Fulltime Killer endings
There are films with alternate endings (Seven) and films with dual endings written into the film (Jakob the Liar), but Fulltime Killer, a Jonnie To and Wai Ka Fai film, goes beyond either of these with an ending, a meta ending, and a meta-meta ending.

I'm not sure that's right though. There's an ending, an alternate ending, an ending about both of those endings, a scene subverting that and then the rolling of the credits. Go watch the film.

In doing this, the narrative brings in the authorship and the author's role in the narrative. The author having a part in the film is a little typical, but these two directors pull it off differently: hinting at it early with a typwriter, bringing it into full view late in the story, allowing it to consume the story and then return to the background, and then up again to give and question its endings.

It makes for a particularly postmodern film, and is accompanied by a full postmodern play. The film has a long list of film references, some blatantly mentioned (Leon, Crying Freeman), others referenced without a name (Deserado) and others given tribute (Clockwork Orange, Matrix). The film also references a video game and has a sometimes contradictory juxtaposition of music.

The Village Voice said that with this movie "Hong Kong action gets its art cred back," and I suspect that's what the Guardian reviewer meant too when he asked if the the "Hong Kong action industry have a thousand films like this," for we are given the beauty and the gore, the pan and the stare that we find in, say, a John Woo film. Still, this "story of two killers with different ideas" is a film with different ideas, and below the surface of Hong Kong mobs and kung fu gun fights, this film is a thing apart.