Crank 2: High Voltage (2009) Review

Posted on June 12, 2015 by Z Ravas
"Crank: High Voltage" Japanese Theatrical Poster

“Crank: High Voltage” Japanese Theatrical Poster

Director: Mark Neveldine
Co-director: Brian Taylor
Cast: Jason Statham, Amy Smart, Clifton Collins, Jr., Efren Ramirez, Bai Ling, David Carradine, Dwight Yoakam, Corey Haim, Keone Young, Art Hsu
Running Time: 95 min.

By HKFanatic

I used to wonder what a film directed by video game auteur Suda51 (No More Heroes) would look like. Then I saw Crank 2: High Voltage and wondered no more. With High Voltage, writer/director team Mark Neveldine and Brian Taylor have taken the inner workings of your average 14 year-old’s ADD-addled, Mountain Dew-charged, Xbox-and-sex-obsessed mind and uploaded it onto the big screen. Actor Jason Statham is somehow the perfect filter for their madness as he goes around the greater Los Angeles area, trading fisticuffs with thugs and replenishing his ‘health meter’ like a video game beat-em-up come to life.

Neveldine and Taylor have had an interesting rise in the film industry. Their debut was the original Crank, a low-budget effort that made great use of Statham’s trademark snarl and a politically incorrect script. Moviegoers responded to it because of its sheer audacity – like the scene where Statham has sex on a public street corner – and even though it wasn’t a massive hit, a sequel was greenlit. Probably because Neveldine and Taylor know how to make a movie on the cheap: High Voltage was made for $20 million, a paltry sum by Hollywood standards. Inbetween the Crank films the duo turned out the interesting failure Gamer, which took the whole shaky-cam aesthetic to its most nauseating limit, and later saw their reportedly excellent, R-rated screenplay for Jonah Hex turned into the mutilated box office bomb it eventually became.

High Voltage represents Neveldine and Taylor’s signature filmmaking style, back with a vengeance. It’s American pop culture put in a blender and served up raw: you never know when the movie is going to transform into an Atari video game, a talk show parody, or a dream sequence that resembles public access television. The film opens with Jason Statham having his heart removed while a Chinese gangster mocks him and flicks cigarette ashes into Statham’s gaping chest cavity. Later on, Statham escapes from the medical facility (like you had any doubt he would) and kills off the guards, upgrading his weapons along the way in a remarkably video game-like manner.

The rest of the movie proceeds with Statham running on foot, grunting and trash-talking, as he looks for his stolen heart. The screenplay’s gimmick is that Statham’s artificial ticker needs to be charged with electricity every so often or else Statham will drop dead. This leads to scenes like Statham using a police taser on his own tongue. The film’s 90 minute runtime is dedicated solely to seeing if the filmmakers can top themselves every five minutes. Expect outrageous moments like a Latino gangster cutting off his own nipples as a sign of atonement to his boss, Bai Ling’s hooker character being pulverized by a car, and a repeat of the first film’s public shagging. Most likely you’re either in on the joke or you think the whole thing is an affront to decency.

If Crank 2 has one serious flaw, it’s that the movie is so dependent on the first entry. Upon viewing High Voltage I hadn’t seen Crank since it was in theaters all the way back in 2006. The returning characters, frequent references, and flashbacks to the first film were lost on me. I’d suggest watching them back to back if your brain can take it. That’d be one hell of a movie marathon; afterwards you might want to watch that movie that was done in one long camera take, Russian Ark, to give your retinas a rest.

High Voltage has plenty of action – shoot-outs and car crashes occur almost as frequently as the f-bomb – but don’t expect anything jaw-dropping or expertly choreographed. Most of the time the camera shows Jason Statham firing a gun then cuts to someone being shot. Rinse and repeat, and Statham can stand in the middle of a room and not get hit even when eight gangbangers are aiming for him. Oh well, it’s of little consequence – the film is pure superhero fantasy. I’d admittedly like to see Neveldine/Taylor really stretch themselves and film an intricate action sequence, but for Crank 2 the short bursts of violence work. The duo shoots these movies on the cheap and at a rapid pace (31 days of filming) and actually operates the hi-def handheld cameras themselves, even going so far as wear rollerblades to capture Statham as he’s running. Now that’s commitment.

As the film comes to an end, the fate of several lead characters are completely up in the air. You could say it’s a blatant set-up for Crank 3 but at the same time the story is almost besides the point. High Voltage is about attitude – a tribute to Statham’s tough guy persona and a distillation of every pop culture influence rattling around in the directors’ heads. Watch it, enjoy it, feel your brain throb against your skull as you try to keep up with the images onscreen. There’s a cameo from the lead singer of Tool; a scene where Statham and a bad guy turn into giant kaiju monsters and battle like that movie War of the Gargantuas; and another scene where Statham rams a shotgun up a goon’s ass. If you queue this sucker up, I think you know what you’re getting into.

HKFanatic’s Rating: 6/10

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Eight Escorts, The (1980) Review

Posted on June 11, 2015 by Martin Sandison
"The Eight Escorts" VHS Cover

"The Eight Escorts" VHS Cover

AKA: Eight Peerless Treasures
Director: Pao Hsueh Lieh
Writer: Katy Chin, Ni Kuang
Cast: Hsu Feng, Au Lap Bo, Michael Chan Wai Man, Choi Wang, Fang Mien, Goo Chang, Ko Keung, Danny Lee Sau Yin, Lily Li Li Li, Ling Yun, Mau Ging Shun, Stewart Tam Tin, Dorian Tan Tao Liang, Wong Ching, Wang Chung, Wu Ma
Running Time: 90 min.

By Martin Sandison

In 1972 director Pao Hsieh Li and screenwriter Ni Kuang created one of the all time classics of kung fu cinema, Boxer From Shantung. A tour de force of memorable characters, clever plotting and bloody violence, the movie was a highlight of the early 70’s Shaw Brothers canon. Both had illustrious careers with Shaws; especially Ni Kuang (whose screenwriting credits stretch beyond 200) who can count such milestones as One Armed Swordsman, Blood Brothers and Five Venoms as his creations. Pao began as a cinematographer on movies such as Trail of the Broken Blade and The Golden Swallow, both directed by Chang Cheh. In turn he became one of the few Shaws directors to rival Chang Cheh in the early 70’s, with movies like Delightful Forest and The Water Margin under his belt.

By the early 80’s Ni Kuang was dividing his time between Shaws and Independent productions, and Pao was only directing movies for the latter. The Eight Escorts was one that they collaborated on, a Taiwanese production with all the hallmarks of the time, and featuring a superb cast.

The plot revolves around Hsu Feng as Miss Wu, the leader of an escort service who is also searching for her brothers killer. Feng was a favourite of King Hu, one of the greatest Hong Kong film makers of all time. She had substantial parts in Dragon Gate Inn, A Touch of Zen (one of the deepest Martial Arts films you could see) and The Valiant Ones. A good actress, she brings a touch of class to The Eight Escorts.

Li Yun appears as Chin Kai Tai, an honourable martial artist who assists Miss Wu. Yun was a versatile actor, beginning his career in Taiwan in the early 60’s then moving on to Shaws and appearing in movies such as Killer Clans and Death Duel. He moved back to Taiwan and became an action star and director.

Danny Lee appears as Tung Feng, another honourable martial artist. Everyone knows him due to his parts in the Heroic Bloodshed movies City On Fire and The Killer, so it’s interesting seeing in him in a Taiwanese Indie production, especially because he performs a lot of action. Appearing in a small role, Chan Wai Man scorches across the screen with aggression and magnificent kung fu chops. This was one year before he kicked some serious ass in The Club, one of the most raw HK gangster films and two before he appeared in Five Element Ninjas, a movie that needs no introduction.

The ubiquitous Lily Li is on good form as a would be thief who fights almost everyone in the cast at some point. One of the best female martial arts actresses, she appeared in many of classics of the time, including Eight Diagram Pole Fighter and The Loot. The legendary Wu Ma has a small role and supplies some good comic relief as an inn owner who has pigtails and employs young kids to do his bidding.

Rounding off the cast is the magnificent Tan Tao Liang, who most agree is the most flexible kicker of the golden age. One of my favourite martial arts actors, although not a great actor his kicking is a joy to behold. My favourites of his are The Hot, The Cool and the Vicious and the underrated Revenge of the Shaolin Master. There are two stories that capture the imagination when it comes to Tan. The first is when he was in Taekwondo competitions he would land a kick but it would be too fast for the judges to see, so he developed a technique of hopping and landing multiple kicks. This lends itself beautifully to his onscreen fights. Another is that he was the master of John Liu, another awesome kicker. The story goes that Liu was very inflexible, so they agreed that Tan would force him into the splits. Apparently he was in pain for two years, but after that could kick very high. It’s a real shame that they never appeared in a movie together, and that Tan never appeared in a movie with Hwang Jang Lee. Actually at the Eastern Heroes event last year Hwang was asked about Tan, and he didn’t really say much about him.

Unfortunately there are major problems with The Eight Escorts. The story is very convoluted and there are too many characters, meaning it’s nearly impossible to follow the plot. This is a criticism that applies to loads of old schoolers, but here it gets very irritating. There is so much fighting that the plot doesn’t even matter. So to the action. It’s great when there is loads of fighting in a movie as we all know, but if it doesn’t reach a decent level the audience is left unsatisfied. This is the biggest problem with the film.

Most of the fights are slow and uninspiring. The choreographer is Chan Muk Chuen, a veteran old school choreographer, and definitely not up there with the best. He choreographed Big Boss of Shanghai, a movie I enjoyed, but again the choreography never reaches that high a level. The use of unusual weapons is a definite plus point though. When Tan and Chan Wai Man get into the mixer the level immediately goes up, and there is some great invention in the exchanges and the use of environment.

All in all Eight Escorts scores points for a fantastic cast and some great fight scenes towards the end, but in the end it’s a bit of a wasted opportunity.

Martin Sandison’s Rating: 5/10

Posted in All, Chinese, News, Reviews | Tagged , , , , , , , , , |

Steven Seagal, Rutger Hauer, Vinnie Jones and Michael Dudikoff head for the ‘Four Towers’

Posted on June 10, 2015 by JJ Bona
"Pistol Whipped" Japanese DVD Cover

"Pistol Whipped" Japanese DVD Cover

Next month, Giorgio Serafini (Puncture Wounds) will begin production on Four Towers, an action flick starring Rutger Hauer (The Hitcher), Steven Seagal (Above the Law), Costas Mandylor (Fist of the North Star), Vinnie Jones (Midnight Meat Train), Michael Dudikoff (American Ninja) and Gianni Capaldi (Puncture Wounds).

Here’s the plot according to EP: Viro (Hauer), a criminal mastermind, partners with a woman in a plot to steal a cache of gold from her billionaire father, Bronson (Seagal). Unbeknownst to Viro and his soldiers of fortune, one of Bronson’s guests is a trained operative who fights to not only save the hostages and the gold, but also his family.

Other Seagal film in the works include Code of Honor, Under Siege 3, Cypher, Perfect Weapon, The Asian Connection, Killing Salazar and End of a Gun. Production for Four Towers starts on July 25th. Stay tuned for more updates!

Posted in News |

Rage | aka Tokarev (2014) Review

Posted on June 9, 2015 by Paul Bramhall
"Rage" Japanese DVD Cover

“Rage” Japanese DVD Cover

Director: Paco Cabezas
Cast: Nicolas Cage, Rachel Nichols, Peter Stormare, Danny Glover, Max Ryan, Michael McGrady, Judd Lormand, Max Fowler, Pasha D. Lychnikoff
Running Time: 92 min.

By Paul Bramhall

For several years now Nicolas Cage seems to have had a ‘say yes to everything’ policy in place when it comes to accepting movie roles. It’s a policy which has taken him to some odd places – in 2014 alone he starred in the cringe inducing Chinese period piece Outcast, the Christian propaganda movie Left Behind, straight to video thriller Dying of the Light, and last but not least, straight up revenge flick Rage.

Look up a one-line plot description for another of Cage’s straight to video thrillers, 2012’s Stolen, and it’ll read “A former thief frantically searches for his missing daughter, who has been kidnapped.” Basically the same description can be applied to Rage, only instead of a former thief, he’s a former gangster, now living a peaceful life with his wife and daughter while running a construction company. From the get go it becomes clear that Spanish director Paco Cabezas, here working on his first English language movie, is trying to go for a Taken vibe with Cage’s character. However with his super slicked back hair and leather jacket, Cage comes across as more of a Steven Segal clone than the killing machine that Liam Neeson so effectively portrayed.

To elaborate on the plot a little further, Cage and his wife have to attend a dinner one evening to help secure a construction deal. Leaving his 16 year old daughter at home hanging out with two of her guy friends, in the midst of the dinner he’s interrupted by the police. Immediately assuming they’re on his case due to his past misdemeanors, he attempts to get rid of them, only for them to drop the bombshell that they’re not there about him, they’re there about his daughter. Soon Cage is shaking down his daughters two guys friends to find out what happened, but apart from revealing that three masked men broke into the house and took her, they aren’t able to provide any other clues. That is until it’s revealed that a Tokarev pistol was involved in the abduction, which implies the Russian mafia was involved.

So, of course Cage does the only thing he can do, he rounds up his two best friends that also used to be gangsters, and proceeds to “do what he has to do” to find his daughter. What follows is probably supposed to be a taut thriller with Cage and co. navigating the Alabama underworld to get answers as to his daughter’s whereabouts, however thanks to an unbelievably clunky and awkward script, Rage frequently entertains for all the wrong reasons. Most of the entertainment comes from Cage himself. He’s always been an actor with a streak of extravagance, and in the right roles he’s a joy to behold. However most of those roles happened a long time ago, and recently his over the top histrionics are more a source of amusement than a legitimate expression of character.

Rage perhaps does more to cement the former opinion than any of his recent movies, as he takes the script and rampages through the 90 minute run time in a variety of laugh inducing scenes. Even the somber moments, such as when he asks for the help of his two friends, become bizarre exercises in acting, calling them over for an awkwardly filmed three-way man hug which brings new meaning to invading another’s personal space. For those looking to see Cage do what he does best though – lose it in a fit of hysterical screaming and yelling – Rage provides not one but two of these scenes, both of which I’d be willing to bet put to shame any comedy released in the same year. I’d also suggest on the strength of his performance here that Cage’s hair should almost have its own billing, as the various states of dishevelment it gets into during his mission for justice demonstrate more range than some of the actors.

Keeping with the theme of head scratching moments, Danny Glover turns up as a police lieutenant who delivers the news to Cage about his daughter. Glover knows about Cage’s criminal past, but trusts that he’s clean now, so basically just shows up now and again to dispense such pearls of wisdom as “Let us do this our way.” Of course, really Glover should have arrested Cage the minute bodies start piling up, but for reasons known only to the script writers, he doesn’t. In a scene which stretches the concept of disbelief like no other, Cage gets involved in a car chase with the police, during which one police car even goes up in a ball of flames, however at the end of it, Glover turns up and lets him go. I suspect the only reason Glover is in the movie at all is that he must have had a spare hour one quiet Saturday afternoon, so figured he might as well make himself some extra dollars.

The movie was scripted by James Agnew and Sean Keller, who between them have been responsible for the Wesley Snipes actioner Game of Death, Dario Argento’s misfire Giallo (most famous for the lawsuit that Adrien Brody successfully filed due to not being paid!), and TV monster movie Kraken: Tentacles of the Deep. Not exactly a top tier writing duo, and unfortunately it shows frequently. The script isn’t the only issue though, the production values themselves are also laced with technical errors. From the shadow of a boom mike following a character, to the crew being reflected in Cage’s sunglasses, to damaged cars arriving in the next scene without a scratch on them. Somehow though, rather than being infuriating, the clumsiness of everything only adds to the ‘so bad it’s good’ quality of proceedings.

Rage does do some things right. The head of the Russian mafia is played with effective menace by Pasha D. Lychnikoff, and it’s one of the few movies in which he actually gets a name rather than being the stock Russian character. (Look this guy up on IMDB – Russian FBI Agent in Miami Vice, Russian Man on Street in Cloverfield, Russian Soldier in Indiana Jones and the Kingdom of the Crystal Skull, Russian Cabbie in A Good Day to Die Hard) The brief bursts of action are also entertainingly staged. Cage and co. raid both a gambling den and a drug dealer’s house over the course of the movie, and both scenes play out effectively with no CGI, with some nice falls from the stuntmen. The violence also shows imagination, from one character having a noose tied around their neck, and the other end tied to a breeze block, which is then thrown out of a several floors up window, to another character having their hand pinned to their back with a knife.

It has to also be noted that Rage ends with a twist that I didn’t see coming, and I’d say almost does enough to redeem a lot of the movies short comings. It shows that writers Agnew and Keller did actually have a solid story to be told, the issues come from their inability to create an engaging script to tell that story. That being said, the twist packs the punch it intends, and for that they should be given credit. In the closing line of the movie, Cage looks directly at the camera, and in what could well be a case of breaking the fourth wall, solemnly states, “I’m sorry I let you down.” Looking at the number of roles he’s going to be playing in the immediate future though, I think it’s safe to say he doesn’t mean it.

Paul Bramhall’s Rating: 5.5/10

Posted in All, News, Other Movies, Reviews | Tagged |

Expect more martial arts action as the Punisher joins Netflix’s ‘Daredevil’

Posted on June 8, 2015 by JJ Bona
"Daredevil" Japanese Theatrical Poster

“Daredevil” Japanese Theatrical Poster

By all accounts, season one of Netflix’s Daredevil series has proven a rousing success. The 13-episode program, which features Charlie Cox (Stardust) as Marvel Comics’ blind attorney turned vigilante, earned high marks from both critics and fanboys alike thanks to its blend of crime drama and hard-hitting action.

The show’s fight scenes, of which are there many, offer intricate martial arts choreography that wouldn’t be out of place in a Hong Kong action flick. In fact, Daredevil showrunner Steve S. DeKnight revealed to Entertainment Weekly that the series’ inspiration included modern Indonesian classic The Raid: Redemption. Given the acclaim that greeted Daredevil’s first season, fans are already anticipating Season 2.

And they have every right to get excited: Marvel announced today that actor Jon Bernthal, perhaps best known for his turn as hotheaded Shane in TV’s The Walking Dead, has been cast as the Punisher – Marvel Comics’ other streetside vigilante who, unlike Daredevil, isn’t afraid to pull the trigger and mete out a deadly brand of justice. Looks like things in Hell’s Kitchen are about to be anything but quiet when Daredevil: Season 2 arrives sometime in 2016.

Posted in News |

Zebraman (2004) Review

Posted on June 3, 2015 by Z Ravas
"Zebraman" Japanese Theatrical Poster

“Zebraman” Japanese Theatrical Poster

Director: Takashi Miike
Writer: Kankuro Kudo
Cast: Sho Aikawa, Kyoka Suzuki, Teruyoshi Uchimura, Yui Ichikawa, Koen Kondo, Naoki Yasukochi, Makiko Watanabe, Keisuke Mishima, Yu Tokui, Yoji Tanaka
Running Time: 115 min.

By HKFanatic

With the massive success of 2010’s 13 Assassins it’s easy to forget that, oh, just a year ago director Takashi Miike was more well known for his typically surreal cinema efforts, which have included such feats as a woman shooting darts from her, uh, private regions and people regularly being cut in half. 2004’s Zebraman is one of those zanier flicks, and though it tones down the sex and violence it ramps the weird factor way up. Despite the titular character’s goofy, Super Sentai-inspired costume, don’t mistake this for a kid’s movie.

The heart and soul of Zebraman is actor Sho Aikawa, who previously worked with Miike on the Dead or Alive films. Aikawa plays a character who is a complete failure at life and has very little to recommend about him as a human being, and yet because of Aikawa’s performance you can’t help but root for the guy. Aikawa is a 3rd grade teacher who puts the minimal amount of effort required into his job; his son gets beat up at school because all the other kids think his dad is a loser; his wife is cheating on him; and his daughter sleeps around with middle-aged men she meets on the internet.

The only reprieve from his dreary life comes from his nights spent dressed up as Zebraman, a TV superhero he recalls from his childhood. Yet even this act is clouded with shame: Aikawa actively worries that someone from his job will see him dressed in the black-and-white costume and fire him on the spot. Eventually, Zebraman learns that he might actually have a knack for this superhero thing. When some CG aliens show up looking to make Japan ground zero for their invasion, only Zebraman can stop them – but first he’s got to believe that he can do it, which might take some convincing.

If there’s anything that mars Zebraman as a film, it’s the pacing. The film is very leisurely paced, which means it never manages to build up momentum. About an hour in, some apocalyptic-type events transpire and I was certain that the film was leading into the climactic encounter between Zebraman and the aliens – and then there was another hour to go. 115 minutes is probably a tad too long for what basically amounts to a superhero farce. Still, it gives Miike time to develop the characters and the world of the film.

I’ll also admit it was more fun to watch Zebraman take on your garden variety robbers, serial killers, and would-be rapists with his “Zebra Double Kick” and “Zebra Screw Punch,” than it was to see him fight aliens. The problem with the end battle between Zebraman and the aliens is that the extraterrestrials are low-rent, low-budget (for 2004!) CG blobs that wouldn’t have looked out of place in the Robin Williams comedy Flubber. So the ending wasn’t as entertaining as it could have been.

Regardless, there’s a lot to recommend about Zebraman. It’s a story about a pretty pathetic guy – the kind of person you might know at your job or school – who finds the strength inside himself to become a hero. Along the way, there are a lot of pratfalls and bathroom jokes, including a guy who washes his crotch with alien-infected water at a sauna. But I’ll admit that part made me laugh, among other scenes, and Miike brings his usual flair for action and absurd scenarios. If you enjoy superhero comedies, Power Ranger parodies, actor Sho Aikawa, or just weird Japanese movies in general, Zebraman fits the bill nicely.

HKFanatic’s Rating: 7/10

Posted in All, Japanese, News, Reviews | Tagged , |

20th Century Boys: Chapter 1: The Beginning of the End (2008) Review

Posted on June 2, 2015 by Z Ravas
"20th Century Boys: Chapter 1" Japanese Theatrical Poster

"20th Century Boys: Chapter 1" Japanese Theatrical Poster

Director: Yukihiko Tsutsumi
Producer: Nobuyuki Iinuma
Cast: Toshiaki Karasawa, Etsushi Toyokawa, Takako Tokiwa, Teruyuki Kagawa, Takashi Ukaji, Kuranosuke Sasaki
Running Time: 142 min.

By HKFanatic

20th Century Boys is a live-action film based off the immensely popular and award-winning manga by Naoki Urasawa, who also created Monster. I’m not familiar with the source material but it must be pretty damn epic – it’s taken three movies, each over 2 hours long, just to complete the 20th Century Boys saga. I imagine this will be the biggest stumbling block for viewers looking to get into the series: Chapter 1, the first film, is 142 minutes long and you don’t even get the complete story.

Regardless, this is a movie worth looking into. It starts in a familiar way, not unlike Shaun of the Dead or even The Matrix, with an assuming everyman stuck in a job that’s going nowhere until he receives a call to action and must embark on a hero’s journey. The main character, Kenji, is an ex-rock guitar player now nearing his 40’s who runs a convenience store with his mom and looks after his vanished sister’s baby. He’s a good-hearted guy who’s resigned himself to a middle of the road kind of existence. Then one day the apocalyptic prophecies that he and some childhood friends dreamed up when they were kids, prophecies involving a cult and a deadly virus, actually start coming true. Now it’s up to Kenji to reunite with his old pals, figure out who’s behind the conspiracy, and save Tokyo before it’s destroyed.

At 142 minutes, you better believe this movie takes the time to set up the plot and introduce the characters. Without a doubt you get to know everyone in the film, even though the cast is quite large. It can be a bit confusing to keep track of everyone and the film jumps around in time from the past in the 1970’s to the “present” of the story in 2000 and even to the future in 2015. Stay focused and you’ll find that the characters are quirky and endearing, and you’ll be dying to learn just who the mysterious Friend – the masked foe out to destroy humanity – really is.

If I have one complaint about the film, it’s that despite the long runtime and measured pace the ending feels rushed.  Once you do get to the climactic final 20 minutes of the film, featuring a giant robot stomping on Tokyo and spraying a deadly mist that causes people’s heads to explode, the action sequence doesn’t have time to develop. It’s kind of like if they had tried to shoehorn the Battle at Helm’s Deep into the last 20 minutes of Fellowship of the Ring. Granted, it probably wasn’t an option to end the film earlier since Chapter 2 takes place in the future and with a mostly new set of characters (I told you this thing was epic), but the finale just didn’t carry the impact I wanted. The special effects are certainly remarkably impressive, though – and who doesn’t love giant robots tearing shit up?

The 20th Century Boys trilogy is one of Japan’s largest cinematic undertakings, with a budget of 6 billon yen ($77 million) and a cast of hundreds across the entire series. Committing to watch all three films is certainly a large investment of time, seeing as how altogether they run about 7 and a 1/2 hours. But after watching and enjoying Chapter 1, I feel confident that the rest of the series is worth looking into.

HKFanatic’s Rating: 8/10

Posted in All, Japanese, News, Reviews |

Donnie Yen’s ‘Kung Fu Killer’ hits hard this July!

Posted on June 1, 2015 by JJ Bona
Kung Fu Killer | Blu-ray & DVD (Well Go USA)

Kung Fu Killer | Blu-ray & DVD (Well Go USA)

Legendary Hong Kong action icon Donnie Yen is back in top form with the bone-crunching, martial arts action thriller Kung Fu Killer (read our review), debuting on Digital HD July 7, before hitting Blu-ray™ and DVD July 21 from Well Go USA Entertainment. Watch the trailer!

Bonus Features include: Making of, Fight To The Top, The Spirit of Kung Fu, The Final Duel, Legendary Action Directors and Trailer.

When a vicious serial killer targets top martial arts masters, convicted criminal and kung fu master Hahou (Donnie Yen) is the only one with the skills to stop him. Released from jail and into police custody, they soon have their doubts about Hahou’s true allegiance, causing Hahou to be hunted by an unstoppable killer (Wang Baoqiang) and the entire police force. Louis Fan (Flying Swords of Dragon Gate), Wang Baoqiang (Iceman) and Charlie Yeung (Bangkok Dangerous) also star for Director Teddy Chen (Bodyguards & Assassins, The Accidental Spy) in the action-packed drama that won “Best Action Choreography” at the 2015 Hong Kong Film Awards.

Until then, don’t miss our review and watch Well Go USA’s trailer.

Posted in News |

Master Strikes, The (1980) Review

Posted on May 31, 2015 by Paul Bramhall
"The Master Strikes" Thai Theatrical Poster

“The Master Strikes” Thai Theatrical Poster

Director: Kao Pao Shu
Writer: Kao Pao Shu
Cast: Meng Yuen Man, Tony Ching Siu Tung, Casanova Wong, Yen Shi Kwan, Eddie Ko Hung, Wong Mei Mei, Max Lee Chiu Jun, Meg Lam Kin Ming, Sham Chin Bo
Running Time: 85/91 min.

By Paul Bramhall

The Master Strikes is one of those movies that seems to split audiences down the middle. Some fans praise it as being the movie in which Casanova Wong’s kicks have never looked better, while others say that the comedy is so awful it negates any of the positives to be found. Of course with the kung fu comedy becoming a mainstay of the genre from the late 70’s, most of us are accustomed to sitting through a certain amount of grating Canto style gurning in order to reach the fight action. So the question is, what is it about this movie that makes it any different?

One of the last movies from female director and writer Kao Pao Shu, a prominent figure in the industry who was a Shaw Brothers actress through the 50’s and 60’s, The Master Strikes brings with it a cast of kung fu talent that would be enough to capture even the most jaded fans attention. Along with the previously mentioned Korean boot master Casanova Wong, in a rare starring role legendary fight choreographer Tony Ching Siu Tung also features. Siu Tung would cement his unique style of intricate and fantastical wirework a couple of years after The Master Strikes with his 1982 directorial debut, the classic Duel to the Death. Here though, in which he also takes on choreography duties, there is no wirework in sight, instead going with a strictly old-school grounded approach, which we’ll get to later.

Alongside Siu Tung is another old school favorite, Meng Yuen Man. Yuen Man was an actor who was on a roll in the late 70’s – early 80’s boom of kung fu movie excellence. Prior to The Master Strikes he played a similar role a year earlier in The Hell’s Windstaff, were in place of being buddied up with Siu Tung, he partnered with Meng Hoi to take on the wrath of Hwang Jang Lee. The Master Strikes may not have Hwang Jang Lee as its villain, but it does have fellow villain aficionado Yen Shi Kwan, who adequately compensates. Shi Kwan may not be the most familiar name, but his career had a surprising longevity, and he’s faced off with the best of them. The guy who Jet Li has the ladder fight against in Once Upon a Time in China? That’s Shi Kwan. The villain with the deadly sleeves that Donnie Yen and Yu Rong Guang have to team up against in Iron Monkey? That’s Shi Kwan as well. The guy is a silent achiever if nothing else.

These are just the main players, throw in roles from the likes of Eddie Ko and Tony Leung Siu Hung, and you have to wonder what could go wrong? Perhaps the best way to put it is, depending on your tolerance, nothing does. The story of The Master Strikes is simple if not entirely coherent. Shi Kwan hires Wong, who runs a courier service, to deliver a box containing a priceless jade horse. Quite where the journey takes Wong we’re never quite sure, but within the first 5 minutes he’s completed it, and delivers it to, well, Shi Kwan. Apparently the journey took 17 days, and exactly why Shi Kwan had it delivered it to himself comes across as rather bizarre, but things are partly explained when it’s revealed that the horse has gone missing from the box.

Wong becomes frantic, and ends up handing over all of his land, as well as his business, to Shi Kwan as compensation, before going to a local teahouse to drown his sorrows. It’s there that he meets the mischievous duo of Siu Tung and Yuen Man, and after striking up a conversation, they reveal to him how easily he’s been conned. Explaining that Shi Kwan must have used the same technique that they use to cheat when gambling, which basically entails the box having a removable bottom so that it’s easy to switch items, Wong comes to the realization of what’s happened. This is usually the part in most kung fu movies that our main character would swear vengeance, and go on a rampage taking down everyone in his way. But not in The Master Strikes, and this is probably the point that divides people.

Instead of the above, Wong enacts a mental breakdown, resulting in him becoming completely insane. This mostly takes the form of him acting like an epileptic monkey with mental deficiencies that’s been living on a diet of Red Bull and Helium. He also becomes unable to say anything other than “I understand!” over and over again. For anyone who’s familiar with the animation South Park, he somewhat takes on the characteristics of Timmy, only replace the phrase “Timmy!” with “I understand!” In the interests of full disclosure, I’ll point out here that I watched The Master Strikes with the English dub. Would it have made any difference to have watched it in its original language? In my personal opinion I doubt it, although I’m open to being corrected.

Wong decides to hang out in the teahouse mumbling to himself for a sizable chunk of the remainder, which results in him disappearing from proceedings for an extended period. Instead, the movie shifts its focus to the hijinks of Siu Tung and Yuen Man. This is were things start to get gratingly bad. Soon we’re drowning in several scenes of slapstick and gurning, all of which would be forgivable, except for the fact that every one of them seems to end with multiple characters yelling over each other until it becomes an inaudible mess of white noise. It’s enough to make you reach for the mute button.

Somewhere amongst the bombardment of insufferable humor even Beggar Su makes an appearance, played by Max Lee Chiu Jun, and spends a brief period training the two fools, in a sequence which bears no connection to the rest of the plot beyond padding out the runtime. Amongst all of this comedic wreckage though, some scenes are actually funny, most involving Casanova Wong. Whether it’s in the original language track, or just a stoke of genius by the dubbing crew, I dont know. Whatever the case, during the scenes which take place in the teahouse, specifically the ones which don’t involve Wong directly, you can constantly hear him faintly mumbling in the background, “I understand…..I understand.” The absurdity of it is hilarious, and had me genuinely laughing.

So, understandably from all of the above, The Master Strikes sounds like more miss than hit. However, it’s an old school kung fu flick, so it’s only right that judgment should also be heavily based on the quality and quantity of the fights. Actually there are only three main fight sequences – one when Wong first goes crazy and attacks Siu Tung and Yuen Man in the teahouse, another featuring Eddie Ko, and the finale which sees Wong, Siu Tung, and Yuen Man team up to take on Shi Kwan and two henchmen. This review would be much easier to conclude if the fights were as average as everything else, but frankly, that’s not the case. Put simply, they contain some of the most amazing choreography you’re likely to see in any kung fu movie.

Wong’s kicks seem to be operating on a different level, perhaps it’s the insanity, but to draw a comparison, imagine at the end of Drunken Master 2 if it had been Ken Lo who drinks the industrial strength alcohol instead of Jackie Chan, and that may come close to capturing the intensity of his moves. For all of the awful comedy that’s come before, from the 70 minute mark we’re treated to an almost non-stop 15 minutes of kung fu gold. Eddie Ko throws down in an extended sequence which is a joy to watch, and the finale itself is difficult to do justice to with words. What’s supposed to be a 3-on-3 at some points hilariously becomes a 1-on-5, with Wong being that out of control that he tries to take out literally everyone around him.

While Wong remains empty handed throughout, Siu Tung and Yuen Man brandish spears against the henchmen’s guandaos, eventually segueing into a 3-on-1 empty handed shapes fest against Shi Kwan. The mix of fists, feet, acrobatics, and even a dose of sexual harassment is heart pounding in its ferocity and speed, quickly making all that has come before like a bad memory. I always try to be subjective when I watch a movie, and as I’ve gotten older I find I’m no longer so tolerant towards sitting through an hour of mediocrity to get to the good stuff, however in the case of The Master Strikes, perhaps I can best sum it up with 2 words – “I understand!”

Paul Bramhall’s Rating: 7.5/10

Posted in All, Chinese, News, Reviews | Tagged , , , , , , , |

Martial arts fighters collide in the trailer for ‘Bloody Destiny’

Posted on May 31, 2015 by JJ Bona
"Bloody Destiny" Chinese Theatrical Poster

"Bloody Destiny" Chinese Theatrical Poster

A new tournament-style martial arts flick is on its way from the Chinese mainland titled Bloody Destiny. Not much is known from the plot, but considering its poster is reminiscent of old-school Shaw Bros. and Golden Harvest flicks (it even features a guy dressed up in Bruce Lee’s famous yellow/black tracksuit from Game of Death), the movie definitely stands out as something to look out for.

Zang Xichuan directs with Gu Shang Wei leading a cast consisting of Haitao Du, Yun-su Choi, Feng Xinyao, Feng Gang and Ka-Yan Leung. Check out the teaser and a trailer (via FCS and SF).

Bloody Destiny hits Chinese theaters on June 26th, 2015 – is Well Go USA listening? Only time will tell…

Posted in News |

Colombiana (2011) Review

Posted on May 29, 2015 by Z Ravas
"Colombiana" Japanese Theatrical Poster

“Colombiana” Japanese Theatrical Poster

Director: Olivier Megaton
Cast: Zoe Saldana, Michael Vartan, Cliff Curtis, Lennie James, Callum Blue, Graham McTavish
Running Time: 108 min.

By HKFanatic

During the past few years, Luc Besson has made the transition from writer/director to writer/producer, creating a stable of Eurotrash action flicks with a rotating set of directors. He’s helped launch the careers of guys like Louis Letterier, who made the transition from The Transporter to big time American studio fare like the Clash of the Titans remake, and Pierre Morel, whose Taken was such a big hit that he was once slated to helm a Dune revamp. Perhaps Besson is still stinging from the critical and financial drubbing that his Joan of Arc pic The Messenger received. Either way, he hasn’t actually directed a live-action film that’s hit American screens in over a decade. Action fans no doubt miss his visionary touch behind the camera, but in the meantime we’ll have to make due with his Europa-studio films that tend to hit the theaters at least once a year.

Besson’s screenplays are at their finest when playing off Middle American fears, whether it was Liam Neeson discovering that Paris is one big sleazy ghetto and justifying CIA torture tactics in Taken or John Travolta confirming that your neighbors, your friends, yes, even your fiance could be a Islamic sleeper agent in From Paris With Love. Besson’s latest production effort, Colombiana, abandons any such potentially offensive subject matter and moves the story to Chicago for your standard contract killer tale. This proves to be a fatal move as Colombiana has to be the worst film I can recall Besson having his name attached to in quite some time. To put it bluntly, Besson just doesn’t “get” contemporary America. His screenplay falters when merely trying to give dialogue to your average thirty-something dude living in a big US city and dogged FBI agents. Besson is served best when painting his home country as a volatile environment where violence could erupt at any moment (Kiss of the Dragon, District B13).

At its heart, Colombiana is an update on Besson’s own formula for The Professional. Besson always hinted that he would return to that story someday and portray Natalie Portman’s character as a grown up assassin. After a lengthy prologue featuring a child actress, Colombiana moves to the present and follows Zoe Saldana as the kind of character one imagines Natalie Portman would have played. She’s a deeply wounded woman who lives in quiet isolation, keeps everyone in her life at arm’s length, and is exceptionally good at killing people.

Saldana has replaced Angelina Jolie as the go-to “hot” action girl since appearing in movies like Avatar and Star Trek. She’s convincing enough as a trained killer, although your milage may vary considering she’s all of 90 lbs and in one scene smacks a guy with a bathroom towel. I’m not sure how much that would hurt. Zaldana is also let down by Besson’s screenplay, which is full of weak dialogue and yet calls on her to breakdown and produce tears in far too many scenes. So much for being an iron-hearted assassin, lady.

Director Olivier Megaton, ridiculous name aside, doesn’t have many films to his name.  Lukewarm reviews dissuaded me from seeing his previous Besson collaboration, The Transporter 3, even though I am a fan of that series. Out of all of the directors that Besson has worked with, he definitely seems the weakest. In Colombiana, Megaton over-relies on slow motion during shoot-outs and films the movie’s crucial fight scene in disorienting close-ups.

This fight, between Saldana and her co-star Jordi Molla (the villain from Bad Boys II and severely under-used in this movie), is probably the worst fight scene I’ve witnessed in a major studio production. The camera angles are so tight and the editing so choppy that the entire fight is rendered incomprehensible. The fight choreography is by Alain Figlarz, who did stunts on both The Bourne Identity and Brotherhood of the Wolf, and is clearly going for that “Bourne” sense of immediacy – yet decisions behind the camera and in the editing room mean that it’s impossible to appreciate his work. I am not exaggerating when I say the editing is so rapid it borders on seizure-inducing. It’s really shameful that a professional, highly paid film crew would deliver an action scene this incompetent.

During the entire film, I sensed that Colombiana had been edited to conform to a PG-13 rating, at least when it comes to the violence. Many people are shot but the camera is quick to cut away before any wounds are depicted. There’s no shortage of cheesecake, though, as Zoe Saldana spends almost the entire film in her skivvies. Colombiana, then, is proof that you can sell tickets by having Zoe Saldana in her underwear but you can’t carry a 90 minute movie.

HKFanatic’s Rating: 4/10 stars

Posted in Asian Related, Reviews | Tagged , |

Taking of Tiger Mountain, The (2014) Review

Posted on May 28, 2015 by Kelly Warner
"The Taking of Tiger Mountain" Chinese Theatrical Poster

“The Taking of Tiger Mountain” Chinese Theatrical Poster

Director: Tsui Hark
Cast: Zhang Hanyu, Tony Leung Ka-fai, Lin Gengxin, Yu Nan, Tong Liya, Kenny Lin, Gao Hu, Zhou Dong Yu, Han Geng, Chen Xiao, Mo Tse, Zha Ka, Li Bing-Yuan
Running Time: 141 min.

By Kelly Warner

Adapted from Qu Bo’s 1957 novel Tracks in the Snowy Forest, which is itself based on a true story, Tsui Hark’s The Taking of Tiger Mountain takes what sounds like another drama about China’s revolution following WWII and turns it into an entertaining action adventure instead. Tsui Hark thankfully shirks politics, preferring instead to just have a bit of fun. I don’t always agree with such an approach to historical events, but in recent years we’ve gotten a lot of historical action films from Asia that tried to be tragic and dramatic but came across as stuffy and dull instead. A movie that simply strives to entertain its audience is all right by me. And while it’s unlikely that The Taking of Tiger Mountain will ever be considered one of Tsui Hark’s finest films, it is one of the director’s most entertaining pictures made in the past decade or more.

The film takes place in the year following Japan’s surrender in WWII. In chilly Northeast China, the villainous Lord Hawk and his army of bandits were taking over territories, driving the villagers towards starvation. A small squad of the People’s Liberation Army moves in to help the villagers and end Hawk’s reign. But Hawk has put himself in a position where he cannot be easily defeated. He resides in a fortress atop Tiger Mountain, surrounded on all sides by treacherous rock and ice. In order to get into the fortress, the PLA sends one of their own into Hawk’s midst to gain his trust and sabotage the defenses.

As filmed by another director, The Taking of Tiger Mountain might’ve been a gritty film about war and revolution. However, Tsui Hark gives the action a giddy sense of excitement and adventure. And because the action forms the backbone of Tiger Mountain, that excitement is shared with much of the rest of the film as well. There’s a sequence half-way through the movie when a town is attacked by machinegun toting bandits on skis. At one point during this sequence, a grenade explodes over the bandits, and Hark stops the frame, rewinds it to watch the grenade put itself back together, spins the camera around to a new angle, and watches it explode again. The film has plenty of flaws, but when it’s working it’s a blast.

Hark’s Detective Dee films reminded me a bit of Guy Ritchie’s Sherlock Holmes series (and I still say that fans of one series should check out the other). I think there’s a similarity between Ritchie’s Sherlock films and Tiger Mountain as well. This time it’s not similar stories and heroes, but rather a similar use of style. During some of Tiger Mountain’s action we get these moments where the action slows to a stop, the camera revolves around a bullet, then the camera rushes off to where the bullet will land before time is allowed to continue. In Ritchie’s Sherlock Holmes films, this stylistic device was often used to depict the master detective’s ability to focus during action. Here Hark uses the technique just because it looks cool. And that’s fine, I think. It gives the action a little something different. Right before it starts feeling like overkill Hark stops using the technique and switches to something else, keeping things fresh.

It’s clear that the director and much of the cast are having fun with the movie. In the role of Lord Hawk, Tony Leung Ka Fai gets the chance to play what is essentially a goofy Bond villain. Hawk lives in a super fortress in the snowy mountains, he desires power above all things, he keeps a dangerous hawk as a pet, and his men are crazy loyal and all have names like Bro 6, Bro 7, and Bro 8. Tony Leung Ka Fai is nearly unrecognizable beneath prosthetic makeup and a whispery villain voice. It’s a fun performance and easily the best character in the film.

The PLA squad is a group of uninteresting, self-sacrificing heroes that blend together because they’re all pretty much interchangeable do-gooders. When will writers learn that hero worship often results in boring characters? The only standout character from their bunch is Yang, as played by Hanyu Zhang (Back to 1942). Yang spent time among bandits in the past and their ways have rubbed off on him, making him the odd duck in the squad but the perfect man to infiltrate Hawk’s bandits. Much of the film has the bandits putting Yang through trials to prove his loyalty. It’s in these scenes that we don’t mind that bullets aren’t flying, because Hawk and Yang are the interesting characters, and Leung and Zhang are both actors fully capable of bringing the drama to life. When we’re left to spend time with the rest of the PLA the film buckles a bit. Tiger Mountain is the sort of film where you kinda root for the bad guys because at least they’re entertaining to watch.

The Taking of Tiger Mountain was filmed in 3D and it’s clear that’s the format the filmmaker’s intended you watch it in. Throughout the film Hark throws bullets, blood, chunks of an ear, and more at the audience in an attempt to go for the 3D wow factor. I watched the film in 2D, the only format available on Well Go USA’s otherwise very impressive looking Blu-ray. I think the film looks fine in 2D, but those shots that were obviously designed with 3D in mind are hard to miss.

One of Tsui Hark’s most surprising choices is to bookend the film with scenes set in 2015. In these scenes, a young man watches bits of the 1970 Peking opera adaptation, Taking Tiger Mountain by Strategy. It may be an unnecessary addition, but it adds a bit of whimsy to the film, something that is present in a lot of Hark’s movies. Others may disagree about the 2015 sections in the film, but I liked them.

I did not like how Hark chose to end the film, however. As the credits are about to begin, the film stops and goes, ‘Oh, by the way, there was supposedly an airstrip at Hawk’s base. I wonder how that might’ve impacted the final showdown…’ Though all the various conflicts have been resolved by now, we’re treated to an additional action sequence that pretends that earlier climax never happened. What it feels like is an alternate ending that should’ve been left as a DVD extra but instead has somehow wormed its way into the final cut because the director apparently didn’t know he’d already done a good enough job ending his movie.

I should take a full grade off for that unnecessary sequence… but in the end I enjoyed my time watching Tiger Mountain and I don’t want to discourage viewers from giving the film a chance. One could easily say that Hark was having too much fun with his movie and simply didn’t know when enough was enough. It’s a frustratingly flawed film, but there’s still a great deal to enjoy.

Kelly Warner’s Rating: 7/10

Posted in Chinese, News, Reviews | Tagged , , , |

Chocolate | aka Fury (2008) Review

Posted on May 26, 2015 by Z Ravas
"Chocolate" Japanese DVD Cover

“Chocolate” Japanese DVD Cover

Director: Prachya Pinkaew
Cast: Yanin Vismitananda, Hiroshi Abe, Pongpat Wachirabunjong, Taphon Phopwandee, Ammara Siripong, Dechawut Chuntakaro, Hirokazu “Hero” Sano, Sirimongkol Singwangcha, Su Jeong Lim
Running Time: 92/100 min.

By HKFanatic

I thoroughly enjoyed the Thai action movie Chocolate when it first came out in 2008, but revisiting it a few weeks ago on blu-ray – with the sound cranked – I think I loved it even more. This is a Thai action movie I feel will stand the test of time for fans of females who kick butt. Star Jeeja Yanin literally came out of nowhere and debuted with a film that has fight scenes and stunts that nearly rival Jackie Chan in his heyday.

Reportedly director Prachya Pinkaew (Ong Bak) saw Jeeja Yanin performing Taekwondo and was impressed enough to cast her in her own movie. This was a gamble that paid off remarkably. Jeeja engaged in rigorous Muay Thai and stunt training before cameras started rolling on Chocolate. Whether you love or hate Pinkaew’s style of filmmaking, all you need to do is watch the outtakes to know that Yanin is willing to bleed for her art.

The story has the potential to be offensive – I’ve heard it half-seriously labeled “special needs’ploitation” since Yanin’s character has autism. Yanin plays the result of a star-crossed romance between a Thai female gangster and a member of the Yakuza. Her parents split when she is a baby in order to prevent an all-out gang war and the mom ends up raising Yanin on her own. Yanin is indeed a special child, one who lacks social skills but has an uncanny sense of hearing and the ability to mimic whatever she sees performed in front of her – including martial arts moves. She studies the films of Tony Jaa and Bruce Lee, as well as the fighters in the gym that just so happens to be outside her window. In a few years’ time she becomes a prime ass-kicker.

Yanin ends up needing to raise money for her mother’s medical bills. Along with her childhood friend, she goes around to collect the money that various corrupt businesses owe her mom from her days in the Thai mafia. What follows are several set-pieces where shady managers order their employees to beat up Yanin and she lays waste to them in spectacular fashion. After a bit of a slow start, this movie is almost non-stop martial arts action.

What I love about the fights is that Yanin doesn’t just be a the crap out of everybody; the filmmakers went out of their way to feature the kind of obstacle-maneuvering stuff that Jackie Chan would do in his heyday. Yanin slides under glass tables, slips through spaces that the bad guys can’t fit in, swings through guard rails, etc. She’s really a marvel to watch.

The ending provides what might be a homage to the House of Blue Leaves sequence from Kill Bill: Volume 1, with Yanin taking on about 80 guys in black suits in a Japanese restaurant. She’s also finally provided with a fellow martial arts master to truly test her mettle. To say that the finale brings the house down would be an understatement; it features a death-defying sequence high above the ground that put at least one Thai stuntman in a neckbrace.

If you don’t enjoy the bone-breaking simplicity of most Thai action movies like Ong Bak, then Chocolate probably isn’t going to change your mind. But for people who love this kind of stuff or get a drug-like high from it (heh), then Chocolate is the ultimate fix. JeeJa Yanin is cute as a button and kicks ass like nobody’s business. Her character is a likable protagonist and you actually care about her quest to help her mom, which does strengthen the movie.

I’m certain JeeJa Yanin has an excellent career ahead of her, but if debut film goes down as her finest moment I might not be surprised. Chocolate features the kind of electrifying action sequences that ensure it will be watched and re-watched by martial arts fans for years to come.

HKFanatic’s Rating: 10/10

Posted in News, Reviews, Thai | Tagged , |

The only law is gravity in the 1st ‘Point Break’ remake trailer!

Posted on May 26, 2015 by JJ Bona
"Point Break" Teaser Poster

"Point Break" Teaser Poster

THE MOVIE: Ericson Core is currently on post-production phase for his remake of Kathryn Bigelow’s 1991 heist action film Point Break. Mostly known for his 2006 debut feature Invincible (with Mark Wahlberg), Core started his career as a cinematographer for films such as The Fast and the Furious, Daredevil and Payback.

The remake, which releases on December 25th 2015, will be about an undercover FBI agent who infiltrates an extreme sports-lovin’ criminal gang. Luke Bracey (November Man) will be playing Johnny Utah (previously played by Keanu Reeves). Edgar Ramirez (The Bourne Ultimatum) will be playing Bodhi (previously played by Patrick Swayze).

The original, which starred Patrick Swayze, Keanu Reeves and Gary Busey, was a box office success and has gathered a worldwide cult following. It has been referenced in numerous action films, most notably Johnnie To’s Fulltime Killer.

Update: According to THR, the Point Break reboot has become the biggest success story of the 2013 American Film Market after selling out to foreign distributors around the globe. | Kurt Wimmer (Equilibrium) is writing the screenplay.

BREAKING NEWS: Check out the film’s 1st teaser trailer.

Posted in News |

Fox Hunter (1995) Review

Posted on May 25, 2015 by Paul Bramhall
"Fox Hunter" Chinese DVD Cover

“Fox Hunter” Chinese DVD Cover

AKA: Hunting Fox
Director: Stephen Tung Wai
Cast: Jade Leung, Jordan Chan, Yu Rong Guang, Ching Fung, Guy Lai, Ng Git Keung, Roger Lee
Running Time: 92 min.

By Paul Bramhall

Fox Hunter was the second of only 4 movies that legendary Hong Kong action choreographer Stephen Tung Wei would direct, as well as taking on action duties. To his credit, with each movie he did something a little different – his 1990 production Magic Cop gave us Lam Ching Ying on ghost busting duties, but with the twist of it taking place in modern day Hong Kong. In 1998 he directed The Hitman, which was the first movie to feature Jet Li’s real voice, as well as being the last time Li would work in HK before attempting to break the US market. Then in 2001 he stepped into the director’s chair for the final time with Extreme Challenge, which revolved around a fighting tournament, and gave us an early glimpse at the talent of a certain Scott Adkins.

With Fox Hunter, at first glance it looks to be another low budget ‘Girls with Guns’ flick, with Jade Leung in the lead role. Leung was a unique case amongst the familiar faces of the genre. Actresses like Moon Lee and Cynthia Khan had dance backgrounds, which allowed them to adapt to the HK style of fight choreography, Yukari Oshima had a martial arts background, as well as being mentored by Mark Houghton, and Michiko Nishiwaki had a strong presence thanks to her body building regime. Leung on the other hand was a fashion model, plucked from the industry in 1991 to star in Black Cat – a loose remake of Luc Besson’s Nikita – she went on to win the Best Newcomer Award at the 11th Hong Kong Film Awards (and star in several crappy sequels).

Leung was not an obvious choice to be molded into the next female action star, especially in a genre that was already overcrowded, however she managed to leave her mark in the few years that she was active. While she didn’t have the raw physical talent that her peers possessed, Leung brought something different to the table. For a start she was a good actress, and she also didn’t fit the typical image of the fighting femme – her tall figure and flawless complexion never leaving any doubt as to why she was previously a model. But Leung also had something else, and that something could most closely be described as a reckless abandon. She may not have been able to fight, but in her movies she regularly shows her willingness to get thrown around, take falls from high places, and do her own high risk stunts. She doesn’t look too bad brandishing a machine gun either.

Fox Hunter is arguably Leung’s best movie as it combines her vulnerability, with the willingness to be thrown into the thick of things, to great effect. Playing a cop, in a tightly edited opening scene she enters a karaoke bar undercover as a hostess, in an attempt to take down a gangster. The scene is juxtaposed with another one in which she’s told by her superiors at the police station that she’s failed the gun test for a third time, so won’t be able to get a promotion to detective. However she’s given a chance to be a part of an “off the books” operation to take down the gangster they’re after in the bar. The scenes cut back and forth, with Leung’s hesitation to take the position, edited with jumps back to her making contact with the gangster, building up a suitable level of tension.

The gangster, played by Ching Fung, is eventually captured, but ends up escaping and in an act of vengeance, kills Leung’s uncle and leaves her for dead. This acts as the trigger for the events that unfold during the rest of the move, with Leung kidnapping a low level pimp who runs the karaoke bar, played by Jordan Chan, and illegally entering the mainland on the tail of Fung.

It’s interesting how much the characters of Chan and Fung earmark the movie as a distinctively pre-1997 product of Hong Kong. With only a couple of years before the handover back to China, HK movies still portrayed the mainlanders as either criminals or country bumpkins. Here Chan may be running the karaoke bar, but it’s only because his parents are poor farmers back in China, and Fung is introduced as a Vietnam-Chinese. I’m unsure why but in HK movies of this era I’ve seen villains who are described as Vietnam-Chinese more than once, Yuen Wah’s character in Royal Warriors being another example which immediately springs to mind.

Yu Rong Guang also shows up as the head of the mainland cops, either lighting or already smoking a cigarette in every scene he appears in. However instead of coming across as ridiculous, Rong Guang makes his character the epitome of cool. At one point he even shoots a criminal between the eyes, then casually flicks a cigarette out of its pack and lights it up. In what’s rare for a HK movie, all characters are fairly fleshed out. Chan’s pimp is initially annoying in his constant attempts to escape from Leung, but as the movie progresses he ends up being a sympathetic character, at one point yelling to Leung that he doesn’t want her to pursue Fung as she’ll only end up dead. He could well be right, as Fung’s criminal isn’t just a ruthless gangster, he’s also very smart, constantly outwitting the cops, and has a penchant for using explosives as his main form of attack.

The use of explosives result in some great action scenes, particularly using grenades. In one scene Leung is left in a small room with one which is about to detonate. While I’m sure the grenade itself isn’t real, the explosion which goes off is very much the real thing, generating a massive fire ball in the confined space, while Leung flips a sofa on top of herself to be shielded from the blast. It’s the type of scene in which if one thing had gone wrong, she would have been severely burnt. In others action scenes Tung Wei gets to show off his directing skill alongside his action direction. The plot device of Leung and Chan being in peril together is used effectively throughout, such as in one scene which has Leung holding onto Chan to stop him falling from a window, only for Fung to appear in the doorway armed to his teeth. Left with the choice of holding onto Chan and being riddled with bullets, or diving out of the way and dropping him, these scenes provide a lot of tension along with the action spectacle which is taking place.

By the time the finale comes around, which sees Leung, Chan, and Rong Guang locked down in a crowded shopping mall with Fung threatening to blow the place up, there’s enough creative gunplay, smashed glass, and stunt work happening that it transcends the small budget the movie was made on. Fox Hunter could have been just another low budget throwaway ‘Girls with Guns’ flick, but thanks to the competent direction, strong characters, and frequent action scenes, instead it comes off as a tight little action thriller. Well worthy of a recommendation for those who think they’ve seen everything that 90’s HK action cinema has to offer.

Paul Bramhall’s Rating: 7/10

Posted in Chinese, News, Reviews | Tagged , , , |
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