Exclusive: Interview with the author of the upcoming Alexander Fu Sheng book ‘The Biography of the Chinatown Kid’

Posted on May 15, 2015 by Paul Bramhall

Alexander Fu Sheng: The Biography of the Chinatown KidAnyone familiar with the Shaw Brothers studio will no doubt be aware of Alexander Fu Sheng. A charismatic performer known for his mischievous persona and physical dexterity, he quickly became a favorite of both Chang Cheh and Lau Kar Leung, starring in such classic slices of Hong Kong cinema ranging from kung fu epics like Five Shaolin Masters, to comedies such as Hong Kong Playboys.

His life was tragically cut short at just 28 years of age, however his legacy has endured thanks to his many memorable performances. To add to his legacy, screenwriter and kung fu movie enthusiast Terrence J Brady has spent the last couple of years deep in research to create the definitive biography of the star. Looking to debunk the many myths about his life, as well as sharing a wealth of new information and anecdotes, the tentatively titled Alexander Fu Sheng: The Biography of the Chinatown Kid is shaping up to be a must-have for any fan of both Fu Sheng, and the Shaw Brothers studio in general.

"Chinatown Kid" Chinese Theatrical Poster

“Chinatown Kid” Chinese Theatrical Poster

Cityonfire was recently able to conduct an exclusive interview with Terrence, who took a break from his busy schedule to answer our question on what, and when, we can expect his book.

1. When you consider all the legends of Hong Kong cinema, Fu Sheng may not necessarily be the first name that springs to mind when you think who could be the subject for an upcoming biography, what gave you the idea for the book?

The idea started back in 2007 when I planned an article in observation of the 25th year of his passing. Life though interceded and it got put on the back burner. Three years later, I traveled to Hong Kong with some friends and one of our primary objectives was to visit Alex’s burial site and pay our respects. Prior to that day, he was simply a two-dimensional image on a TV screen but now, being there in his presence, he became very real. Someone who possibly walked the same streets we did while exploring Hong Kong.

I felt he needed a proper tribute and that meant rethinking my article. But why stop there? Why not a book-length biography? The information on many of these Shaw stars comes in scattered bits and pieces and there are truly few books dedicated to a specific individual. Alex was one of the most popular actors of his time whose life was snuffed out prematurely. He was the genuine article and never thought of himself as a movie star. An everyman kind of fellow. I’m sure he would even be a bit embarrassed of the thought of someone writing a book about him.

David Chiang, Fu Sheng, Chang Cheh, Chen Kuan-Tai and David Chiang.

David Chiang, Fu Sheng, Chang Cheh, Chen Kuan-Tai and David Chiang.

We have seen many books on Bruce. On Jackie. Now its Alex’s time. I hope my efforts will do him justice and that his family, friends and fans will enjoy this biography as much as I have enjoyed researching and writing it.

2. There seems to be a substantial amount of information out there already on Fu Sheng, such as him graduating in Hawaii and living in Bruce Lee’s house at the time of his death, what would you say is the appeal of your book to those fans out there who already know all these things about him?

I think there is a good deal of (mis)information out there on Alex. Rumors and hearsay that have been repeated over the years to the point where it becomes an assumed fact. Take for example the story of Bruce Lee’s home. People like the allure that these doomed men shared the same domicile. It links them to a common destiny of two martial arts action stars whose lives were taken in their prime. It makes for good storytelling; a movie-of-the-week! Truth is, reality is boring and for a few dollars to the HK Land Registry, one would discover that Bruce’s old Cumberland Road home has been owned by the same company since 1974.

"Boxer Rebellion" Promotional Still.

“Boxer Rebellion” Promotional Still.

As for Alex? He was staying with his brother in Mei Foo Sun Chuen, a housing estate in Lai Chi Kok, Kowloon, at the time of his fatal accident. I know, not as enthralling, but that’s reality. The other urban myth we continue to hear is Alex graduated from a high school in Hawaii. I have even seen some places on the web list the name of this school; Roosevelt High School in Honolulu. I obtained a copy of the RHS Class of ‘71 yearbook and strangely enough, not a single photo of Alex. I then proceeded to speak with a member of the ‘71 graduating class who also happens to run the RHS class reunions since the early ‘90s. She contacted several of her classmates and they do recall seeing Alex – in the theater. “We used to all watch those movies and we would have known that he was one of ours. Local media are big on touting our “local talent” or if they ever lived on the island of Oahu. I don’t ever remember anything in the local press about him ever having lived here,” she stated.

The Cheung family valued education and three of Alex’s brothers went on to become doctors but Alex? Alex was the least educated of his siblings, dropping out of school at 15. Despite his lack of a formal education, he proved that one could still be a success even without a diploma. Of course if he had followed in his brothers’ footsteps, I probably wouldn’t be writing this biography. I considered myself a knowledgeable fan of Alex before starting this book but what I knew at the start pales in comparison to what I know now. This book will be enlightening to even Alex’s biggest fans.

Fu Sheng in "My Rebellious Son"

Fu Sheng in “My Rebellious Son”

3. You’ve clearly done a lot of legwork on getting the truth about Fu Sheng’s life, what’s been your favorite moment so far during the time you’ve been researching the book?

The band Deep Purple once sang, “It’s not the kill but the thrill of the chase.” My research on this project has become quite addictive. I have spent upwards of two years researching material and have worked with three different Hong Kongese translators. These native speakers have provided me with a treasure trove of material that, as an English speaker, I would not have been able to acquire alone.

Some of the most satisfying moments though have been following a simple clue on my own, which revealed new clues, which then revealed even further clues. It’s the journey “down the rabbit hole” which has lead me to many dead ends but also has provided some true nuggets of gold.

The historical significance or the real-life events that some of Alex’s films were based on has been an eye-opener to China’s history that was previously unknown to me. I could devote an entire chapter or more, for example, to the 1976 war film The Seven Man Army. This movie is one of my personal favorites and my research has helped me better understand the battles that ignited the Second Sino-Japanese War, those who commanded the field and even led me to the grandsons of the one member of the “seven” who was the only known soldier in this film (the identities of the other six, including Alex’s character, are unknown and the names used in the film are fictionalized).

Fu Sheng on the set of "Marco Polo" with Richard Harrison and Carter Wong.

Fu Sheng on the set of “Marco Polo” with Richard Harrison and Carter Wong.

Of course, meeting and/or interviewing some of the stars that worked alongside Alex has also been a highlight. I’ve got to know Alex through the eyes of Robert Tai, Kara Hui, Lo Mang, Chu Ker, Chen Kuan Tai and several others.

4. Fu Sheng obviously had a wide appeal in his prime, what do you think it was about him that gave him such a connection with the audience of the time, and indeed ensures he still has a fan base even today?

Alex was the complete package. He had the looks, charisma, sex appeal, comedic timing and a vivacious screen presence. Women adored him. Men emulated him. He could act … sing … dance … and most importantly, fight. Though sometimes he would behave like the fool, his martial skills were clean and flowed with a matter-of-fact tone. He was versatile and employed a wide range of characterizations; funny, charming, psychotic, deadly. When he was on the screen, one could not help to focus their gaze on him and forget everything else transpiring.

As for a fan base today? When a person of fame dies at an early age, it seems that their following surges. Some even become the stuff of legends; Bruce Lee, John Lennon, Mozart, Billy the Kid, etc. The same can be said about Fu Sheng. His celebrity status continues to grow despite his passing over 30 years ago. Facebook pages, YouTube tribute videos, web articles, even a bronze bust was recently created and donated to the Martial Arts History Museum in Los Angeles. Hopefully this book will only bolster Alex’s fan base and help find a whole new generation of readers who will be introduced to his films for the first time.

The charismatic Fu Sheng.

The charismatic Fu Sheng.

5. What’s your personal opinion on Fu Sheng’s place in Hong Kong movie history?

I was a bit disappointed that I didn’t see his name on Hong Kong’s Avenue of Stars but since I’m unfamiliar with the criteria for nomination, I cannot judge too harshly. Shaw Brothers is the most famous of the film studios to operate in the Pearl of the Orient and Alex was certainly one of their shining jewels. I’m not sure where I would place Alex in the overall picture of Hong Kong cinema as I’ve only experienced a small portion of it.

However, when I think of Shaw’s Movietown, many who worked there seemed to agree that Alex’s presence, both on screen and off, made it a memorable place to be. He was a down-to-earth person who didn’t get caught up in all the glitz & glam that show biz would bring. His idea of entertainment would be to bring his dogs to the studio which would always liven things up. He had a unique camaraderie with the highest directors to the lowest set construction workers. Dedication to his craft, tomfoolery, random acts of kindness. This was Fu Sheng. To those folks that worked alongside him, he will always have a special place in the history of Hong Kong cinema.

6. What’s your personal Fu Sheng performance and why?

Surprisingly I don’t think I have one. Last year I watched all 43 of his films in production order and it was amazing to watch Alex mature as both martial artist and cinema star. I got to revisit some of his films I had only seen once before and there were four which were a first time viewing for me. The Chinatown Kid will always be a favorite because it’s one of his films I saw back in the 80s but his performance in Sung Chung’s The Avenging Eagle certainly stood out during this marathon as it was his first film with a director other than Chang Cheh. A little trivia here. Most believe it was Chang who gave Alex his start but this is incorrect. It was actually Sun who cut him his first break. Details in the book…

Fu Sheng in "Wits of the Brats"

Fu Sheng in “Wits of the Brats”

7. A lot of people like to speculate on where Bruce Lee would be today if he was still around, do you think Fu Sheng would have potentially rivaled Jackie Chan for the king of kung-fu comedy throne had his career not been cut short so tragically?

Good question. And I’m sure many might be disappointed to hear this but I don’t believe he would have rivaled Jackie as the king of kung fu comedy. No, not because Jackie was more skilled. Au contraire. It was Jackie who mimicked Alex.

But Alex’s misfortunes on the set, his moving towards working behind the scenes and lastly his own admission pretty much ends any speculation: “No. I am not particularly interested in acting in films. It’s mainly because I make a living at it is all. Since I left school, I have never asked my family for money. I don’t want to rely on my family for my whole life. To be independent and make a living, I chose shooting films, but this is temporary. I won’t stay in the industry for the rest of my life.” While discouraging those words might be to his fans, Alex was not one to sugarcoat things. He spoke his mind and despite his future plans to leave the industry, he has left us with an exciting collection of films to explore.

Chang Cheh and Fu Sheng.

Chang Cheh and Fu Sheng.

In the book, I will take an in-depth look at each production, those who worked on the films and provide many colorful conversations from behind the scenes. While Wits of the Brats was Alex’s first film as director, there was at least two other productions in the pipeline that he was going to helm plus other films he was slated to appear in but did not do so for various reasons. I will also explore the unfinished Chor Yuen crime caper The Mark of The Eagle featuring Ti Lung which was shelved due to his Black September injuries.

8. Most importantly of all, when can we expect Alexander Fu Sheng: The Biography of the Chinatown Kid to be hitting the shelves?

I’m working on the second draft at the present, and would love to see this in the hands of Hong Kong cinema fans in 2016.

If anyone has any questions they’d like to ask Terrence regarding the book, he can be contacted at fusheng@teako170.com.

Posted in Interviews, News |

Strange Case of Dr. Jekyll and Miss Osbourne, The (1981) Review

Posted on May 15, 2015 by Kelly Warner
The Strange Case of Dr. Jekyll and Miss Osbourne "Blu-ray" Cover

The Strange Case of Dr. Jekyll and Miss Osbourne "Blu-ray" Cover

Director: Walerian Borowczyk
Writer: Walerian Borowczyk, Robert Louis Stevenson
Cast: Udo Kier, Marina Pierro, Patrick Magee, Gérard Zalcberg, Howard Vernon, Clément Harari, Jean Mylonas, Eugene Braun Munk, Louis Colla
Running Time: 92 min.

By Kyle Warner

Walerian Borowczyk’s 1981 adaptation of Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde is a graphic and savage take on the classic story. While it features a doctor who transforms into a madman, the film does not share much else in common with the Jekyll/Hyde story as I remember it. I guess you’d call it a reimagining. Still, it has a strong cast and the film often looks beautiful. For a moment there I really thought I was going to like it… But that moment passed.

Udo Kier plays Dr. Jekyll. He invites friends and colleagues to his mansion for a dinner party to celebrate his engagement to the lovely Miss Fanny Osbourne (Marina Pierro). The party is interrupted when a lunatic starts attacking the guests and the mansion goes into lockdown.

It’s almost like a game of Clue. It even features a similar cast of characters—the doctor, the priest, the decorated soldier, the maid, and the psycho killer. Except here there’s no mystery about who’s behind the madness. We know it’s Hyde, who is also Jekyll, and so the film takes on a strange kind of slasher movie quality. What’s puzzling is how many of the characters disappear for long periods of time without people taking notice, and only on rare occasions do the characters wonder where Dr. Jekyll is during the attacks. Also, why didn’t anyone try to leave the house? They’re in control of their own fates and could very easily flee for their lives, but instead the men give the women morphine and send them to bed while they try to trap the murderer within the house. Characters behaving like morons is something that some viewers seem willing to forgive in horror movies, but I can only take so much of it. Here, idiotic choices by the characters are one of the only things that keeps the story moving.

What makes this take on Jekyll and Hyde different than many of the others is that Jekyll enjoys his time as the monster. As Hyde he is free to be an animal, to perform heinous acts for pleasure’s sake, and be granted anonymity behind the face of another man. While Hyde is perfectly fine strangling and stabbing people, he much prefers raping his victims to death (both women and men) with his dangerously long and pointy manhood…

As an exploitation film, The Strange Case of Dr. Jekyll and Miss Osbourne might be considered a success. As a horror film, not so much. The film doesn’t try to scare you or conjure up dread, it’s more interested in just going for shock value. And 30+ years after its release, some of the images remain shocking as it mixes violence and pornographic images.

The best example of the film going for shock value comes early on in the picture. Up until this point I thought it was a good looking film with some potential to go to interesting places later on, then this scene came along and I knew I was in for some trouble. The sequence I’m talking about is the dinner, where everyone’s sitting down and engaged in high-class conversation. In the middle of the conversation we are treated to three images from later on in the film—a violent stabbing, the pointy penis, and a naked black woman hung upside down, her crotch bloodied. None of these images have anything to do with the dinner conversation. The quick shots give you a jolt because you’re not expecting them, but it has the same artistic merits as those internet videos that were everywhere ten years ago— those videos where you’re lulled into a state of calm by images of an idyllic countryside then suddenly assaulted by a screaming crazy person on screen. Sure, it gets the shock that it’s after, but it never aims much higher than that.

The film looks very good, though. There’s a haze and sparkle to the picture, making it seem like a dream at times. The film I was most reminded of (in a good way) was Francis Ford Coppola’s Dracula. Like that film, The Strange Case of Dr. Jekyll and Miss Osbourne gives us a dreamlike reimagining of a classic horror story. And like Coppola, director Borowczyk had an interest in the tricks of early cinema. The result is a stylish and handsome looking film about some very ugly incidents.

Arrow Video gave the movie a full restoration for its Blu-ray release. Having not seen a previous edition of the film I cannot compare it to how it used to look on home video, but I thought the picture on this disc was very nice. The Blu-ray is loaded with special features, including interviews with Udo Kier and Mariana Pierro, two short films, featurettes about the director and his career in animation and his love for classic (often silent) cinema, and a commentary compiled of interviews with the cast and crew. It’s an impressive collection of extras that should make fans of the film happy.

The Strange Case of Dr. Jekyll and Miss Osbourne looks and behaves a bit like a dream that slowly turns into a nightmare. And like most nightmares, I just wanted to wake up and be done with it. I mean, hey, it’s an arthouse slasher horror film with a killer that murders people with his pointy penis. It’s not going to be for everyone.

Kyle Warner’s Rating: 4/10

Posted in News, Other Movies, Reviews |

Helios | aka Equator (2015) Review

Posted on May 12, 2015 by Paul Bramhall
"Helios" Chinese Theatrical Poster

“Helios” Chinese Theatrical Poster

Director: Sunny Luk
Co-director: Longman Leung
Cast: Jacky Cheung, Nick Cheung, Chang Chen, Shawn Yue, Janice Man, Wang Xue Qi, Ji Jin-Hee, Choi Si-Won, Yoon Jin-Yi, Lee Tae-Ran, Kim Hae-Sook, Mike Leeder
Running Time: 119 min.

By Paul Bramhall

Directors Sunny Luk and Longman Leung team up once more for their sophomore effort, Helios. Looking to match the success of their surprisingly taut 2012 bureaucratic thriller Cold War, here they’re once again also behind the script, and have brought along the busiest action director in Hong Kong, Chin Kar Lok, for the ride.

As with any second feature, while Cold War focused very much on Hong Kong, with Helios Luk and Leung have made the decision to broaden their scope, creating a movie which takes place across Asia. Specifically focusing on a deadly weapon that was developed in Korea, the result is that Helios comes with an A-grade cast of both Hong Kong and Korean talent. While Cold War featured two of Hong Kong’s ‘Four Heavenly Kings’ in the form of Aaron Kwok and Andy Lau, Helios gives us another thanks to the casting of Jacky Cheung. He’s ably backed up by the always reliable Nick Cheung and Shawn Yue. For those who are wondering, yes Helios earns immediate goodwill for being a Hong Kong action thriller made post-2010 which doesn’t feature either Louis Koo or Gordon Lam.

On the Korean side things are headed by Ji Jin-hee, most recognizable from the 2006 blood soaked revenge thriller Soo. K-pop group ‘Super Junior’ member Choi Si-won also features, in his third Chinese production after starring alongside Andy Lau in Battle of Wits, and more recently Jackie Chan in Dragon Blade. Yoon Jin-yi, Lee Tae-ran, and Kim Hae-sook round off the Korean contingent. Throw in turns from Taiwan’s Chang Chen, Mainland star Wang Xue Qi, and British born Hong Kong resident Mike Leeder (playing twins no less), and you have what can definitely be described as a diverse cast.

The plot concerns an attempt to retrieve a missing weapon that was being transported on a commercial plane which crashed. The smallest nuclear device ever created, the DC8 was developed in Korea, and with the news that the device is somewhere in Hong Kong, the Blue House (the Korean version of the White House) dispatches two of its agents to retrieve the weapon. The agents are played by Jin-hee and Si-won, and once they get to Hong Kong they team up with a pair of cops played by Nick Cheung and Yue. The team is soon joined by a physics professor, who acts as an advisor to the team, played by Jackie Cheung, a Korean contact in Hong Kong played by Jin-yi, and an official from the Mainland played by Xue Qi.

Perhaps sensing that the audience would be questioning how everyone can understand each other, early on the characters are given a (what I believe is completely fictitious) device which comes in the form of an ear piece, meaning anything that the Koreans say is immediately translated to Cantonese, and vice versa. The upside of course is that every actor gets to speak in their native tongue, and there’s no awkward line delivery.

Despite the diverse cast, Helios initially feels more like a Hong Kong movie than any of the territories most recent productions. Throughout proceedings the Mainland officials are treated like hindrances and getting in the way of what’s best for Hong Kong. While these swipes at the Mainland can still be found in Hong Kong movies, they’re often very subtle, or else the movie wouldn’t be likely to get past the Chinese government censorship board. However in Helios, the swipes are blatant, with Jackie Cheung at one point telling Nick Cheung to “Remember you’re from Hong Kong.”

Also just like the Hong Kong action movies of old, events quickly buildup to a suitably impressive action scene. Within the first 30 minutes intel is received that the DC8 is going to change hands in a parking complex, and soon every character of any significance descends on the building in what becomes an epic shootout. There’s a joyful amount of collateral damage, as bullets and grenades are utilized in liberal doses, sending cars flying through the air and creating an exciting sense of danger. Surprisingly though, none of the other action scenes which come after are able to match the sense of immediacy and chaos that the parking complex shootout delivers, and the middle of Helios becomes exposition heavy.

The editing does a good job of trying to disguise it. The constant presence of a soundtrack building up, the glossy camera angles, and the promise that something always seems about to go down. But at some point you realize that almost 40 minutes have passed with nothing really happening except for characters talking. It’s not that the dialogue is particularly bad, if anything Helios delivers a well put together script and characters. However ultimately the editing style ends up betraying itself, as a number of scenes fade out in succession, with the camera slowly zooming onto a characters face as the accompanying dramatic music reaches a crescendo. It all begins to feel a little bit like an extended soap opera omnibus.

Thankfully proceedings get back on track as the finale seems to be in reach. There’s a fantastic foot chase between Nick Cheung and newcomer Janice Man, which is a credit to Chin Kar Lok’s action direction. While Man cuts a slight figure, she convincingly lays a beat down on Cheung, complete with some nice use of MMA and grappling, and doesn’t shy away from being thrown around herself. While her character isn’t a major one, playing the ‘bodyguard’ to Chang Chen’s weapons dealer, this scene alone was enough to make me wish her character had been more developed.

Jin-hee and Si-won also find themselves involved in a shootout at a container depot. At one point, seeing both of them decked out in suits, Jin-hee with a semi-automatic rifle and Si-won with a shotgun, it almost felt like an updated version of John Woo’s The Killer. However it’s soon revealed that all of these action scenes are part of serving a bigger purpose, and tragically it relates back to the Mainland issue. Having been referred to as a hindrance throughout, the action scenes that should rightfully be the movies finale, actually turn out to be plot devices that neutralize all of the Hong Kong and Korean characters.

Thanks to the action direction of Kar Lok, Helios succeeds in picking up steam after a middle half that sagged under the amount of dialogue. However, with the realization that there’s still an additional 15 minutes left after all is said and done, the movie ultimately wheeze’s to the end of its 2 hour runtime. What’s more frustrating is, the main reason the final protracted 15 minutes are there, is to show how efficient the officials from Beijing are after all, and that they know what’s best for Hong Kong. I guess it could be taken as the price of being so provocative towards the Mainland earlier on. Thankfully, things end on a nice twist that leaves things open for a sequel. Although if it’s a sequel which involves the officials from Beijing saving everyone, I’m not sure I’d be interested to see it.

All in all there’s an effective action thriller contained within the runtime of Helios. It has relatable characters, exciting action sequences, and a solid premise. In many ways I look at it like a delicious looking piece of steak, the only issue is that it still has all the fat on it. Cut the fat away, and you’re going to be a happy diner. Helios is that steak, and the steps it needed to take to ensure it got past the Chinese censors are the fat. Unfortunately though, some fat is here to say.

Paul Bramhall’s Rating: 6.5/10

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

Rurouni Kenshin (2012) Review

Posted on May 11, 2015 by Martin Sandison
"Rurouni Kenshin" Japanese Theatrical Poster

“Rurouni Kenshin” Japanese Theatrical Poster

Director: Keishi Ohtomo
Cast: Takeru Satoh, Emi Takei, Koji Kikkawa, Yu Aoi, Munetaka Aoki, Gou Ayano, Genki Sudo, Taketo Tanaka, Eiji Okuda, Yosuke Eguchi, Teruyuki Kagawa
Running Time: 134 min.

By Martin Sandison

One of the most successful and critically acclaimed manga and anime’s of all time, Rurouni Kenshin’s fans were understandably worried about a live action version. Thankfully, those fans were in for a treat, and it works just as well as a standalone film so viewers need not be familiar with the source material. My aim here is not to supply a discourse between the manga and the film, as this has been done to death and also I’ve not read the manga but have watched the anime. I will include some comparison between the anime and the film however. So some fans may be put off, apologies in advance!

Starting in the mid 90’s, the manga and anime created a massive fan base thanks to its combination of samurai tropes, colourful and memorable characters and silly comedy. The anime stretched to over 90 episodes. Called Samurai X in some territories, a new series was commissioned and produced in the late 90’s. I heard about the live action version a few years ago thanks to a Facebook friend, the great independent martial arts filmmaker Emmanuel Manzanares (check out a film he was in called I Am A Crazy Man, my favourite short film). I watched the trailer and was impressed, and a lot of people were saying the sword fights are some of the best ever filmed. High praise indeed.

Set in 1868 after the Bakumatsu war, the plot concentrates on Kenshin Himura, an assassin who fought in the war and keeps a dark secret. His previous name was Hitokiri Battosai one of the most feared warriors in the land. He has become a wandering swordsman, and arrives in Tokyo, encountering a young girl Koaru Kamiya who claims that a man named Battosai has been killing men in the name of her dojo. Another plotline has the villain Takeda Kanryu, a rich Industrialist who is planning to take control of the opium market with a special recipe of the drug made by doctor Megumi Takani. The two plotlines collide as Megumi hides out at the Kaoru’s dojo and the bad guys come calling. A problem with the plotting is that there’s a lot to fit in, as the movie encompasses one volume of the manga in two hours. This means there is not a lot of time for character development and some characters are introduced in different ways to the source material, angering some fans. However, the casting is spot on in most cases. Kenshin is played by Takeru Sato, an actor who had some success in television, and couldn’t be a better choice. He captures the contrasts of Kenshins persona brilliantly. Many fans thought that Emi Takei as Miss Kaoru was bad casting as she is too pretty, but in my mind she does a good job. Munetaka Aoki is superb as Sanosuke, capturing his vicious physicality. The main villain is the worst piece of casting, but Kenshin’s nemesis Saito played by Yosuke Eguchi could not be better. He is imposing and charismatic, with sword skills that allow for great intricacy.

So, are the sword fights some of the best ever filmed? The answer (to this writer) is yes. My favourite samurai-style ones in any film are from the masterwork Sword of Doom, filmed 46 years before Rurouni Kenshin. They are the apotheosis of all that came before and influenced much of the Samurai and Martial Arts genres thereafter. The emphasis on long takes, concise moves, fluid camerawork and that very Japanese style of one or two moves to take out an opponent are at their peak in Sword of Doom. The sword fights in Shaw Brothers films such as Sword Stained with Royal Blood and Lau Kar Leung’s work are mind-bendingly complex with up to thirty moves in a take. 90’s HK TV and movie action combined wirework and high impact moves to devastating effect. Rurouni Kenshin takes all of these elements and marks them up to 11, creating a spectacle that is bliss for the action fan. Actually the first fight I had some problems with, as the editing is confusing and framing unclear. However as the film goes on the execution of the fights becomes beautiful. The use of wirework is pretty ground breaking, as characters do not fly around like a kung fu movie but are assisted to run faster or do insane stunts. One standout fight is when Kenshin and Sano take on the villains minions at their mansion, that combines one versus many choreography, brawling and extended sword exchanges. The ultimate battle between Kenshin and Saito is alive with energy and emotional resonance.

Director Keishi Ohtomo, known for his television work clearly has an utmost respect for the material, proving his ability to weave astounding visuals into a coherent, digestible whole. He allows the action to play out without hyper editing and the cinematography in general is wonderfully composed. The music score is very appropriate and combines orchestral and modern styles. The main fight scene score is heart pumping and triumphant.

Some problems with the movie come from the introduction of a lot of characters who are never properly fleshed out, meaning the viewer does not care about them. Also fans of the manga may be annoyed by the changing of some elements, but really the film makers did the best job they could. The first in a trilogy, apparently the second two are just as good if not better than the first film. This gives me, and many others, hope for the future of Japanese action movies.

Martin Sandison’s Rating: 8/10

Posted in Japanese, News, Reviews |

Deal on Fire! Ninja 2: Shadow of a Tear | Blu-ray | Only $7.50 – Expires soon!

Posted on May 10, 2015 by JJ Bona
Ninja 2: Shadow of a Tear | Blu-ray & DVD (Millennium)

Ninja 2: Shadow of a Tear | Blu-ray & DVD (Millennium)

Today’s Deal on Fire is the Blu-ray for Ninja 2: Shadow of a Tear, directed by Isaac Florentine (Undisputed 3: Redemption).

Scott Adkins (Universal Soldier: Day of Reckoning) returns as Casey Bowman, a Ninjitsu master out to avenge the death of his wife in director Isaac Florentine’s follow-up to his 2009 film Ninja. Also stars Vithaya Pansringarm (Lupin the Third), Tim Man (Raging Phoenix), Kane Kosugi (Tekken 2: Kazuya’s Revenge) and Ron Smoorenburg (The Avenging Fist).

Order Ninja 2: Shadow of a Tear from Amazon.com today!

Posted in Deals on Fire!, News |

For the Emperor | Blu-ray & DVD (Well Go USA)

Posted on May 8, 2015 by JJ Bona
For the Emperor | Blu-ray & DVD (Well Go USA)

For the Emperor | Blu-ray & DVD (Well Go USA)

RELEASE DATE: July 7, 2015

Well Go USA presents the Blu-ray & DVD for For the Emperor, an action-noir film directed by Park Sang-jun (Bank Attack).

Lee Hwan gets kicked out of professional baseball after being involved in match fixing. He is then recruited by a gangster boss named Jung Sang Ha. Over time, Lee Hwan climbs the ranks and gets involved in sex, money and murder! Watch the trailer. The film stars Lee Min-ki (Quick), Park Sung-woong (Man on High Heels) and Lee Tae-Im (SIU).

Pre-order For the Emperor from Amazon.com today!

Posted in Asian Titles, DVD/Blu-ray New Releases |

Retaliation (1968) Review

Posted on May 5, 2015 by Kelly Warner
Retaliation | Blu-ray (Arrow Video)

Retaliation | Blu-ray (Arrow Video)

Director: Yasuharu Hasebe
Writer: Yoshihiro Ishimatsu, Keiji Kubota
Cast: Joe Shishido, Meiko Kaji, Hideaki Nitani, Tamio Kawachi, Eiji Go, Tatsuya Fuji, Jiro Okazaki, Shoki Fukae, Shoki Fukae, Kaku Takashina
Running Time: 94 min.

By Kyle Warner

There are two primary types of yakuza film. The genre began with films about chivalrous gangsters. These classics depicted yakuza as outlaws, yes, but they lived by a code, they were often romantic, and they did right by their neighborhoods. In the late 60s and into the 70s filmmakers deconstructed the yakuza, depicting them as ruthless bastards out for personal gain who cared little for honor or who got hurt along the way. This second type of yakuza film is perhaps best represented in the filmography of Kinji Fukasaku. His famous series Battles without Honor and Humanity explains the new depiction of the yakuza world so well you don’t even need to see the films because the title says it all. I think you could say that Yasuharu Hasebe’s 1968 film Retaliation is something like a bridge between the two types of yakuza film.

The film begins when Jiro (Akira Kobayashi) is released from prison after an eight year stint for killing a rival yakuza. In the time that he’s been away his yakuza family has fallen apart. Jiro’s old boss is sick in bed, but he’s been taken care of by the Hasama Family. The Hasama see potential in Jiro and ask if he’d be willing to take a crew (who mostly consist of wannabe gangsters) to a developing town and take over the territory. Because Jiro’s an old-school, loyal yakuza, he agrees.

Much of the story has to do with buying up land from farmers that are generally unwilling to sell. Jiro often calls himself a real estate agent and he’s not really joking. Two local gangs stand in Jiro’s way of buying up the land, making his fortune, and taking over the territory. One gang is ambitious but not entirely unlike Jiro. The other is a more modern, ruthless form of the yakuza, which uses violent extortion to get what they want. Jiro must contend with this new, brutish breed of the yakuza if he’s to win the turf war. But he also must be wary of the Hasama family. He’s here on their orders, but can he really trust them?

What’s interesting is that Retaliation begins in the more classic mold with a loyal, honor bound yakuza going off into the world to make his fortune and sort out his enemies, but it gradually becomes something much more cynical. Retaliation is an angry, pessimistic film. There are double-crosses, violent assassinations, torture, and all manner of immoral behavior. Jiro and his loyal men were made to seem like the standard yakuza at the beginning of the film, but by the end Jiro and the audience learn that decent, honorable yakuza are far outnumbered by murderous wolves.

Akira Kobayashi (Kanto Wanderer) is good in the lead role of Jiro. He has the acting abilities to be both the trustworthy friend and the dangerous criminal. Other notable members of the cast include Jo Shishido (Branded to Kill) as a vengeful thug, Hideaki Nitani (Tokyo Drifter) as a yakuza that doesn’t know what side he belongs on, Tatsuya Fuji (Massacre Gun) as a card shark, and a very young Meiko Kaji (Blind Woman’s Curse) in one of her first film appearances under her stage name (she began her acting career using her given name Masako Ota but quickly changed it to Meiko Kaji, supposedly because she was unhappy with the roles she was getting). All make worthwhile contributions, but Kobayashi’s clearly the star of the film.

While Kobayashi may be the star, Jo Shishido’s character is the more interesting part. At the start of the film Shishido tries to stab Jiro because the man Jiro had gone to prison for killing was Shishido’s sworn brother. It’s not long before Shishido is forced to play nice and join Jiro’s crew, but he’s always reminding Jiro that he plans to kill him when their business is done. These feel like increasingly empty threats, however, as the two become friends. The relationship between Kobayashi’s and Shishido’s characters calls to mind the sort of ‘bromances’ of certain John Woo films. This in turn made me look at the film a little differently and recognize that it would fit right in among the ‘heroic bloodshed’ action movies.

Retaliation was made right after Hasebe’s previous film, Massacre Gun. While Massacre Gun was shot in black and white, Retaliation is in color. I think Massacre Gun is the better looking film. Hasebe seemed more at ease with the stylistic flourishes of film noir in that earlier film than he does here. One thing I did find interesting was how he shot the interiors of Retaliation. More often than not there is something in the foreground denying us a complete, unobstructed look at the actors. I like this because it shows there was an idea behind every shot, but all the same it’s not very pretty to look at. The items in the foreground—an oscillating fan, a lantern, an aquarium—are out of focus, meaning that a good portion of the shot is blurry. I like it when a director and cinematographer try to do something with their visuals, and while I found their effort interesting, it’s only intermittently successful. The most visually impressive sequence comes halfway through the film in the form of a nighttime raid on a rival’s compound. The sequence is filmed almost entirely with the use of flashlights held by the yakuza, which lends the action a more frightening, almost horror movie quality as they’re slashing into each other.

Retaliation arrives on Blu-ray from Arrow Video. The release includes interviews with actor Jo Shishido, film historian Tony Rayns, an image gallery, and a booklet with writing by Jasper Sharp. Shishido is known for being brutally honest in his interviews and he doesn’t disappoint here. He shares his opinions on the actors and directors he worked with throughout his career. He remembers Akira Kobayashi as a hot-tempered man and someone he would not like to see again, but also recalls that Kobayashi was the only former colleague that called when Shishido’s house burned down. In the Tony Rayns interview the film historian describes Hasebe as a cultured gentleman, which seems at odds with the sort of movies he was making. Rayns also sheds some light on Shishido’s life and career, from the decision to get those cheek implants that granted him his signature appearance to Shishido’s acting idols which included James Cagney. It’s a great pair of interviews, both entertaining and informative. I enjoyed them so much I would’ve been just fine if they’d been twice as long.

Watching Retaliation I was often reminded of the films by Kinji Fukasaku, John Woo, Takashi Ishii, and Takashi Miike. Retaliation did feature some big stars, so I have no doubt that it was widely seen, but I have no idea what measurable influence the film had on the yakuza genre when it was released in 1968. Regardless of whether Retaliation was a direct influence on crime pictures in the years to come, it does feel a bit like one of the more notable first steps as the genre started down a darker path.

Kyle Warner’s Rating: 7/10

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Black & White Episode 1: The Dawn of Assault | Blu-ray & DVD (Shout! Factory)

Posted on May 5, 2015 by JJ Bona
Black & White Episode 1: The Dawn of Assault | Blu-ray & DVD (Shout! Factory)

Black & White Episode 1: The Dawn of Assault | Blu-ray & DVD (Shout! Factory)

RELEASE DATE: August 4, 2015

Shout! Factory presents the Blu-ray & DVD for Tsai Yueh-hsun’s Black & White Episode 1: The Dawn of Assault, starring Mark Chao (Young Detective Dee), Huang Bo (Journey to the West) and Angelababy (Rise of the Legend).

A policeman, who is fearless to death, can do anything for just one truth; while a gangster, who fears death the most, has drew life threats from his risky action all for love. Somehow, the fate of the world now is entirely relying on the men. Within 36 hours, they must resolve the crisis that could destroy the Harbor City. Watch the trailer!

Pre-order Black & White Episode 1 from Amazon.com today!

Posted in Asian Titles, DVD/Blu-ray New Releases, Martial Arts Titles |

Invincible Armour (1977) Review

Posted on May 1, 2015 by Matthew Le-feuvre
"The Invincible Armour" Chinese Theatrical Poster

“The Invincible Armour” Chinese Theatrical Poster

Director: Ng See Yuen
Producer: Chor Yuen
Cast: John Liu Chung Liang, Hwang Jang Lee, Tino Wong Cheung, Lee Hoi San, Philip Ko Fei, Corey Yuen Kwai, Yuen Shun Yee, Yuen Biao, Hsu Hsia
Running Time: 101 min.

By Matthew Le-feuvre

The collaborative effort in reuniting two of the world’s most celebrated kicking technicians was no light work for independent producer, Ng See Yuen. His previous trendsetter The Secret Rivals (1976) and its well received sequel set the tone for a new type of action spectacle: the breathtaking craft of aerial impact kicking. Naturally this resounding success would become something of a leading concept that fellow producers’ zealously tried too exploit, but ultimately failed to sustain because of changing trends, and the approaching 1980’s. However by the time he’d established ‘The Seasonal Film Corporation’ in 1975, Yuen was already a former Shaw Brothers executive before turning his creative attentions to freelance direction.

Although in essence a calm, influential and clearly a resourceful entrepreneur, Yuen’s five year contract at the Clearwater Bay studio was not a happy one. In earnest, he tried very hard too secure film negotiations with future Legend, Bruce Lee, for a traditional feature entitled The Bloody Fists (1972), yet was unable to convince backers – including Sir Run Run Shaw – of Lee’s dynamic potential.

Nevertheless Yuen endeavoured to carve out a niche for himself, seeking and promoting fresh talent such as Taiwanese marvel, John Liu and south Korean stalwart, Hwang Jang Lee. Both of course have matured into formidable icons on the South-Eastern circuits, while in the West they’ve been oppositely regulated to a lesser category due to poor distribution and a flaccid, if not incongruous, marketing ploy. Another factor is they (each) retired from the film industry early on in their respective careers to pursue not just business investments, but also martial ascension; this meant an inordinate amount of time power kicking trees for Hwang and expressing the stillness of the mind for Liu, who inventively fused ‘Zen’ principles to his art.

For some time speculations often arose as too Liu’s whereabouts, unlike Hwang – who opened a chain of Hotels in Seoul, and a factory which to this day manufactures golfing accessories. Liu on the other hand, allegedly, fell victim to Triad backed creditors, and a scheme where outrageous percentage grosses had too be forfeited on insueing film projects. Liu opposed these terms and promptly disappeared.

As a result, gossip columns systematically erupted furnishing all sorts of countless rumours and baseless claims. Few sources dispassionately went as far as officially announcing Liu’s premature death (or homicide). Undoubtedly libel, Liu in actuality had relocated to Paris accompanied by his wife and young daughter. Since then, Liu has emerged from self exile to appear in numerous international productions heralding his all too familiar split kick, a technique developed from the regimental teachings of another cult 70’s super booter, Tan Tao Liang.

Before he, too, made the transition from a practising martial artist to an actor of some distinction, Liang was a hardcore Taekwondo competitor who invariably earned high points by implementing an uniquely challenging hop kick to disorientate (his) opponents. Enamoured with this tactical advantage, Liu – a teenager at the time – bartered menial tasks as payment for tutelage from Liang. Tough and innovative, “Flash Legs” as he came to be known transformed Liu from a shy, introspective youth with limited flexibility into a phenomenal exponent of Taekwondo.

Contrarily, Hwang’s martial arts origins were notably less prosaic, but more of the dramatic as he found himself aged 15 moving to South Korea from his native Japan where he obsessively began studying (both) a branch of Taekwondo called ‘Taekyon’ and traditional boxing. Seven years on, he had graduated to the rank of 7th Dan, and was concurrently instructing ‘Republican’ troops in an ongoing feat to thwart communist incursions.

If nothing else these biographical juxtapositions deserve respect. It was something Ng See Yuen took into consideration during casting sessions. Indeed, the loyalty and professionalism of these two outstanding stars was a financial catalyst that Yuen was able too repeatedly capitalize on, even though critics’ mauled and carped about the integrity of his work.

Surprisingly up to this point in the HK/Taiwanese film industry meditations on Wu Xia theatre was waning in favour of empty fist revenge dramas and The Invincible Armour was one of those atypical examples that fell into a particular grade of uncompromising splendor – a diversion into the simplistic (and) image laden realms where subtle, strong visuals rules the eye before mindful contemplation: a deliberate tactic or an unassuming disadvantage? Either way, following a lengthy prologue explaining both the origins and implementation of ‘Iron Vest Kung Fu’ (aka Invincible Armour), Hwang Jang Lee energetically demonstrates his awesome ‘Eagles Claw’ as well as kicking pliability in a sequence of pre-arranged maneuvers on various sized ceramic pots, wooden stumps, bamboo shafts, spears and chain-suspended spiked globes.

Instantaneously we’re made aware of Hwang’s villainous ambitions as he soaks his entire body (a la Fu Sheng) in a frothing, vapor-filled cauldron. Years later we learn Hwang – character referenced as ‘Chen’ – is a corrupt ‘Minister of State’ whose politics lean towards the dissolution of the Ming Dynasty. To cause fractures within the administration, Chen hires a greedy opportunist named Hu Loong (Li Hoi San) to assassinate his respected peer, Governor Liu, while simultaneously incriminating loyalist, General Chow Lu Fong (John Liu).

Detained without due process, Fong eludes the death sentence in a blistering whirlwind assault of cresent, hook and snap kicks on his biased captors. It is here he pledges to exonerate his name, and bring the real perpetrator to justice: Fong’s only link is Hu Loong, who he adamantly pursues across country, between dodging additional contract killers (as played by Yuen Biao, Corey Yuen and Yuen Shum Yi), clan sympathizers and Loong’s impartial Sifu (Philip Ko Fei).

Vexed by Fong’s investigative capabilities and fighting tenacity, Chen engages renowned bounty hunter, Sheng Yu (Tino Wong), to deliver Fong for capital punishment. However with each encounter, Sheng begins to suspect that Fong and himself are expendable pawns in a greater conspiracy, which now includes Chen’s duplicitous aid and, incidentally, two siblings who may hold the key to disabling the Minister’s Chi Kung flow, via five vulnerable pressure points.

To the uninitiated The Invincible Armour may appear as a pageant to superficiality (and perhaps even absent of depth), yet this veneer does have its merits – escapism for one. Nonetheless Ng See Yuen’s work has neither been about anti-political rantings or social commentary. Essentially it’s the dynamic combination of two diverse kicking methods, a selling point that imbues every sequence with a kind of requisite fortitude; for instance Hwang’s signature jumping triple kicks or Liu’s jaw dropping tornado-like moves compensates for the lack of character development. And despite erratic plot twists, Invincible Armour is otherwise intensely stunning, downbeat and fiercely hypnotic.

Matthew Le-feuvre’s Rating: 9/10

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

‘Furious 7’s’ cinematographer goes ‘Full Throttle’ for a Malaysian-based, motorcycle action-thriller!

Posted on May 1, 2015 by JJ Bona
"Fast and Furious 6" Korean Theatrical Poster

"Fast and Furious 6" Korean Theatrical Poster

Kuala Lumpur-based DragonSlate Media, headed by Leon Tan, announced today that Furious 7’s Emmy-nominated cinematographer, Stephen Windon, will make his directorial debut in DragonSlate’s motorcycle action-thriller Full Throttle, written by Todd Slawsby, set for production in first quarter 2016.

Andrew Mason, executive producer of The Matrix trilogy and producer on Russell Crowe’s directorial debut The Water Diviner, will lead the Full Throttle production team. Tan will serve as producer, while Sukee Chew, Andrew Ooi, Harriet Spalding and Robert Lundberg will executive produce.

Full Throttle, a Malaysian motorcycle action-thriller, follows a racer who, after a career-ending crash during a race in Singapore, plies his skills as a courier in Kuala Lumpur. After his girlfriend is abducted, he is forced to crisscross the city against the clock, avoiding capture by relentless authorities while being blackmailed to perform escalating acts of crime by a twisted criminal mastermind.

Cityonfire.com received the above information from Robert Lundberg of DragonSlate Media.

Posted in News |

Shadowguard | aka The Blood Bond (2011) Review

Posted on April 30, 2015 by Paul Bramhall
"ShadowGuard" Chinese Theatrical Poster

“ShadowGuard” Chinese Theatrical Poster

AKA: The Blood Bond
Director: Michael Biehn, Bey Logan
Cast: Michael Biehn, Simon Yam, Phoenix Chou, Emma Pei, Jennifer Blanc, Xiao Keng Ye, Thomas Ho, Kenny Lo, Ridwan Amir, Michael Wong Mun-Tak
Running Time: 86 min.

By Paul Bramhall

With the dawn of the DVD era, Hong Kong cinema expert Bey Logan quickly became known for his informative and knowledgeable audio commentaries, recorded for the Hong Kong Legends and Dragon Dynasty DVD labels. What he was less well known for was for his movie output, which consisted of being involved in misguided productions like Jackie Chan low point The Medallion, or just plain bad movies like Dragon Squad (aka Dragon Heat). In an interview shortly after leaving Dragon Dynasty, Bey admitted to his shortcomings, and revealed he was going to be concentrating on his production company. His plan was to put behind him the misfires of the past, and focus on making some solid HK action movies. ShadowGuard was to be the first.

Taking a plot which is essentially identical to the 1991 Wong Jing movie The Last Blood, ShadowGuard sees a holy man, modeled after the Dalai Lama, visiting a South East Asian country in the grip of a civil war called Purma (because it would probably be too offensive to actually call it Burma I guess). Just like in The Last Blood the man is mortally wounded and needs a blood transfusion, but his rare blood type means there’s only a very small number of potential candidates in the country. One such candidate is washed up Special Forces guy Michael Biehn, yes as in Kyle Reese from The Terminator and Dwayne Hicks from Aliens, so the bodyguard of his holiness, played by newcomer Phoenix Valen, decides to track him down and convince him to donate.

It’s worth noting that the movie has an interesting back-story. Having worked with Biehn previously on Danny Lee’s 2005 atrocity Dragon Squad, Bey called Biehn to play the part of the washed up Special Forces guy, hoping he’d take the role. Not only did he take it, but Bey was so impressed with Biehn’s enthusiasm, that he offered him his first opportunity at sitting in the director’s chair. Biehn accepted, however once he got on set in China, things turned out to be not quite how he’d expected. Biehn still says he hasn’t seen the final version, and in an interview shortly after it was released, he described the experience of working on ShadowGuard.

Working with an inexperienced crew that didn’t speak much English, he explained how he had to do almost everything himself, right down to painting the walls of newly built sets. ShadowGuard was so under funded that crew members were often asked to play characters in front of camera, despite it being an English language movie and them not being able to speak a lick of it (in one scene a character amusingly yells at Biehn, “Son of the bitch!”). In the end, perhaps sensing his frustration, Bey told Biehn not to worry about post-production and that he’d take care of everything. So ultimately, once filming was complete Bey took over, from editing it together to mixing the sound, and once the negative reviews came rolling in, Biehn spoke up and said he disowns the movie as his directorial debut.

Amusingly it seems Bey wasn’t too happy with it either, as he went on to write a novel of what he described the movie was meant to be, entitled The Blood Bond. The original title for the movie was in fact supposed to be ShadowGuard: The Blood Bond, the idea being that it would become an action franchise for lead actress Phoenix Valen, but perhaps sensing it never going to happen, it was finally released as just ShadowGuard.

So, does the final product reflect all the problems that came about in the process of making it? The blunt answer is, yes. However there is entertainment to be had from ShadowGuard, although it comes with the warning that it’s strictly of the so bad it’s good variety. Phoenix Valen can’t act, this fact is inarguable, delivering every one of her lines in the same monotone lifeless manner from beginning to end. The editing doesn’t help either. In one scene she checks on the holy man to see if he needs anything before going to sleep for the night. When he says all is ok, they exchange glances at each other, but instead of showing how close they are it makes the scene disturbingly creepy, as he lingeringly grins at her in the doorway from his bed.

What’s even more amusing though, is the intensity of Biehn’s acting. The poor guy is obviously putting his heart and soul into the role, despite his lines being atrocious (he’s partly to blame for that, being a co-writer of the script). In his many scenes with Valen, the composition of her lifeless line delivery next to his wide eyed yelling is frequently hilarious. It should also be noted that as he wasn’t involved in post production, if any of his lines weren’t adequately recorded on location, he’s been over dubbed by someone who doesn’t sound anything like him, giving things a slightly mid-2000’s Seagal feel.

Essentially for no other reason than being friends with Bey, Simon Yam shows up as the head of the military trying to off the holy man. His scenes either consist of him hamming it up in a way in which I’m sure he must have been self aware, compared to others in which he simply looks bored. The final moments of his fight with Biehn in the climax are a worthy highpoint of unintended entertainment. Also calling on the friendship card, Michael Wong shows up as a helicopter pilot (in what I presume is most likely his own helicopter, which is probably why Bey called him) for less than a minute, but he does dub his own lines which I guess is a plus, all three of them.

The action was choreographed by Fan Siu Wong, who must be having a difficult time finding work to be reduced to working on a production like this. Surprisingly, some of it is quite entertaining. The shootouts are awful, especially the finale which sees a corridor shootout in a hospital a la Hard Boiled, only with CGI bullet damage and completely lifeless execution. However to his credit, he does a half decent job of making Valen’s empty handed fight scenes passable. Using Tai Chi, there’s clearly no power in her blows, and she wears an expression which belies that of the character she’s playing, all too obviously showing her concentration on remembering the moves. Strip all that away though, and the choreography is competently executed, and it’s nice to see Tai Chi being used effectively against opponents, a style which is rarely used in screen fighting.

ShadowGuard barely scrapes in at just over 80 minutes, meaning it never becomes truly painful to watch, at least not in a way which has you reaching for the stop button. It’s bad, but it’s passably bad thanks to the complete incompetence of almost every aspect of it, which somehow translates to some morbid form of being watchable.

Special mention goes to the Hong Kong Blu-ray, one of the few territories that it actually got a release, which comes with four equally cringe worthy cast interviews. Two have Bey interviewing Phoenix and Biehn respectively, and are interesting because in the interview with Phoenix she seems stoned, and in the interview with Biehn he’s clearly in the process of giving up hope. The other two are with Simon Yam and Bey himself, both conducted by an interviewer who seems to struggle to think of questions to ask. Bey rather awkwardly explains how he met Phoenix in a nightclub, and after a movie she was working on fell through, invited her to stay with him in his apartment. He then goes to some lengths to justify that it was ok as their relationship is entirely platonic. It’s all quite creepy, and had it been a UK or US DVD, I’m sure this part of the interview would have been cut. For the fact that it wasn’t, I’m going to give the overall score an extra point.

Paul Bramhall’s Rating: 4/10

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

Darren Shahlavi’s Passing: The Real Story

Posted on April 28, 2015 by Big Mike Leeder
Darren Shahlavi

Darren Shahlavi

By Mike Leeder

On January 14th 2015, a very good friend, British actor and martial arts hero, Darren Shahlavi, passed away and left behind a legacy of work and great memories with so many people.

Unfortunately, the tabloid press, led by scum like TMZ – and sadly followed by various magazines, newspapers, websites and far too many “oh we know it all” internet trolls implied it was by a drug overdose. They were all happy to make unfounded statements that severely hurt his family, his friends and his memory.

Darren’s family recently received a coroner’s report from the Los Angeles County Department of Coroner, and would like to share the results with his friends, colleagues and fans.

Darren died on January 14, 2015 of natural causes: a sudden and fatal heart attack. He was found to have Atherosclerosis (also known as arteriosclerotic vascular disease or ASVD) His left anterior descending artery was 95% blocked, which must have been worsening for several years.

Darren had no drugs or medications in his body, and only 0.02% BAC (Blood Alcohol Concentration); to put this into context 0.08% is the BAC Driving Limit for both he US & UK. There are no other medical factors linked to his death.

It seems unlikely that someone as fit as Darren – who was so dedicated to exercise and fitness and had such a healthy low fat/dairy diet – should have heart disease, but we have been told that a genetic predisposition resulted in the development of heart disease and is not uncommon in otherwise healthy young men, including athletes and other professional sportsmen and women*.

Evidence for Darren’s level of physical fitness at the time of his death can be seen in his recent work. Darren had just finished filming Pound of Flesh and Kickboxer: Vengeance, both with Jean-Claude Van Damme – not to mention Tomorrowland with George Clooney. He was, as far as physical fitness goes, at the top of his game.

Darren’s family is devastated that his underlying heart condition was never diagnosed to allow him the opportunity of treatment. Typically, Atherosclerosis begins in childhood, and Darren showed no apparent symptoms prior to death. Who would have thought that Darren who was regarded as very fit would die so suddenly as a result of this ‘silent killer’!

We have all been in shock for the past 11 weeks with so many unanswered questions, but would now like to focus on the lessons that can be learned from Darren’s untimely death. We do feel that Darren would be the first to join us in sending warnings and advice to the friends and colleagues that he loved that regular health screening can save lives.

This is our message and we do hope that somehow positive publicity in Darren’s name can be made available to other young men and women, that may help them to take seriously the possibility that their body holds terrible secrets that can be revealed if they are tested routinely throughout life.

We hope that no other family has to go through the grief and pain that we are experiencing and that their loved ones get screening and subsequent treatment if necessary, that could prevent the tragic outcome that all who loved Darren are trying to come to terms with.

The Shahlavi family is raising funds to build a permanent memorial to Darren in Hollywood. Click here for more information.

Posted in News |

Postman Strikes Back, The (1982) Review

Posted on April 28, 2015 by Paul Bramhall
"The Postman Strikes Back" DVD Cover

“The Postman Strikes Back” DVD Cover

AKA: The Postman Fights Back
Director: Ronny Yu
Cast: Leung Kar Yan, Chow Yun Fat, Yuen Yat Chor, Fan Mei Sheng, Cherie Chung, Eddie Ko Hung, Brandy Yuen Jan Yeung, Chiang Cheng, Lee Fat Yuen
Running Time: 88 min.

By Paul Bramhall

Postman Strikes Back is a unique entry in the Hong Kong action genre for a number of reasons. Set in 1913, it’s a movie which brings together elements of the old-school and the new-wave which can only be appreciated in retrospect. An early directorial effort from Ronny Yu, with the exception of his 1986 production with Brandon Lee, Legacy of Rage, it wouldn’t be until over a decade later when he’d receive full recognition for his talents, when he helmed the iconic tale of doomed lovers in The Bride with White Hair.

Without the presence of Yu in the director’s chair, it could easily be mistaken for a Yuen clan movie. Yuen Woo Ping takes the rare position of sitting in the producers chair, Brandy Yuen is on action direction duties, as well as playing a bit part, and Sunny Yuen takes a substantial supporting role. Taking the lead role of the postman in question is Beardy himself, Leung Kar Yan, although it should be noted here he’s only sporting stubble. All four of these guys would work together again on 2 more movies in the same year – The Miracle Fighters and Legend of a Fighter – both of which would be directed by Woo Ping, which may explain why he chose to sit this one out.

If the members of the Yuen clan represent the old school, then co-stars Chow Yun Fat and Cherry Chung represent the new-wave. Chow was still a full 4 years from chewing on a tooth pick for his influential turn as Mark Gor in A Better Tomorrow, however his leading man charisma is very much already in place, often threatening to steal the show from Kar Yan whenever they’re onscreen together. Chow and Chung had worked well together the year prior for Ann Hui’s The Story of Woo Viet, and they’d work together several more times over the course of their career’s, including An Autumn’s Tale, Wild Search, and Chung’s last movie before retirement, Once a Thief.

The story of Postman Strikes Back sees Kar Yan playing a courier in a rapidly modernizing China. On his latest delivery, the village elder confesses that they don’t have enough money to pay him. However, Kar Yan, being the nice guy that he is, instead of getting mad decides to look for another way to make money. It seems he’s in luck when a shady character played by Eddie Ko (who also turns up in the previously mentioned The Miracle Fighters), offers to pay him handsomely to deliver a number of boxes to a recipient several days journey away.

Kar Yan takes the job, and enlists a few men to help with the journey. The group comes in the form of a con man with ties to the underworld, played by Chow Yun Fat, an explosives expert played by Fan Mei Sheng, and an acquaintance played by Sunny Yuen (most recognizable as the witness from In the Line of Duty 4). Much to his chagrin, he’s also soon joined by a female villager, played by Cherrie Chung, who wants to help so that she can be paid to find her sister in Shanghai, who was sold off due to her family having no money.

Of course the job isn’t as simple as it first seems, Ko advises that they’re not to open the boxes under any circumstances, and if need be destroy them rather than let them fall into enemy hands, and soon the group find themselves under attack from unknown assailants at various stages in their journey. Another aspect that makes Postman Strikes Back unique is that it was entirely shot in Korea, so their journey takes them through a variety of beautiful landscapes, from tree covered mountains to frozen lakes, the scenery is frequently stunning.

It was often said that Korea would allow Hong Kong productions to film in the country, as long as they included a few Korean actors or crew. This appears to be the case here, as Korean actress Kuk Jeong-suk takes a significant role as a mysterious character that becomes a potential love interest for Chow. Also making memorable appearances are regular faces from the Korean kung fu movie scene – Jack Lam, Kwon Il-soo, and Jang Il-do. Lam and Il-soo play a pair of assassins that kick off what can be considered the first fight scene at the 45 minute mark. It’s a fun fight, with Il-soo literally hiding Lam by piggybacking him, to make a kind of tag team tandem fight against Chow.

Surprisingly, Chow performs well in the fight scenes, and actually seems to be given more than Kar Yan. Utilizing his scarf against opponents, the choreography and editing serve to make him look like a competent screen fighter, much to Brandy Yuen’s credit. The piggyback fight scene isn’t the only creative action sequence, with another entertaining scene having Kar Yan and his cohorts traveling across a frozen lake, only to be attacked by a group of spear wielding attackers on ice-skates! I would question the historical accuracy of this scene, but then again this is from the same guys who had Donnie Yen doing tricks on a BMX in Drunken Tai Chi.

Of course the shadiness of Eddie Ko’s character in the early stages make it a no-brainer that he turns out to be the villain of the piece. Ko has made a career of playing villains, from taking on Hwang Jang Lee in Hitman in the Hand of Buddha in the previous year, to a remarkably similar role which he’d play in Duel to the Death a year later. When you see his roles in both movies, you’ll know exactly what I mean. Ko goes on a take no prisoners rampage in the final third of the movie, which also involves a nicely staged one-on-one against Chow, and by the end of it, it’s safe to say that the postman has all the reasons he needs to strike back.

The final showdown pits Kar Yan against Ko in a forest, with Ko decked out as a ninja and employing all of the tricks we’ve come to expect from a ninja action scene. Again, there are signs of the new-wave at play here, with Kar Yan’s creative way of being able to locate Ko being particularly innovative. That being said, those looking to watch Postman Strikes Back purely to check out Beardy in action may be left disappointed. Ronny Yu has never been a director to make straight forward kung fu flicks, with perhaps the exception of 2005’s Fearless, and here is no exception. For the most part Postman Strikes Back plays out as an adventure movie, interspersed with some creative action and fight scenes.

As a director, Postman Strikes Back was only Yu’s third movie, and his inexperience shows most in the non-action periods when it’s all down to him to keep things moving. This is no more evident that in the first third of the movie when we’re being introduced to the main characters. None of it is particularly engaging, and it’s only once the action kicks in that things get interesting. Thankfully, once it does, it comes regularly, and while not top tier stuff, the creativity and picturesque settings adequately compensate. While there are arguably a few shortcomings in its execution, at the end of the day Postman Strikes Back gives us 2 generations of bad-ass cool onscreen together in the form of Leung Kar Yan and Chow Yun Fat, and that alone warrants it as worth a look. Oh, and did I mention the exploding rats?

Paul Bramhall’s Rating: 7/10

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

Escape from Hellhole | DVD (Cheezy Flicks)

Posted on April 27, 2015 by JJ Bona
Escape from Hellhole | DVD (Cheezy Flicks)

Escape from Hellhole | DVD (Cheezy Flicks)

RELEASE DATE: August 25, 2015

Cheezy Flicks presents the DVD for 1983’s Escape from Hellhole, directed by Maman Firmansyah.

This cult-classic Indonesian film is about a Punjabi girl getting tricked into living with a big time pimp. Uncle MG as they call him, abducts virgins, and forces them to submit to his hymen bustin ways. The not so attractive gals get several chances to marry Uncle MG, or it’s into his private jail.

The film stars Gudi Sintara, Dicky Zulkarnaen, Siska Widowat and Ramli Ivar. Watch the trailer.

Pre-order Escape from Hellhole from Amazon.com today!

Posted in Asian Titles, DVD/Blu-ray New Releases |

Cityonfire.com’s ‘Admiral: Roaring Currents’ Blu-ray Giveaway! – WINNERS ANNOUNCED!

Posted on April 27, 2015 by JJ Bona
Admiral: Roaring Currents | Blu-ray & DVD (CJ Entertainment)

Admiral: Roaring Currents | Blu-ray & DVD (CJ Entertainment)

Cityonfire.com and CJ Entertainment are giving away 2 Blu-ray copies of Admiral: Roaring Currents to three lucky Cityonfire visitors. To enter, simply add a comment to this post and describe, in your own words, this video.

We will be selecting a winner at random. Be sure to include your email address in the appropriate field so we can contact you for your home address. Additionally, you must ‘Like Us‘ on cityonfire.com’s Facebook by clicking here.

The Blu-ray & DVD for Admiral: Roaring Currents will be officially released on April 28, 2015. We will announce the 3 winners on April 29, 2015 and ship out the prizes immediately.

CONTEST DISCLAIMER: You must enter by April 28, 2015 to qualify. U.S. residents only please. We sincerely apologize to our non-U.S. visitors. Winners must respond with their mailing address within 48 hours, otherwise you will automatically be disqualified. No exceptions. Contest is subject to change without notice.

WINNERS: Congratulations to Lee G and Nick.

Posted in News | Tagged |
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