010-09-09 |title=''Tomorrow'' Ripe with Korean-Style Drama |url=https://www.koreatimes.co.kr/entertainment/films/20100909/tomorrow-ripe-with-korean-style-drama |archive-url=https://web.archive.org/web/20251004082033/https://www.koreatimes.co.kr/entertainment/films/20100909/tomorrow-ripe-with-korean-style-drama |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[The Korea Times]] |language=en}}</ref> it earned {{Currency|10.2 million|USD|passthrough=yes|linked=no}} at the box office.<ref name="SCMP_Paquet2014">{{Cite web |last=Paquet |first=Darcy |date=2014-08-06 |title=''Cold Eyes'' Shows How South Korean Producers Find Inspiration in Hong Kong Films |url=https://www.scmp.com/lifestyle/arts-culture/article/1294643/cold-eyes-shows-how-south-korean-producers-find-inspiration |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20231109050209/https://www.scmp.com/lifestyle/arts-culture/article/1294643/cold-eyes-shows-how-south-korean-producers-find-inspiration |archive-date=2023-11-09 |access-date=2025-10-04 |website=[[South China Morning Post]] |language=en}}</ref> A mainland Chinese version, ''[[A Better Tomorrow 2018]]'', was directed by [[Ding Sheng (filmmaker)|Ding Sheng]] and featured [[Wang Kai (actor)|Wang Kai]], [[Ma Tianyu]], and [[Darren Wang]].<ref name="ScreenDaily_Berra2018">{{Cite web |last=Berra |first=John |date=2018-01-24 |title=''A Better Tomorrow 2018'': Review |url=https://www.screendaily.com/reviews/a-better-tomorrow-2018-review/5125894.article |url-status=live |archive-url=https://web.archive.org/web/20251004083822/https://www.screendaily.com/reviews/a-better-tomorrow-2018-review/5125894.article |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Screen International|Screen Daily]] |language=en}}</ref><ref name="HollywoodReporter_Brzeski2017">{{Cite web |last=Brzeski |first=Patrick |date=2017-05-19 |title=Cannes: Jackie Chan's Firm Sells ''A Better Tomorrow 4'' to South Korea, Singapore |url=https://www.hollywoodreporter.com/movies/movie-news/cannes-jackie-chans-firm-sells-a-better-tomorrow-4-south-korea-singapore-1005421/ |url-status=live |archive-url=https://web.archive.org/web/20251004084039/https://www.hollywoodreporter.com/movies/movie-news/cannes-jackie-chans-firm-sells-a-better-tomorrow-4-south-korea-singapore-1005421/ |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[The Hollywood Reporter]] |language=en-US}}</ref> This film was a [[box-office bomb]], earning only {{Currency|63 million|CNY|linked=yes|passthrough=yes}} despite a production budget of {{Currency|100 million|CNY|passthrough=yes|linked=no}}.<ref name="SCMP_Yau2018">{{Cite web |last=Yau |first=Elaine |date=2018-12-31 |title=The Top 10 Films at the Chinese Box Office, and the Five Biggest Flops, in 2018 |url=https://www.scmp.com/culture/film-tv/article/2180099/top-10-films-chinese-box-office-and-five-biggest-flops-2018 |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20210906093852/https://www.scmp.com/culture/film-tv/article/2180099/top-10-films-chinese-box-office-and-five-biggest-flops-2018 |archive-date=2021-09-06 |access-date=2022-06-03 |website=[[South China Morning Post]] |language=en}}</ref>

At the 27th [[Shanghai International Film Festival]] in June 2025, the China Film Foundation premiered a film that used [[generative artificial intelligence]] to reimagine ''A Better Tomorrow'' in a futuristic setting. This movie, ''A Better Tomorrow: Cyber Border'' ({{Lang-zh|s=英雄本色之賽博邊緣}}), was reported as the first animated feature film to be fully produced using artificial intelligence (AI). It was meant as part of a larger initiative by the China Film Foundation and its partners to embrace the use of AI in film production and restoration.{{Sfn|Ramachandran|2025c}}{{Sfn|M. Scott|2025}}<ref name="SinaFinance_ChinaYouthDaily_Wei2025">{{Cite web |last=Wei |first=Qimeng |author-mask=Wei Qimeng (魏其濛) |date=2025-06-23 |others=Assisted by student reporters He Yichen (何奕辰), Yu Jia (俞佳), and Sha Yiwen (沙易雯) |title=《英雄本色》《笑傲江湖》等一批经典电影将制作"AI重焕版" |trans-title=''A Better Tomorrow'', ''Swordsman'', and a number of other classic films will get "AI enhanced versions" |url=https://finance.sina.cn/2025-06-23/detail-infcahph9941674.d.html?vt=4&pos=108 |url-status=live |archive-url=https://web.archive.org/web/20251004092142/https://finance.sina.cn/2025-06-23/detail-infcahph9941674.d.html |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Sina Corporation|Sina Finance]] |language=zh |agency=[[China Youth Daily]]}}</ref> Woo said in a written statement that he was uninvolved with its production—having relinquished the rights for ''A Better Tomorrow''—but was "curious about the outcome and the effect it might have on [his] original film."<ref name="LosAngelesTimes_Lee2025">{{Cite news |last=Lee |first=Wendy |date=2025-06-30 |title=AI Is Controversial in Hollywood. For China's Film Business, It's No Holds Barred |url=https://www.latimes.com/entertainment-arts/business/story/2025-06-30/china-reviving-martial-arts-classics-with-ai-as-controversial-tech-surges-overseas |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20251004092724/https://www.latimes.com/entertainment-arts/business/story/2025-06-30/china-reviving-martial-arts-classics-with-ai-as-controversial-tech-surges-overseas |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Los Angeles Times]] |language=en-US}}</ref>

== Notes ==
{{Notelist}}

== References ==

=== Citations ===
{{Reflist|colwidth=20em}}

=== Books ===
{{Refbegin|colwidth=30em|indent=yes}}
* {{Cite book |last=Abbas |first=Ackbar |author-link=Ackbar Abbas |title=Hong Kong: Culture and the Politics of Disappearance |publisher=[[University of Minnesota Press]] |year=2002 |isbn=978-0-8166-2924-4 |edition=3rd |series=Public Worlds |location=Minneapolis, Minnesota |language=en-US }}
* {{Cite encyclopedia |year=2001 |title=''The Killer'': Cult Film and Transcultural (Mis)Reading |encyclopedia=At Full Speed: Hong Kong Cinema in a Borderless World |publisher=[[University of Minnesota Press]] |location=Minneapolis |url=https://books.google.com/books?id=Bmihe5fRwV4C&pg=PA104 |access-date=2025-05-10 |last=An |first=Jinsoo |editor-last=Yau |editor-first=Esther C. M. |pages=95–113 |isbn=978-0-8166-3235-0 }}
* {{cite book |editor-last1=Arroyo |editor-first1=Jose |title=Action/Spectacle Cinema |publisher=[[British Film Institute]] |series= |language=en-UK |year=2000 |isbn=978-0-85170-757-0 |url=https://archive.org/details/actionspectaclec0000unse/mode/2up |access-date=2024-03-06}}
** {{harvc |last=Reynaud |first=Bérénice |year=2000 |c=John Woo's Art Action Movie |in=Arroyo |url=https://archive.org/details/actionspectaclec0000unse/page/60/mode/2up }}
** {{harvc |last=Woo |first=John |author-link=John Woo |year=2000 |c=Woo In Interview |in=Arroyo |url=https://archive.org/details/actionspectaclec0000unse/page/64/mode/2up }}
* {{Cite book |url=https://archive.org/details/china0000unse_j0i0/mode/2up |title=Directory of World Cinema: China |publisher=[[Intellect Books]] |series=Directory of World Cinema |year=2012 |isbn=978-1-84150-558-9 |editor-last=Bettinson |editor-first=Gary |location=Bristol, United Kingdom |language=en-UK |issn=2040-7971 |access-date=2025-05-09 |url-access=registration}}
** {{harvc |last=Hall |first=Kenneth E. |year=2012 |anchor-year=2012b |c=Directors: Hong Kong: John Woo |in=Bettinson |url=https://archive.org/details/china0000unse_j0i0/page/102/mode/2up }}
** {{harvc |last=Needham |first=Gary |year=2012 |c=Hong Kong Action Cinema |in=Bettinson |url=https://archive.org/details/china0000unse_j0i0/page/24/mode/2up }}
** {{harvc |last=Williams |first=Tony |year=2012 |c=Three Action Heroes: Ti Lung |in=Bettinson |url=https://archive.org/details/china0000unse_j0i0/page/40/mode/2up }}
* {{Cite book |last=Bliss |first=Michael |url=https://archive.org/details/betweenbulletssp0000blis/mode/2up |title=Between the Bullets: The Spiritual Cinema of John Woo |publisher=[[The Globe Pequot Publishing Group#Imprints|Scarecrow Press]] |year=2002 |isbn=978-0-8108-4110-9 |series=Filmmakers Series |location=Lanham, Maryland |access-date=2022-05-01 |url-access=registration}}
* {{Cite book |last=Bordwell |first=David |author-link=David Bordwell |url=https://www.davidbordwell.net/books/planethongkong-davidbordwell-110111.pdf |title=Planet Hong Kong: Popular Cinema and the Art of Entertainment |publisher=Irvington Way Institute Press |year=2011 |isbn=978-0-9832440-0-4 |edition=2nd |location=Madison, Wisconsin |language=en |access-date=2025-10-04 |archive-url=https://web.archive.org/web/20251004231501/https://www.davidbordwell.net/books/planethongkong-davidbordwell-110111.pdf |archive-format=PDF |archive-date=2025-10-04}}
* {{Cite encyclopedia |year=2022 |title=Hong Kong and Athens: Contested Spaces of the Global and the Local in the Neo-Noir of John Woo and Alexis Alexiou |encyclopedia=Greek Film Noir |publisher=[[Edinburgh University Press]] |last=Chen |first=Yun-hua |editor-last=Poupou |editor-first=Anna |series=Traditions in World Cinema |doi=10.1515/9781474459013 |isbn=978-1-4744-5901-3 }}
* {{Cite book |last=Charles |first=John |url=https://books.google.com/books?id=nLnwCQAAQBAJ&pg=PA24 |title=The Hong Kong Filmography, 1977–1997: A Reference Guide to 1,100 Films Produced by British Hong Kong Studios |publisher=[[McFarland & Company]] |year=2000 |isbn=978-0-7864-4323-9 |location=Jefferson, North Carolina |language=en-US |access-date=2025-04-11}}
* {{Cite book |last=Cheuk |first=Pak Tong |url=https://archive.org/details/hongkongnewwavec0000zhuo/mode/2up |title=Hong Kong New Wave Cinema (1978–2000) |publisher=[[Intellect Books]] |year=2008 |isbn=978-1-84150-148-2 |location=Bristol, United Kingdom |pages=83–117 |language=en |chapter=Tsui Hark |access-date=2025-05-09 |chapter-url=https://archive.org/details/hongkongnewwavec0000zhuo/page/82/mode/2up |url-access=registration}}
* {{Cite book |last=Cheung |first=Ruby |url=https://books.google.com/books?id=krnHEAAAQBAJ&pg=PA21 |title=Hong Kong's New Indie Cinema |publisher=[[Palgrave Macmillan]] |year=2023 |isbn=978-3-031-25767-4 |series=East Asian Popular Culture |location=Cham, Switzerland |language=en |doi=10.1007/978-3-031-25767-4 |eissn=2634-5943 |access-date=2023-08-09}}
* {{Cite book |last=Choi |first=Jinhee |title=The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs |publisher=[[Wesleyan University Press]] |year=2010 |isbn=978-0-8195-6940-0 |location=Middletown, Connecticut |pages=60–84 |language=en |chapter=No Blood, No Tears! Korean Gangster Cinema |ref={{SfnRef|Choi|2010a}}}}
* {{Cite book |last=Chu |first=Yingchi |url=https://books.google.com/books?id=usORAgAAQBAJ&pg=PA68 |title=Hong Kong Cinema: Coloniser, Motherland and Self |publisher=[[Routledge]] |year=2003 |isbn=978-0-203-22207-2 |location=London, England |pages=63–76 |language=en-UK |chapter=Hong Kong Films: The Cultural Specificity of Quasi-National Film |access-date=2025-05-09}}
* {{Cite book |last=Chu |first=Yiu-Wai |url=https://books.google.com/books?id=62I2DwAAQBAJ&pg=PA79 |title=Hong Kong Cantopop: A Concise History |publisher=[[Hong Kong University Press]] |year=2017 |isbn=978-988-8390-58-8 |language=en |access-date=2025-04-12}}
* {{Cite encyclopedia |year=1997 |title=Transnational Action: John Woo, Hong Kong, Hollywood |encyclopedia=Transnational Chinese Cinemas: Identity, Nationhood, Gender |publisher=[[University of Hawai'i Press]] |location=Honolulu |last=Ciecko |first=Anne T. |editor-last=Lu |editor-first=Sheldon Hsiao-peng |pages=221–237 |isbn=978-0-8248-1845-6 }}
* {{Cite encyclopedia |year=2006 |title=Hong Kong: Cinematic Cycles of Grief and Glory |encyclopedia=Contemporary Asian Cinema: Popular Culture in a Global Frame |publisher=[[Berg Publishers]] |location=Oxford, England |last=Ciecko |first=Anne Tereska |editor-last=Ciecko |editor-first=Anne Tereska |series=Asian Cinema |pages=169–181 |isbn=978-1-84520-237-8 |issn=1744-8719 }}
* {{Cite book |last1=Dannen |first1=Fredric |author-link1=Fredric Dannen |title=Hong Kong Babylon: An Insider's Guide to the Hollywood of the East |last2=Long |first2=Barry |publisher=[[Hachette Books|Hyperion Books]] |year=1997 |isbn=978-0-7868-6267-2 |url=https://archive.org/details/hongkongbabyloni00dann/page/40/mode/2up |edition=1st |location=New York |language=en |access-date=2022-05-01 |url-access=registration}}
* {{Cite book |last=Donovan |first=Barna William |url=https://books.google.com/books?id=ZE9fBgAAQBAJ&pg=PA181 |title=The Asian Influence on Hollywood Action Films |publisher=[[McFarland & Company]] |year=2014 |isbn=978-1-4766-0770-2 |location=Jefferson, North Carolina |language=en |access-date=2025-04-13}}
* {{Cite book |editor-last1=Elder |editor-first1=Robert K. |editor-link=Robert K. Elder |title=John Woo: Interviews |publisher=[[University Press of Mississippi]] |series=[[Conversations with Filmmakers Series]] |language=en-US |year=2005 |isbn=978-1-57806-776-3 |url=https://archive.org/details/johnwoo00robe/page/n17/mode/2up |access-date=2023-11-29 |url-access=registration}}
** {{harvc |last=Elder |first=Robert K. |anchor-year=2005a |year=2005 |c=Filmography |in=Elder |url=https://archive.org/details/johnwoo00robe/page/n23/mode/2up }}
** {{harvc |last=Elder |first=Robert K. |anchor-year=2005b |year=2005 |c=John Woo: Movie by Movie, 1968 to 1990 |in=Elder |url=https://archive.org/details/johnwoo00robe/page/16/mode/2up }}
** {{harvc |last=Singer |first=Michael |year=2005 |c=Honor, Loyalty, and Chivalry |in=Elder |url=https://archive.org/details/johnwoo00robe/page/124/mode/2up }}
* {{Cite book |last=Elder |first=Robert K. |author-link=Robert K. Elder |title=The Film That Changed My Life: 30 Directors on Their Epiphanies in the Dark |publisher=[[Chicago Review Press]] |year=2011 |isbn=978-1-55652-825-5 |url=https://archive.org/details/filmthatchangedm0000elde/page/210/mode/2up |language=en |access-date=2022-09-16 |url-access=registration}}
* {{Cite book |last=Elder |first=Robert K. |author-link=Robert K. Elder |url=https://archive.org/details/bestfilmyouvenev0000elde/mode/2up |title=The Best Film You've Never Seen: 35 Directors Champion the Forgotten or Critically Savaged Movies They Love |publisher=[[Chicago Review Press]] |year=2013 |isbn=978-1-56976-838-9 |pages=160–163 |language=en |chapter=John Woo: Le Samouraï |access-date=2022-09-18 |chapter-url=https://archive.org/details/bestfilmyouvenev0000elde/page/160/mode/2up |url-access=registration}}
* {{Cite book |last=Fan |first=Victor |url=https://books.google.com/books?id=gnoxEAAAQBAJ&pg=PA169 |title=Extraterritoriality: Locating Hong Kong Cinema and Media |publisher=[[Edinburgh University Press]] |year=2019 |isbn=978-1-4744-4044-8 |language=en |access-date=2023-09-29}}
* {{Cite book |last=Fang |first=Karen |title=John Woo's ''A Better Tomorrow'' |series=The New Hong Kong Cinema |publisher=[[Hong Kong University Press]] |language=en |year=2004 |isbn=978-962-209652-3 |url= |access-date=}}
* {{Cite encyclopedia |year=2010 |title=John Woo (1946–) |encyclopedia=A Companion to Crime Fiction |publisher=[[Wiley-Blackwell]] |location=West Sussex, United Kingdom |last=Fang |first=Karen |editor-last=Rzepka |editor-first=Charles J. |editor-last2=Horsley |editor-first2=Lee J. |series=Blackwell Companions to Literature and Culture |pages=562–569 |doi=10.1002/9781444317916.ch47 |isbn=978-1-4051-6765-9 }}
* {{Cite encyclopedia |year=2016 |title='Pity About the Furniture': Violence, Wong Kar-wai Style |encyclopedia=A Companion to Wong Kar-wai |publisher=[[Wiley-Blackwell]] |location=Chichester, West Sussex |url=https://books.google.com/books?id=EBYFCAAAQBAJ&pg=PA283 |access-date=2023-01-27 |last=Fang |first=Karen |editor-last=Nochimson |editor-first=Martha P. |series=Wiley Blackwell Companions to Film Directors |pages=272–294 |isbn=978-1-118-42424-7 }}
* {{Cite book |title=Always in the Dark: A Study of Hong Kong Gangster Films |publisher=[[Hong Kong Film Archive]] |year=2014 |isbn=978-962-805068-0 |editor-last=Fung |editor-first=Po |language=en }}
** {{harvc |last=Ho |first=Sam |year=2014 |c=Changing Colours: The Gangster Hero |in=Fung |pp=87–96}}
** {{harvc |last=Woo |first=John |author-link=John Woo |year=2014 |c=John Woo: Unique Aesthetics of Death and Violence |in=Fung |pp=144–147 }}
* {{Cite encyclopedia |year=2009 |title=What Do We See When Leslie Performs? The Reception of the Hong Kong Star Between East and West |encyclopedia=Transmission Image: Visual Translation and Cultural Agency |publisher=[[Cambridge Scholars Publishing]] |location=Newcastle upon Tyne, England |url=https://books.google.com/books?id=qqQYBwAAQBAJ&pg=PA139 |access-date=2025-04-12 |last=Gieselmann |first=Martin |editor-last=Mersmann |editor-first=Birgit |editor-last2=Schneider |editor-first2=Alexandra |isbn=978-1-4438-0471-4 }}
* {{Cite book |last=Grant |first=Barry Keith |author-link=Barry Keith Grant |title=Film Genre Reader IV |publisher=[[University of Texas Press]] |year=2012 |isbn=978-0-292-74205-5 |language=en-US }}
* {{Cite book |last=Gross |first=Edward |url=https://books.google.com/books?id=mJc9EAAAQBAJ&pg=PT70 |title=They Shouldn't Have Killed His Dog: The Complete Uncensored Ass-Kicking Oral History of John Wick, Gun Fu, and the New Age of Action |last2=Altman |first2=Mark A. |author-link2=Mark A. Altman |publisher=[[St. Martin's Press]] |year=2022 |isbn=978-1-250-27844-9 |location=New York |language=en |access-date=2023-11-17}}
* {{Cite book |last=Hall |first=Kenneth E. |title=John Woo: The Films |publisher=[[McFarland & Company]] |year=2012 |isbn=978-0-7864-4040-5 |edition=2nd |location=Jefferson, North Carolina |language=en |ref={{SfnRef|Hall|2012a}}}}
* {{Cite book |last=Heard |first=Christopher |title=Ten Thousand Bullets: The Cinematic Journey of John Woo |publisher=Lone Eagle Publishing |location=Los Angeles, California |language=en |year=2000 |isbn=978-1-58065-021-2 |url=https://archive.org/details/tenthousandbulle00hear/mode/2up |access-date=2023-12-05 |url-access=registration}}
* {{Cite book |editor-last=Ho |editor-first=Sam |url=https://archive.org/details/isbn_9789620423581/mode/2up |title=Wild Blooms of Imagination: Art Direction in Hong Kong Films, 1979–2001 |publisher=[[Joint Publishing]] |year=2005 |isbn=978-962-042358-1 |location=Hong Kong |pages=266 |language=en |chapter=Part Three: Beauty in Martial Arts and Action |access-date=2024-03-21 |url-access=registration}}
* {{Cite book |last=Hughes |first=Lloyd |url=https://archive.org/details/roughguidetogang0000hugh/page/258/mode/2up |title=The Rough Guide to Gangster Movies |publisher=Rough Guides |year=2005 |isbn=978-1-84353-423-5 |location=London, England |language=en-UK |access-date=2022-05-09 |url-access=registration}}
* {{Cite encyclopedia |year=2000 |title=John Woo: The Rhythm of Violence |encyclopedia=Heroic Bloodshed |publisher=Pocket Essentials |location=Harpenden, Hertfordshire |url=https://archive.org/details/heroicbloodshed0000unse/page/16/mode/2up |access-date=2022-04-24 |last=Holland |first=Steve |others=Interview by Martin Coxhead |editor-last=Fitzgerald |editor-first=Martin |series=[[The Pocket Essentials]] |pages=16–30 |isbn=978-1-903047-07-1 |url-access=registration}}
* {{Cite encyclopedia |year=2020 |title=East Asian Noir: Transnational Film Noir in Japan, Korea and Hong Kong |encyclopedia=Renegotiating Film Genres in East Asian Cinemas and Beyond |publisher=[[Palgrave Macmillan]] |location=Cham, Switzerland |last=Kelso-March |first=Caleb |editor-last=Feng |editor-first=Lin |editor-last2=Aston |editor-first2=James |series=East Asian Popular Culture |pages=41–67 |doi=10.1007/978-3-030-55077-6_3 |isbn=978-3-030-55077-6 |issn=2634-5943 }}
* {{Cite encyclopedia |title=Gangsters and Genre |encyclopedia=Oxford Research Encyclopedia of Criminology |publisher=[[Oxford University Press]] |url=https://oxfordre.com/criminology/view/10.1093/acrefore/9780190264079.001.0001/acrefore-9780190264079-e-149 |access-date=2022-11-26 |last=Lam |first=Anita |date=2016-11-22 |doi=10.1093/acrefore/9780190264079.013.149 |url-access=subscription }}
* {{Cite encyclopedia |year=2000 |title=Besides Fists and Blood: Michael Hui and Cantonese Comedy |encyclopedia=The Cinema of Hong Kong: History, Arts, Identity |publisher=[[Cambridge University Press]] |url=https://archive.org/details/cinemaofhongkong0000unse/page/174/mode/2up |access-date=2022-05-10 |url-access=registration |last=Lau |first=Jenny Kwok Wah |pages=158–175 |isbn=978-0-521-77235-8 }}
* {{Cite encyclopedia |year=2015 |title=Modernism and Cinema in East Asia |encyclopedia=The Modernist World |publisher=[[Routledge]] |location=Abingdon, Oxon |url=https://books.google.com/books?id=YFvLCQAAQBAJ&pg=PA35 |access-date=2023-01-26 |last=Lau |first=Jenny Kwok-wah |editor-last=Ross |editor-first=Stephen |editor-last2=Lindgren |editor-first2=Allana C. |page=35 |series=The Routledge Worlds |isbn=978-1-315-77833-4 }}
* {{Cite book |last=Law |first=Kar |url=https://books.google.com/books?id=85DKMniFe4gC&pg=PA286 |title=Hong Kong Cinema: A Cross-Cultural View |last2=Bren |first2=Frank |author-link2=Frank Bren |publisher=[[Rowman & Littlefield#Imprints|The Scarecrow Press]] |others=Additional contributions by Sam Ho |year=2004 |isbn=978-0-8108-4986-0 |location=Lanham, Maryland |language=en |chapter=The Modern Age |access-date=2025-05-09}}
* {{Cite encyclopedia |year=2021 |title=Re-Thinking Popular Culture |encyclopedia=Hong Kong History: Themes in Global Perspective |publisher=[[Palgrave Macmillan]] |url=https://books.google.com/books?id=b_RNEAAAQBAJ&pg=PA192 |access-date=2023-01-27 |last=Law |first=Lok-yin |editor-last=Wong |editor-first=Man-kong |editor-last2=Kwong |editor-first2=Chi-man |series=Hong Kong Studies Reader Series |page=191 |doi=10.1007/978-981-16-2806-1 |isbn=978-981-16-2806-1 |issn=2523-7772 }}
* {{Cite encyclopedia |year=2024 |title=King of Hong Kong Comedy: The Making of the 'Stephen Chow Film' |encyclopedia=The Cinema of Stephen Chow |publisher=[[Bloomsbury Publishing|Bloomsbury Academic]] |url=https://books.google.com/books?id=yJUVEQAAQBAJ&pg=RA1-PA2005-IA1 |access-date=2025-10-06 |last=Lee |first=Vivian P. Y. |editor-last=Bettinson |editor-first=Gary |editor-last2=Lee |editor-first2=Vivian P. Y. |series=Global East Asian Screen Cultures |pages=61–83 |language=en |isbn=978-1-350-36214-7 |archive-url=https://web.archive.org/web/20251006023120/https://books.google.com/books?id=yJUVEQAAQBAJ&pg=RA1-PA2005-IA1#v=onepage&q&f=false |archive-date=2025-10-06 }}
* {{Cite book |last=Lent |first=John A. |url=https://archive.org/details/asianfilmindustr0000lent/mode/2up |title=The Asian Film Industry |publisher=[[University of Texas Press]] |year=1990 |isbn=978-0-292-70422-0 |location=Austin, Texas |chapter=Hong Kong |access-date=2025-06-25 |chapter-url=https://archive.org/details/asianfilmindustr0000lent/page/92/mode/2up |url-access=registration}}
* {{Cite encyclopedia |year=1994 |title=The Return of the Father: Hong Kong New Wave and its Chinese Context in the 1980s |encyclopedia=New Chinese Cinemas: Forms, Identities, Politics |publisher=[[Cambridge University Press]] |last=Li |first=Cheuk-to |author-link=Li Cheuk-to |editor-last=Browne |editor-first=Nick |editor-last2=Pickowicz |editor-first2=Paul G. |editor-last3=Sobchack |editor-first3=Vivian |editor-last4=Yau |editor-first4=Esther |isbn=978-0-521-44409-5 }}
* {{Cite encyclopedia |year=2020 |title=Pax Musica and Mnets: Cantopop–Kpop Convergences and Inter-Asia Cultural Mobilities |encyclopedia=Made in Hong Kong: Studies in Popular Music |publisher=[[Routledge]] |location=Abingdon, Oxon |last=Liew |first=Kai Khiun |last2=Sun |first2=Meicheng |editor-last=Fung |editor-first=Anthony |editor-last2=Chik |editor-first2=Alice |series=Routledge Global Popular Music Series |pages=33–43 |isbn=978-0-429-27643-9 }}
* {{Cite book |last=Logan |first=Bey |url=https://archive.org/details/hongkongactionci00loga/page/18/ |title=Hong Kong Action Cinema |publisher=[[The Overlook Press]] |year=1996 |isbn=978-0-87951-663-5 |location=Woodstock, New York |language=en |access-date=2022-05-08 |url-access=registration}}
* {{Cite encyclopedia |year=2011 |title=Body, Masculinity, and Representation in Chinese Martial Arts Films |encyclopedia=Martial Arts as Embedded Knowledge: Asian Traditions in a Transnational World |publisher=[[State University of New York Press]] |location=Albany, New York |last=Lu |first=Jie |editor-last=Farrer |editor-first=D. S. |editor-last2=Whalen-Bridge |editor-first2=John |pages=97–119 |isbn=978-1-4384-3967-9 }}
* {{Cite encyclopedia |year=2007 |title=The Heroic Flux in John Woo's Trans-Pacific Passage: From Confucian Brotherhood to American Selfhood |encyclopedia=Hong Kong Film, Hollywood and New Global Cinema: No Film is an Island |publisher=[[Routledge]] |location=Abingdon, Oxon |last=Magnan-Park |first=Aaron Han Joon |editor-last=Marchetti |editor-first=Gina |editor-last2=Kam |editor-first2=Tan See |series=Routledge media, culture and social change in Asia |pages=35–49 |isbn=978-0-203-96736-2 }}
* {{Cite book |last=Matthews |first=Stephen |author-link=Stephen Matthews (linguist) |url=https://books.google.com/books?id=bRCsAgAAQBAJ&pg=PA43 |title=Cantonese: A Comprehensive Grammar |last2=Yip |first2=Virginia |author-link2=Virginia Yip |publisher=[[Routledge]] |year=2011 |isbn=978-0-203-83501-2 |edition=2nd |series=Routledge Comprehensive Grammars |location=New York |language=en |access-date=2025-06-27 |orig-year=1994}}
* {{Cite book |last=Mello |first=Cecília |url=https://books.google.com/books?id=6gaZDwAAQBAJ&pg=PA252 |title=The Cinema of Jia Zhangke: Realism and Memory in Chinese Film |publisher=[[Bloomsbury Publishing|Bloomsbury Academic]] |year=2019 |isbn=978-1-350-12170-6 |series=World Cinema |location=London, England |page=252 |language=en |access-date=2023-11-17}}
* {{Cite book |last=Morton |first=Lisa |author-link=Lisa Morton |url=https://books.google.com/books?id=MiulRecfarcC&pg=PA63 |title=The Cinema of Tsui Hark |publisher=[[McFarland & Company]] |year=2016 |isbn=978-0-7864-4460-1 |edition=Revised |location=Jefferson, North Carolina |language=en-US |access-date=2025-04-11}}
* {{Cite book |last=Nochimson |first=Martha P. |url=https://archive.org/details/dyingtobelonggan0000noch/mode/2up |title=Dying to Belong: Gangster Movies in Hollywood and Hong Kong |publisher=[[Wiley-Blackwell|Blackwell Publishing]] |year=2007 |isbn=978-1-4051-6371-2 |location=Malden, Massachusetts |pages=69–105 |language=en |chapter=Gangster Identity, Hong Kong: A Taoist Code Warrior |access-date=2022-05-06 |chapter-url=https://archive.org/details/dyingtobelonggan0000noch/page/68/mode/2up}}
* {{Cite book |last=O'Brien |first=Daniel |url=https://books.google.com/books?id=8XehfPFuFY8C&pg=PA88 |title=Spooky Encounters: A Gwailo's Guide to Hong Kong Horror |publisher=Headpress |year=2003 |isbn=978-1-900486-31-6 |location=Manchester, United Kingdom |language=en-UK |access-date=2025-04-13}}
* {{Cite book |last=Pratt |first=Douglas |url=https://books.google.com/books?id=DTUw1SDQECoC&pg=PA143 |title=Doug Pratt's DVD: Movies, Television, Music, Art, Adult, and More! |publisher=Harbor Electronic Publishing |year=2004 |isbn=978-1-932916-00-3 |volume=1 |pages=142–143 |language=en |access-date=2025-05-10}}
* {{Cite encyclopedia |year=1995 |title=Blood, Brothers, and Hong Kong Gangster Movies: Pop Culture Commentary on 'One China' |encyclopedia=Asian Popular Culture |publisher=[[Westview Press]] |location=Boulder, Colorado |url=https://archive.org/details/asianpopularcult0000unse/page/60/mode/2up |access-date=2025-06-25 |last=Ryan |first=Barbara |editor-last=Lent |editor-first=John A. |series=International Communication and Popular Culture |pages=61–76 |isbn=978-0-8133-2048-9 }}
* {{Cite book |last=Server |first=Lee |author-link=Lee Server |url=https://archive.org/details/isbn_9780811821193/page/33/mode/2up |title=Asian Pop Cinema: Bombay to Tokyo |publisher=[[Chronicle Books]] |year=1999 |isbn=978-0-8118-2119-3 |location=San Francisco, California |language=en |access-date=2022-09-22 |url-access=registration}}
* {{Cite encyclopedia |year=2013 |title=Oldboy Goes to Bollywood: ''Zinda'' and the Transnational Appropriation of South Korean 'Extreme' Cinema |encyclopedia=Korean Horror Cinema |publisher=[[Edinburgh University Press]] |url=https://books.google.com/books?id=RkurBgAAQBAJ&pg=PA190 |access-date=2025-06-22 |last=Smith |first=Iain Robert |editor-last=Peirse |editor-first=Alison |editor-last2=Martin |editor-first2=Daniel |pages=187–198 |isbn=978-0-7486-7765-8 }}
* {{Cite encyclopedia |year=2019 |title=Gangsta Gangsta: Hong Kong Triad Films, 1986–2015 |encyclopedia=A Companion to the Gangster Film |publisher=[[Wiley-Blackwell]] |location=Hoboken, New Jersey |last=Soe |first=Valerie |editor-last=Larke-Walsh |editor-first=George S. |pages=463–479 |doi=10.1002/9781119041757.ch25 |isbn=978-1-119-04173-3 }}
* {{Cite encyclopedia |year=2015 |title=Sounding Glocal: Synthesizer Scores in Hong Kong Action Cinema |encyclopedia=American and Chinese Language Cinemas: Examining Cultural Flows |publisher=[[Routledge]] |location=Abingdon, Oxon |url=https://books.google.com/books?id=06qQBAAAQBAJ&pg=PT65 |access-date=2022-04-21 |last=Spring |first=Katherine |editor-last=Funnell |editor-first=Lisa |editor-last2=Yip |editor-first2=Man-fung |language=en |isbn=978-1-317-91024-4 |archive-url=https://web.archive.org/web/20220421084503/https://books.google.com/books?id=06qQBAAAQBAJ&pg=PT65 |archive-date=2022-04-21 }}
* {{Cite book |last1=Stokes |first1=Lisa Odham |last2=Hoover |first2=Michael |title=City on Fire: Hong Kong Cinema |publisher=[[Verso Books|Verso]] |language=en |year=1999 |isbn=978-1-85984-716-9 |url=https://archive.org/details/cityonfirehongko00stok/mode/2up |access-date=2024-04-12 |url-access=registration}}
* {{Cite encyclopedia |year=2020 |title=''A Better Tomorrow'' series |encyclopedia=Historical Dictionary of Hong Kong Cinema |publisher=[[Rowman & Littlefield]] |location=Lanham, Maryland |url=https://books.google.com/books?id=MkHCDwAAQBAJ&pg=PA29 |access-date=2022-04-24 |last=Stokes |first=Lisa Odham |pages=29–30 |ref={{SfnRef|Stokes|Braaten|2020a}} |last2=Braaten |first2=Rachel |edition=2nd |isbn=978-1-5381-2062-0 |lccn=2019039260 |series=[[Historical Dictionaries series|Historical Dictionaries of Literature and the Arts]]}}
* {{Cite encyclopedia |year=2020 |title=Lee, Waise Chi-hung (1959–) |encyclopedia=Historical Dictionary of Hong Kong Cinema |publisher=[[Rowman & Littlefield]] |location=Lanham, Maryland |url=https://books.google.com/books?id=MkHCDwAAQBAJ&pg=PA280 |access-date=2022-04-24 |last=Stokes |first=Lisa Odham |pages=280–281 |ref={{SfnRef|Stokes|Braaten|2020b}} |last2=Braaten |first2=Rachel |edition=2nd |isbn=978-1-5381-2062-0 |lccn=2019039260 |series=[[Historical Dictionaries series|Historical Dictionaries of Literature and the Arts]]}}
* {{Cite book |last=Szeto |first=Kin-Yan |url=https://archive.org/details/martialartscinem0000szet/mode/2up |title=The Martial Arts Cinema of the Chinese Diaspora: Ang Lee, John Woo, and Jackie Chan in Hollywood |publisher=[[Southern Illinois University Press]] |location=Carbondale, Illinois |year=2011 |isbn=978-0-8093-3021-8 |pages=71–112 |language=en |chapter=Facing Off East and West in the Cinema of John Woo |access-date=2022-05-12 |chapter-url=https://archive.org/details/martialartscinem0000szet/page/70/mode/2up |url-access=registration}}
* {{Cite book |last=Teo |first=Stephen |title=Hong Kong Cinema: The Extra Dimensions |publisher=[[British Film Institute]] |year=1997 |isbn=978-0-85170-496-8 |url= |access-date=}}
* {{Cite book |last=Teo |first=Stephen |title=Eastern Westerns: Film and Genre Outside and Inside Hollywood |publisher=[[Routledge]] |url=https://books.google.com/books?id=pi8lDwAAQBAJ&pg=PA106 |year=2017 |isbn=978-1-315-74448-3 |location=Abingdon, Oxon |page=106 |language=en |chapter=No Man's Land and Wind Blast, Post-Westerns in the Chinese West }}
* {{Cite encyclopedia |year=2017 |title=Sword, Fist, or Gun? The 1970s Origins of Contemporary Hong Kong Noir |encyclopedia=Hong Kong Neo-Noir |publisher=[[Edinburgh University Press]] |series=Edinburgh Studies in East Asian Film |url=https://books.google.com/books?id=kC1WDwAAQBAJ&pg=PA58 |access-date=2025-05-09 |last=Van den Troost |first=Kristof |editor-last=Yau |editor-first=Esther C. M. |editor-last2=Williams |editor-first2=Tony |pages=51–73 |isbn=978-1-4744-1267-4 }}
* {{Cite book |last=Van den Troost |first=Kristof |title=Hong Kong Crime Films: Criminal Realism, Censorship and Society, 1947–1986 |publisher=[[Edinburgh University Press]] |year=2024 |isbn=978-1-3995-2177-2 |language=en |ref={{SfnRef|Van_den_Troost|2024a}}}}
* {{Cite encyclopedia |year=2002 |title=Ti Lung |encyclopedia=Encyclopedia of Chinese Film |publisher=[[Routledge]] |url=https://books.google.com/books?id=XAeGAgAAQBAJ&pg=PA335 |access-date=2025-04-13 |last=Williams |first=Tony |editor-last=Xiao |editor-first=Zhiwei |editor-last2=Zhang |editor-first2=Yingjin |isbn=978-0-203-19555-0 }}
* {{Cite book |last=Williams |first=Tony |url=https://books.google.com/books?id=hgoKvQm4QgwC&pg=PA16 |title=John Woo's ''Bullet in the Head'' |publisher=[[Hong Kong University Press]] |year=2009 |isbn=978-962-209-968-5 |language=en |access-date=2022-04-24 |archive-url=https://web.archive.org/web/20220424073632/https://books.google.com/books?id=hgoKvQm4QgwC&pg=PA16#v=onepage&q&f=false |archive-date=2022-04-24}}
* {{Cite book |last=Yang |first=Jeff |author-link=Jeff Yang |url=https://archive.org/details/onceupontimeinch00yang/mode/2up |title=Once Upon a Time in China: A Guide to Hong Kong, Taiwanese, and Mainland Chinese Cinema |publisher=[[Atria Publishing Group|Atria Books]] |year=2003 |isbn=978-0-7434-4817-8 |location=New York |language=en-US |access-date=2022-05-08 |url-access=registration}}
* {{Cite book |last=Yip |first=Man-fung |url=https://books.google.com/books?id=3OYzDwAAQBAJ&pg=PA187 |title=Martial Arts Cinema and Hong Kong Modernity: Aesthetics, Representation, Circulation |publisher=[[Hong Kong University Press]] |year=2017 |isbn=978-988-8390-71-7 |pages=186–196 |language=en |chapter=Epilogue |access-date=2025-05-09}}
* {{Cite book |last=Yoon |first=Sunny |title=Social Media and the Cultural Politics of Korean Pop Culture in East Asia |publisher=[[Routledge]] |year=2024 |isbn=978-1-003-41120-8 |series=Routledge Research in Cultural and Media Studies |location=Abingdon, Oxon |language=en }}
* {{Cite book |last=Zhou |first=Xuelin |url=https://books.google.com/books?id=xtHLDAAAQBAJ&pg=PA24 |title=Youth Culture in Chinese Language Film |publisher=[[Routledge]] |year=2017 |isbn=978-1-315-55912-4 |location=Abingdon, Oxon |language=en |chapter=The Film Industries of Hong Kong, Taiwan and Mainland China |access-date=2025-06-21}}
{{Refend}}

=== Journals ===
{{Refbegin|colwidth=30em|indent=yes}}
* {{Cite journal |last=Aufderheide |first=Pat |author-link=Patricia Aufderheide |date=November 1987 |title=Oriental Insurgents |journal=[[Film Comment]] |publisher=[[Film at Lincoln Center|Film Society of Lincoln Center]] |volume=23 |issue=6 |pages=73–76, 80 |id={{ProQuest|210245827}} }}
* {{Cite journal |last=Choi |first=Jinhee |date=Spring 2010 |title=China Inc., Limited |journal=[[Journal of Cinema and Media Studies|Cinema Journal]] |location=Lawrence, Michigan |publisher=[[University of Michigan Library#Michigan Publishing|Michigan Publishing]] |volume=49 |issue=3 |pages=144–149 |doi=10.1353/cj.0.0202 |id={{ProQuest|501372876}} |ref={{SfnRef|Choi|2010b}}}}
* {{Cite journal |last=Chute |first=David |date=November 1987 |title=A Zoo for Films |journal=[[Film Comment]] |publisher=[[Film at Lincoln Center|Film Society of Lincoln Center]] |volume=23 |issue=6 |pages=71–73, 80 |id={{ProQuest|210253019}} }}
* {{Cite journal |last=Cunliffe |first=Tom |date=Fall 2021 |title=Implicating the Social Order: The Story of a Discharged Prisoner |url=https://link.gale.com/apps/doc/A686898870/AONE |journal=Film History |publisher=[[Indiana University Press]] |volume=33 |issue=3 |doi=10.2979/filmhistory.33.3.04 |access-date=2022-04-25 |via=Gale Academic OneFile}}
* {{Cite journal |last=Gates |first=Phillipa |date=Summer 2001 |title=The Man's Film: Woo and the Pleasures of Male Melodrama |journal=[[The Journal of Popular Culture]] |volume=35 |issue=1 |pages=59–79 |doi=10.1111/j.0022-3840.2001.3501_59.x |via=[[Wiley (publisher)#Wiley Online Library|Wiley Online Library]]}}
* {{Cite journal |last=Gelardi |first=Andrea |date=Summer 2020 |title=Keeping Cinema's Memory Alive in Hong Kong: An Interview with Bede Chang, Managing Director at L'Immagine Ritrovata Asia |url=https://framescinemajournal.com/article/keeping-cinemas-memory-alive-in-hong-kong-an-interview-with-bede-cheng-managing-director-at-limmagine-ritrovata-asia/ |journal=Frames Cinema Journal |publisher=[[University of St Andrews]] |issue=17 |doi=10.15664/fcj.v0i17.2066 |issn=2053-8812 |archive-url=https://web.archive.org/web/20251004214911/https://framescinemajournal.com/article/keeping-cinemas-memory-alive-in-hong-kong-an-interview-with-bede-cheng-managing-director-at-limmagine-ritrovata-asia/ |archive-date=2025-10-04 |access-date=2025-10-04 |doi-access=free}}
* {{Cite journal |last=Havis |first=Richard J. |date=1998 |title=A Better Today: Hong Kong's John Woo Finally Does His Way in Hollywood |journal=[[Cinemaya]] |issue=39–40 |pages=10–16 }}
* {{Cite journal |last=Hendrix |first=Grady |author-link=Grady Hendrix |date=September–October 2011 |title=Online Exclusive: An Annotated Tsui Hark Interview (Part II, aka Annotation Overload) |url=https://www.filmcomment.com/article/an-annotated-tsui-hark-interview-part-ii/ |journal=[[Film Comment]] |publisher=[[Film at Lincoln Center|Film Society of Lincoln Center]] |volume=47 |issue=5 |archive-url=https://web.archive.org/web/20251004215512/https://www.filmcomment.com/article/an-annotated-tsui-hark-interview-part-ii/ |archive-date=2025-10-04 |access-date=2025-10-04 }}
* {{Cite journal |last=Hendrix |first=Grady |author-link=Grady Hendrix |date=2015-12-29 |title=Kaiju Shakedown: Disappearing in Plain Sight |url=https://www.filmcomment.com/blog/kaiju-shakedown-disappearing-in-plain-sight/ |journal=[[Film Comment]] |publisher=[[Film at Lincoln Center|Film Society of Lincoln Center]] |archive-url=https://web.archive.org/web/20251004220001/https://www.filmcomment.com/blog/kaiju-shakedown-disappearing-in-plain-sight/ |archive-date=2025-10-04 |access-date=2025-10-04 }}
* {{Cite journal |last=Jia |first=Zhangke |author-link=Jia Zhangke |date=2010 |title=Irrepressible Images: New Films in China from 1995 |journal=[[China Perspectives]] |location=Hong Kong |issue=1 |pages=46–51 |id={{ProQuest|1495452639}} }}
* {{Cite journal |last=Kim |first=Seung-goo |year=2017 |title=1990년 전후 한국 내 홍콩영화의 수용 양상 |script-title=ko:1990년 전후 한국 내 홍콩영화의 수용 양상 |trans-title=The Aspects of Acceptance of Hong Kong Cinema in South Korea in Around 1990 |url=https://www.kci.go.kr/kciportal/ci/sereArticleSearch/ciSereArtiView.kci?sereArticleSearchBean.artiId=ART002269634 |journal=한국학연구 |language=ko |issue=62 |pages=95–136 |doi=10.17790/kors.2017..62.95 |doi-access=free }}
* {{Cite journal |last=Koven |first=Mikel J. |date=1997 |title=My Brother, My Lover, My Self: Traditional Masculinity in the Hong Kong Action Cinema of John Woo |url=https://id.erudit.org/iderudit/1087648ar |journal=Ethnologies |publisher=Association Canadienne d’Ethnologie et de Folklore |volume=19 |issue=1 |pages=55–68 |doi=10.7202/1087648ar |issn=1481-5974 |eissn=1708-0401 |archive-url=https://web.archive.org/web/20251004222751/https://www.erudit.org/en/journals/ethno/1997-v19-n1-ethno06869/1087648ar/ |archive-date=2025-10-04 |access-date=2025-06-19 |via=[[Érudit]] |doi-access=free}}
* {{Cite journal |last=Lau |first=Jenny Kwok Wah |date=Winter 1998 |title=Besides Fists and Blood: Hong Kong Comedy and its Master of the Eighties |journal=[[Journal of Cinema and Media Studies|Cinema Journal]] |volume=37 |issue=2 |id={{ProQuest|222326667}} }}
* {{Cite journal |last=Lee |first=Hyung-sook |date=Spring 2006 |title=Peripherals Encounter: The Hong Kong Film Syndrome in South Korea |journal=Discourse |publisher=[[Wayne State University Press]] |volume=28 |issue=2–3 |pages=98–113 |doi=10.1353/dis.2006.a250372 |id={{ProQuest|212456805}} }}
* {{Cite journal |last=Leung |first=Wing-fai |date=Spring 2011 |title=Multi-Media Stardom, Performance and Theme Songs in Hong Kong Cinema |url= |journal=Canadian Journal of Film Studies |volume=20 |issue=1 |pages=41–60 |doi=10.3138/cjfs.20.1.41 |jstor=24411854 |url-access= }}
* {{Cite journal |last=McDonagh |first=Maitland |author-link=Maitland McDonagh |date=September–October 1993 |title=Things I Felt Were Being Lost: John Woo |journal=[[Film Comment]] |publisher=[[Film at Lincoln Center|Film Society of Lincoln Center]] |volume=29 |issue=5 |pages=50–52 |jstor=43454979 }}
* {{Cite journal |last=Sandell |first=Jillian |date=2001-01-01 |title=A Better Tomorrow? American Masochism and Hong Kong Action Films |url=https://brightlightsfilm.com/better-tomorrow-american-masochism-hong-kong-action-films/ |journal=[[Bright Lights Film Journal]] |issue=13 |archive-url=https://archive.today/20251004230432/https://brightlightsfilm.com/better-tomorrow-american-masochism-hong-kong-action-films/ |archive-date=2025-10-04 |access-date=2025-10-04 |ref={{SfnRef|Sandell|2001a}}}}
* {{Cite journal |last=Sandell |first=Jillian |date=2001-01-01 |title=Interview with John Woo |url=https://brightlightsfilm.com/interview-john-woo/ |journal=[[Bright Lights Film Journal]] |issue=13 |archive-url=https://archive.today/20251004230829/https://brightlightsfilm.com/interview-john-woo/ |archive-date=2025-10-04 |access-date=2025-10-04 |ref={{SfnRef|Sandell|2001b}}}}
* {{Cite journal |last=Stringer |first=Julian |date=Spring 1997 |title='Your Tender Smiles Give Me Strength': Paradigms of Masculinity in John Woo's ''A Better Tomorrow'' and ''The Killer'' |journal=[[Screen (journal)|Screen]] |publisher=[[Oxford University Press]] |volume=38 |issue=1 |pages=25–41 |doi=10.1093/screen/38.1.25 }}
* {{Cite journal |last=Teo |first=Stephen |date=2011 |title=The Aesthetics of Mythical Violence in Hong Kong Action Films |journal=New Cinemas: Journal of Contemporary Film |publisher=[[Intellect Books]] |volume=8 |issue=3 |pages=155–167 |doi=10.1386/ncin.8.3.155_1 |issn=1474-2756 |eissn=2040-0578 |via=[[EBSCO Information Services]]}}
* {{Cite journal |last1=Tsang |first1=Raymond |last2=Cunliffe |first2=Tom |date=June 2022 |title=Experimental Shorts, Film Culture, and Third World Cinema in 1950s–1970s Hong Kong: An Interview with Law Kar |url= |journal=Journal of Chinese Cinemas |volume=16 |issue=2 |pages=201–214 |doi=10.1080/17508061.2023.2266140 |issn=1750-8061 |quote=Early in 1967, members of College Cine Club went to watch Lung Kong shooting ''Story of a Discharged Prisoner'' on location in Wader Film Studio in the New Territories. We went there and John Woo was there too, to watch Lung Kong shooting. He was quite impressed with Lung Kong, we were all impressed with Lung Kong at that time. |via=[[EBSCO Information Services]]}}
* {{Cite journal |last=Van den Troost |first=Kristof |date=Summer 2024 |title=Registers of the Melodramatic Mode: The 1980s Heroic Bloodshed Cycle in the History of the Hong Kong Crime Film |journal=[[Screen (journal)|Screen]] |publisher=[[Oxford University Press]] |volume=65 |issue=2 |pages=233–257 |doi=10.1093/screen/hjae020 |ref={{SfnRef|Van_den_Troost|2024b}} |via=Oxford Academic}}
* {{Cite journal |last=Vesia |first=Michael |date=August 2002 |title=The Gangster as Hero in Hong Kong Cinema |url=https://offscreen.com/view/hk_gangster |journal=Offscreen |volume=6 |issue=8 |eissn=1712-9559 |archive-url=https://web.archive.org/web/20251004231132/https://offscreen.com/view/hk_gangster |archive-date=2025-10-04 |access-date=2025-10-04 }}
* {{Cite journal |last=Williams |first=Tony |date=1995 |title=To Live and Die in Hong Kong: The Crisis Cinema of John Woo |journal=[[CineAction]] |issue=36 |pages=42–52 |issn=0826-9866 |id={{ProQuest|216885213}} }}
* {{Cite journal |last=Williams |first=Tony |date=Winter 1997 |title=Space, Place, and Spectacle: The Crisis Cinema of John Woo |journal=[[Journal of Cinema and Media Studies|Cinema Journal]] |publisher=[[University of Texas Press]] |volume=36 |issue=2 |pages=67–84 |doi=10.2307/1225775 |jstor=1225775 }}
{{Refend}}

=== Magazines ===
{{Refbegin|colwidth=30em|indent=yes}}
* {{Cite magazine |last=Abrams |first=Simon |date=2023-11-19 |title=John Woo Returns to Hollywood |url=https://www.newyorker.com/culture/the-new-yorker-interview/john-woo-returns-to-hollywood-silent-night |archive-url=https://web.archive.org/web/20251004095516/https://www.newyorker.com/culture/the-new-yorker-interview/john-woo-returns-to-hollywood-silent-night |archive-date=2025-10-04 |access-date=2025-10-04 |magazine=[[The New Yorker]] |language=en-US |issn=0028-792X }}
* {{Cite magazine |last=Corliss |first=Richard |author-link=Richard Corliss |date=2003-04-03 |title=That Old Feeling: Days of Being Leslie |url=http://www.time.com/time/magazine/article/0%2C9171%2C440214-2%2C00.html |url-status=dead |archive-url=https://web.archive.org/web/20120403170854/http://www.time.com/time/magazine/article/0,9171,440214-2,00.html |archive-date=2012-04-03 |access-date=2022-05-04 |magazine=[[Time (magazine)|Time]] |pages=2 }}
* {{Cite magazine |last=de Semlyen |first=Nick |date=November 2024 |title=Aim for the Heart |magazine=[[Empire (magazine)|Empire]] |publisher=[[Bauer Media Group]] |location=London, England |pages=90–95 |issn=0957-4948 }}
* {{Cite magazine |last=Debruge |first=Peter |date=2025-10-19 |title=Action Legend John Woo Relives His Hong Kong Days, as Hard-to-See ''Hard Boiled'' and ''The Killer'' Get Another Shot with Audiences |url=https://variety.com/2025/film/news/john-woo-relives-his-hong-kong-days-4k-golden-princess-1236556315/ |archive-url=https://web.archive.org/web/20251020234319/https://variety.com/2025/film/news/john-woo-relives-his-hong-kong-days-4k-golden-princess-1236556315/ |archive-date=2025-10-20 |access-date=2025-10-21 |magazine=[[Variety (magazine)|Variety]]}}
* {{Cite magazine |last=Fisher |first=Tracy |date=1998-04-12 |title=The Forum: News |magazine=[[Home Media Magazine|Video Store Magazine]] |location=Irvine, California |page=38 |volume=20 |issue=15 |id={{ProQuest|197541282}} }}
* {{Cite magazine |last=Fu |first=Nelson |date=August–September 1994 |title=Woo's on First! |url=https://link.gale.com/apps/doc/A15729896/ITOF?u=wikipedia&sid=ebsco&xid=38158af3 |access-date=2022-07-02 |magazine=Transpacific |via=Gale General OneFile |volume=9 |issue=5 }}
* {{Cite magazine |last=Goble |first=Blake |date=2018-11-14 |title=10 Brian Eno Songs That Made films Better |url=https://consequence.net/2018/11/10-brian-eno-songs-that-made-films-better/ |url-status=live |magazine=[[Consequence (publication)|Consequence]] |archive-url=https://web.archive.org/web/20251004095909/https://consequence.net/2018/11/10-brian-eno-songs-that-made-films-better/ |archive-date=2025-10-04 |access-date=2025-10-04 }}
* {{Cite magazine |last=Gramlich |first=Chris |date=2004-03-01 |title=''A Better Tomorrow I and II'' |url=https://exclaim.ca/film/article/better_tomorrow_i_ii-john_woo |url-status=live |magazine=[[Exclaim!]] |archive-url=https://web.archive.org/web/20200814152221/http://exclaim.ca/film/article/better_tomorrow_i_ii-john_woo |archive-date=2020-08-14 |access-date=2022-06-19 }}
* {{Cite magazine |last=Hampton |first=Howard |date=April 1998 |title=Matinee Icon |url=https://www.artforum.com/columns/chow-yun-fat-201529/ |url-status=live |magazine=[[Artforum]] |page=18 |archive-url=https://web.archive.org/web/20251004101146/https://www.artforum.com/columns/chow-yun-fat-201529/ |archive-date=2025-10-04 |access-date=2025-10-04 }}
* {{Cite magazine |last=Kenis |first=Peter |date=2004-04-01 |title=''A Better Tomorrow I, II'' |url=https://search.ebscohost.com/login.aspx?direct=true&db=f6h&AN=12648882&site=eds-live&scope=site |magazine=[[Rolling Stone]] |issue=945 |page=94 |issn=0035-791X |access-date=2022-07-02 |via=MasterFILE Complete }}
* {{Cite magazine |last=Kenny |first=Glenn |author-link=Glenn Kenny |date=1994-10-21 |title=Video Review: ''A Better Tomorrow'' |url=https://ew.com/article/1994/10/21/video-review-better-tomorrow/ |url-status=dead |archive-url=https://web.archive.org/web/20231105092357/https://ew.com/article/1994/10/21/video-review-better-tomorrow/ |archive-date=2023-11-05 |access-date=2025-10-04 |magazine=[[Entertainment Weekly]] |language=en }}
* {{Cite magazine |last=Macnab |first=Geoffrey |date=August 2006 |title=''A Better Tomorrow'' |magazine=[[Sight & Sound]] |location=London, England |volume=16 |issue=8 |page=94 |id={{ProQuest|237115879}} }}
* {{Cite web |last=Morrison |first=Alan |date=2000-01-01 |title=''A Better Tomorrow'' |url=https://www.empireonline.com/movies/reviews/better-tomorrow-review/ |url-status=live |archive-url=https://web.archive.org/web/20251004185149/https://www.empireonline.com/movies/reviews/better-tomorrow-review/ |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Empire (film magazine)|Empire]] }}
* {{Cite magazine |last=Pinkerton |first=Nick |date=2017-03-27 |title=Gun-Fu Hustle: Celebrating the Action Cinema of John Woo |url=https://lwlies.com/long-read/john-woo-films-action-cinema |url-status=live |archive-url=https://web.archive.org/web/20251004185501/https://lwlies.com/long-read/john-woo-films-action-cinema |archive-date=2025-10-04 |access-date=2025-10-04 |magazine=[[Little White Lies (magazine)|Little White Lies]] }}
* {{Cite magazine |last=Ramachandran |first=Naman |date=2025-01-13 |title=John Woo, Chow Yun-fat Classics Among 156-Film Golden Princess Library Acquired by Shout! Studios |url=https://variety.com/2025/film/news/john-woo-chow-yun-fat-golden-princess-shout-studios-1236272850/ |archive-url=https://web.archive.org/web/20251004190037/https://variety.com/2025/film/news/john-woo-chow-yun-fat-golden-princess-shout-studios-1236272850/ |archive-date=2025-10-04 |access-date=2025-10-04 |magazine=[[Variety (magazine)|Variety]] |ref={{SfnRef|Ramachandran|2025a}}}}
* {{Cite magazine |last=Ramachandran |first=Naman |date=2025-04-28 |title=Jet Li, Chow Yun-fat Films Lead Shout! Studios' Hong Kong Cinema Classics Label |url=https://variety.com/2025/film/news/jet-li-chow-yun-fat-hong-kong-cinema-classics-shout-studios-1236379959/ |archive-url=https://web.archive.org/web/20251004191751/https://variety.com/2025/film/news/jet-li-chow-yun-fat-hong-kong-cinema-classics-shout-studios-1236379959/ |archive-date=2025-10-04 |access-date=2025-10-04 |magazine=[[Variety (magazine)|Variety]] |ref={{SfnRef|Ramachandran|2025b}}}}
* {{Cite magazine |last=Ramachandran |first=Naman |date=2025-06-18 |title=Bruce Lee, Jackie Chan and ''A Better Tomorrow'': AI-Powered Kung Fu Film Plan Debuts in Shanghai |url=https://variety.com/2025/film/news/bruce-lee-jackie-chan-better-tomorrow-ai-kung-fu-shanghai-1236435967/ |archive-url=https://web.archive.org/web/20251004192340/https://variety.com/2025/film/news/bruce-lee-jackie-chan-better-tomorrow-ai-kung-fu-shanghai-1236435967/ |archive-date=2025-10-04 |access-date=2025-10-04 |magazine=[[Variety (magazine)|Variety]] |ref={{SfnRef|Ramachandran|2025c}}}}
* {{Cite magazine |last=Rizov |first=Vadim |date=2014-08-19 |title='Burn That Film! Burn It!' Tsui Hark and Patrick Lung Kong on ''A Better Tomorrow'' |url=https://filmmakermagazine.com/87244-burn-that-film-burn-it-tsui-hark-and-patrick-lung-kong-on-a-better-tomorrow/ |url-status=live |archive-url=https://web.archive.org/web/20251004193813/https://filmmakermagazine.com/87244-burn-that-film-burn-it-tsui-hark-and-patrick-lung-kong-on-a-better-tomorrow/ |archive-date=2025-10-04 |access-date=2025-10-04 |website=[[Filmmaker (magazine)|Filmmaker]] |language=en-US }}
* {{Cite magazine |last=Scharres |first=Barbara |date=September 1993 |title=The Hard Road to ''Hard Target'' |magazine=[[American Cinematographer]] |publisher=[[American Society of Cinematographers]] |pages=62–64, 66, 68–73 |volume=74 |issue=9 |issn=0002-7928 |id={{ProQuest|196324261}} }}
* {{Cite magazine |last=Scott |first=Mathew |date=2025-06-19 |title=Chinese Studios Plan AI-Powered Remakes of Kung Fu Classics from Bruce Lee, Jackie Chan and Jet Li |url=https://www.hollywoodreporter.com/movies/movie-news/china-ai-remakes-kung-fu-films-bruce-lee-jackie-chan-jet-li-1236295093/ |archive-url=https://web.archive.org/web/20251004194548/https://www.hollywoodreporter.com/movies/movie-news/china-ai-remakes-kung-fu-films-bruce-lee-jackie-chan-jet-li-1236295093/ |archive-date=2025-10-04 |access-date=2025-10-04 |magazine=[[The Hollywood Reporter]] |ref={{SfnRef|M. Scott|2025}}}}
* {{Cite magazine |last=Short |first=Stephen |date=2000-05-03 |title=Tsui Hark: 'You Have to Touch People with Film' |url=http://www.cnn.com/ASIANOW/time/features/interviews/int.tsuihark05032000.html |url-status=dead |archive-url=https://web.archive.org/web/20231105023950/http://www.cnn.com/ASIANOW/time/features/interviews/int.tsuihark05032000.html |archive-date=2023-11-05 |access-date=2025-10-04 |work=[[Time (magazine)|Time AsiaNow]] |publisher=[[WarnerMedia|Time Warner]] |agency=}}
* {{Cite magazine |last=Staskiewicz |first=Keith |date=2009-11-17 |title=John Woo on John Woo: My Hits—and Misses |url=https://ew.com/movies/john-woo-john-woo-my-hits-and-misses/ |url-status=live |archive-url=https://web.archive.org/web/20251004195059/https://ew.com/movies/john-woo-john-woo-my-hits-and-misses/ |archive-date=2025-10-04 |access-date=2025-10-04 |magazine=[[Entertainment Weekly]] |language=en }}
* {{Cite magazine |date=1985-12-31 |title=''Yinghung Bunsik'' |url=https://variety.com/1985/film/reviews/yinghung-bunsik-1200426714/ |url-status=live |magazine=[[Variety (magazine)|Variety]] |archive-url=https://web.archive.org/web/20251004195321/https://variety.com/1985/film/reviews/yinghung-bunsik-1200426714/ |archive-date=2025-10-04 |access-date=2025-10-04 |ref={{SfnRef|Variety|1985}}}}
* {{Cite magazine |last=Woo |first=John |author-link=John Woo |date=June 1998 |title=About John Woo |magazine=Asian Cult Cinema |publisher=Vital Books |page=55 |issue=20 }}
* {{Cite magazine |last=Xu |first=Lixia |author-mask=Xu Lixia (許莉霞) |date=2017-07-25 |title=鋼筆下重現Mark哥落魄淒美 黃水斌：爭返口氣，就係唔想港漫冇咗 |trans-title=Reproduced under the fountain pen, the down-and-out poignance of Brother Mark; Wong Shui-pan: Fighting for one last breath—because I don't want Hong Kong comics to be gone |url=https://www.mpweekly.com/culture/cu0001/%E6%B8%AF%E7%94%A2%E7%89%87-%E8%8B%B1%E9%9B%84%E6%9C%AC%E8%89%B2-%E9%BB%83%E6%B0%B4%E6%96%8C-44967 |archive-url=https://web.archive.org/web/20251004195813/https://www.mpweekly.com/culture/cu0001/%e6%b8%af%e7%94%a2%e7%89%87-%e8%8b%b1%e9%9b%84%e6%9c%ac%e8%89%b2-%e9%bb%83%e6%b0%b4%e6%96%8c-44967 |archive-date=2025-10-04 |access-date=2025-10-04 |magazine=Ming Pao Weekly |publisher=[[Media Chinese International]] |language=zh }}
* {{Cite magazine |last=Yang |first=Jeff |author-link=Jeff Yang |date=August 1997 |title=Enter the Woo |url=https://books.google.com/books?id=UywEAAAAMBAJ&pg=PA96 |url-status=dead |archive-url=https://web.archive.org/web/20220421073545/https://books.google.com/books?id=UywEAAAAMBAJ&pg=PA96#v=onepage&q&f=false |archive-date=2022-04-21 |access-date=2022-04-21 |magazine=[[Vibe (magazine)|Vibe]] |pages=94–96 }}
* {{Cite magazine |last=Yang |first=Caini |last2=Jiang |first2=Lüyue |date=2024-04-26 |title=The Man Who Accidentally Created TikTok's Biggest Meme |url=https://www.sixthtone.com/news/1015067 |archive-url=https://web.archive.org/web/20251004200849/https://www.sixthtone.com/news/1015067 |archive-date=2025-10-04 |access-date=2025-10-04 |magazine=[[Sixth Tone]] }}
{{Refend}}

== Further reading ==
{{Refbegin|colwidth=30em|indent=yes}}
* {{Cite journal |last=Dissanayake |first=Wimal |date=April 2018 |title=Hong Kong in the Hollywood Imaginary: Deterritorialization and Reterritorialization in John Woo's ''A Better Tomorrow'' and ''The Killer'' |journal=Asian Cinema |volume=29 |issue=1 |pages=15–35 |doi=10.1386/ac.29.1.15_1 |eissn=2049-6710 |doi-access=free}}
* {{Cite magazine |last=Volodzko |first=David |date=2015-06-13 |title=30 Years Later, This Chinese Film Still Echoes in Hollywood |url=https://thediplomat.com/2015/06/30-years-later-this-chinese-film-still-echoes-in-hollywood/ |url-status=live |archive-url=https://web.archive.org/web/20251011212634/https://thediplomat.com/2015/06/30-years-later-this-chinese-film-still-echoes-in-hollywood/ |archive-date=2025-10-11 |access-date=2025-10-11 |magazine=[[The Diplomat (magazine)|The Diplomat]] }}
{{Refend}}

==External links==
{{wikiquote}}
* {{IMDb title|0092263}}
* {{Rotten-tomatoes|better_tomorrow}}
* {{Letterboxd title|id=a-better-tomorrow}}
* {{tcmdb title|68524}}

{{A Better Tomorrow}}
{{John Woo}}
{{Best Film HKFA}}
{{Authority control}}

{{DEFAULTSORT:Better Tomorrow, A}}
[[Category:A Better Tomorrow films]]
[[Category:1986 films]]
[[Category:1986 action thriller films]]
[[Category:1986 crime thriller films]]
[[Category:1980s buddy films]]
[[Category:1980s Hong Kong films]]
[[Category:1980s Cantonese-language films]]
[[Category:1980s crime action films]]
[[Category:Best Film Hong Kong Film Award winners]]
[[Category:Films about brothers]]
[[Category:Films about criminals]]
[[Category:Films about counterfeit money]]
[[Category:Films about families]]
[[Category:Films about friendship]]
[[Category:Films directed by John Woo]]
[[Category:Films set in Hong Kong]]
[[Category:Films set in Taipei]]
[[Category:Gun fu films]]
[[Category:Hong Kong action thriller films]]
[[Category:Hong Kong buddy films]]
[[Category:Hong Kong crime action films]]
[[Category:Hong Kong crime thriller films]]
[[Category:Hong Kong gangster films]]
[[Category:Hong Kong neo-noir films]]
[[Category:Hong Kong New Wave films]]
[[Category:Triad films]]