Gorgeous | aka Glass Bottle (1999) Review

Posted on March 27, 2011 by JJ Bona
"Gorgeous" Japanese DVD Cover

“Gorgeous” Japanese DVD Cover

Director: Vincent Kok
Cast: Jackie Chan, Shu Qi, Tony Leung, Emil Chow, Richie Ren, Elaine Jin, Bradley Allan, Vincent Kok, Sandra Ng, Sam Lee, Stephen Chow, Stephen Fung
Running Time: 121 min.

By Vic Nguyen

Lovelorn daydreamer Bu (Hsu Chi), on a typical day in her Taiwanese village, finds a mysterious message in a bottle. The contents read, “I’m waiting for you”, signed Albert from Hong Kong. Thinking that this might be her true love calling, she kisses her countrylife goodbye, and hops a plane to HK. Upon arriving in this new land, she immediately locates Albert (Tony Leung Chiu-wai), only to be discouraged, because you see, he is gay. But ever the goodheart, Albert agrees to take her in, despite initial hesitation.

While exploring the finer life of Hong Kong, Bu embarks on wealthy conglomerate CN Chan (Jackie Chan), who is in the midst of competition with his rival, LW (Emil Chow). The evercurious Bu develops a sudden interest in CN, and eventually, a relationship develops between the two. And on the other hand, LW enlists the assistance of an American kickboxer in order to humiliate CN. Upon their first bout, he does the deed, beating CN in an impromptu kickboxing match. Now, with the guidance of Bu, CN must go through vigourous training, in order to beat LW at his own game, and to gain back the pride he lost.

Director Vincent Kok Tat-chiu takes the reins this time, and does a good job for the most part, injecting large doses of light hearted humor and innocent fun into the mix. Occupying most of the screen time, surprisingly enough, is Hsu Chi, who does an admirable job portraying the innocent but immature Bu (or maybe this is what she’s like in real life), while co-stars Tony Leung Chiu-wai (appearing in the film as a favor to the late Leonard Ho Koon-cheung) and Emil Chau are obviously having a delightful time with their roles. The one performance that emerges as a disappointment is Jackie Chan, who coasts through this one with barely a semblance of enthusiasm, and, at the end (excluding a few scenes), comes off as dull and lifeless as the character he plays. Providing fun cameos are a plethora of celebrity faces, most notably Stephen Fung, Sam Lee Chan-sam, Sandra Ng, Annie Wu, Erik Kok, and Stephen Chow Sing-chi (Chan would return the favor later on, appearing briefly in Chow’s own Lunar New Year’s venture, King of Comedy).

Of course, what Chan lacks in the performance department, he more than makes it up with a series of exhilirating, well choreographed action sequences (all of which shows that this 45 year old man can still deliver). Highlights include Chan’s nifty tricks with several baseball bats, and a couple kickboxing duels showcasing the acrobatic agility of Chan and his opponent, in the form of Australian martial artist Brad Allan. The talents of Allan are really a thing to behold, as he throws off an impressive array of kicking combinations that gives Ken Lo and Benny Urquidez a run for their money. The end bout, set in a recycling plant, is terrific, and is worth the price of admission all by itself. And, in the tradition of Jackie Chan films, an outtakes reel is showcased under the end credits (more oriented with flubbed lines than with action goofups), closing the film with additional laughs, and leaving with the viewer with the feeling that they had a genuine good time.

Gorgeous was released on VCD under the Universe Laser and Video label, boasting a double disc package enclosed in a slick, cardboard case. The film itself is presented in it’s original widescreen format, with small, but legible Chinese/English subtitles burnt on the black, widescreen portion. The disc suffers from hazy, undetailed colors, mild jittering and pixelization, which is constant, but not very distracting. Filmed in sync sound with an even mixture of Mandarin, Cantonese, and English dialogue, the disc offers the viewer the former, in addition to providing a dubbed Mandarin track. A DVD version has also been issued by the same company, but unfortunately, I have yet to see it for myself (it reportedly is chock full of extras, including a subtitled making-of documentary).

The bottom line: don’t expect an action packed thrillride, and go away pleasantly surprised.

Vic Nguyen’s Rating: 7.5/10

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

Hard To Kill | aka Interpol Connection (1992) Review

Posted on March 27, 2011 by JJ Bona
"Interpol Connection" Theatrical Poster

"Interpol Connection" Theatrical Poster

AKA: Hard To Kill
Director: Philip Ko
Writer: Cindy Chow
Producer: Philip Ko
Cast: Robin Shou, Yukari Oshima (aka Cynthia Luster), King Kong, Simon Kim, Philip Ko, Iwanabeo Leung, Romulo Grabiel, Jose Babida, Jess Babida, Simon Yam
Running Time: 87 min.

By Numskull

Co Chi Pang (Robin Shou) is a Hong Kong narcotics officer assigned to bring an international heroin dealer named Lo Tak to justice. He is assisted by a bumbling Filipino policeman and a fierce Japanese agent. Yay. Despite the poster featuring Simon Yam’s face, his role is only a short cameo. As a special added bonus, here is a RECIPE FOR A BORING ACTION MOVIE…

Ingredients:

– 1 hero (generic)
– 1 sidekick (buffoonish)
– 100 lbs. (approx.) eye candy
– bad guys (assorted)
– 2 dead cop partners
– 1 fake human hand
– 1 brassiere (black)
– 1 drug kingpin
– 1 trite plot device
– 1 big villain house w/Christmas tree
– 90 mins. (approx.) incompetent English dubbing
– 1/2 doz. (approx.) unfunny “jokes” (ex.: “She’s got hard tits! Jesus!”)
– 1 coconut
– 1 doz. (approx.) mistimed sound effects

Directions:

1. Generate 350 degrees homoerotic heat by showing sweaty Robin Shou pumping iron during credit sequence.

2. Credit Yukari Oshima as “Cynthia Luster” for no apparent reason. Introduce bad guys with appropriate music and sunglasses to inform audience that they are evil.

3. Set action in exotic location (ex. Manila) to create illusion that movie is somehow special.

4. Arrange meeting of hero and buffoonish sidekick; the latter should be modeled after Joe Pesci’s character from the Lethal Weapon movies and believe Lincoln is still U.S. president.

5. Have buffoonish sidekick guess what Lincoln’s “specialty” (medicine, computers, etc.) is at regular intervals throughout film (about three at first, then another every 15 minutes or so).

6. Kill hero’s partner in flashback (ex. fall from great height), then buffoonish sidekick’s partner in present (ex. shootout).

7. Let simmer until all momentum is gone; pass time with interrogation scene (ex. hero bends back little finger of fake human hand; audience must be able to tell hand is fake with minimum effort) and lifeless comic relief (ex. buffoonish sidekick wets self; buffoonish sidekick uses brassiere as shoulder holster; assassin poses as nurse with half-coconut shells for breasts; etc.).

8. Introduce trite plot device (ex. key) for everything else to revolve around for remainder of film.

9. Have villains choke hero with wire, thus incapacitating his powers of speech, while demanding that he verbally disclose location of trite plot device.

Introduce eye candy too late for viewers to give a damn. Stage short, unremarkable fight scene.

10. Coast effortlessly for 15-20 minutes or until bored shitless. Stage climactic battle at big villain house.

11. Have hero finally kill drug kingpin for both revenge and duty purposes.

12. Conclude with more lifeless comic relief.

13. Garnish with advertisements for other action movies with laughable “badass” voice placed before feature presentation.

14. Serve.

15. Dodge when guests throw at you.

16. Place in waste receptacle.

17. Watch good action movie instead.

Numskull’s Rating: 3/10

Posted in Chinese, Reviews | Tagged , , , |

Drop Blu-ray/DVD Combo (Funimation)

Posted on March 27, 2011 by JJ Bona
Drop Blu-ray/DVD Combo (Funimation)

Drop Blu-ray/DVD Combo (Funimation)

RELEASE DATE: June 21, 2011

Drop is a Japanese movie based on an autobiographical novel by comedian Hiroshi Shinagawa, who also wrote the screenplay and directed. Funimation will be releasing this Blu-ray on 6/21/11. Apparently, there is no DVD version listing. I assume the Blu-ray might include a DVD copy.

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

Face/Off (1997) Review

Posted on March 26, 2011 by JJ Bona
"Face/Off" Japanese Theatrical Poster

“Face/Off” Japanese Theatrical Poster

AKA: Face Off
Director: John Woo
Cast: John Travolta, Nicolas Cage, Joan Allen, Alessandro Nivola, Gina Gershon, Dominique Swain, Nick Cassavetes, Harve Presnell, Thomas Jane, Margaret Cho
Running Time: 138 min.

By Numskull

There are certain iconoclastic individuals out there who would have you believe that a Hollywood production associated with a Hong Kong film personality is a grievous error…that no film done in any idiom other than the indefinable (and, at times, invisible) Hong Kong “style” can possibly be worth the price of admission. These individuals are delusional fools who are so blinded by their love of the genre that they are unable (or, more likely, unwilling) to see the merit in any other type of movie. This syndrome is not exclusive to Hong Kong fanatics, mind you…it’s also obscenely common among anime fans, special effects geeks, and mass-media controlled simpletons who pay more attention to Leonardo DiCaprio’s table manners than they do to the road in front of them while they’re driving.

In terms of excitement, this movie demolishes just about every Hollywood production out there. Who in their right mind gives a bloody stool if it doesn’t quite meet the paraphenilia listed in The Anal-Retentive Fanboy’s Guide to Hong Kong Cinema? It’s got great shootouts, lots of intensity, it’s vastly superior to Hard Target and Broken Arrow, and there are no barely-visible subtitles that refuse to remain within the confines of the actual screen. The only problems here are a few corny lines of dialogue and Dr. Walsh’s failure to explain why Sean Archer becomes two or three inches shorter when he adopts Castor Troy’s face. Aside from that, it’s an immense pleasure to see an American-made, vengenace-based action movie with lots of crazed violence in lieu of the typical good-uy-saves-the-day bullshit. Any Hong Kong fanboy who won’t watch anything else: F*ck/Off.

Numskull’s Rating: 9/10

By James H.

One of the keys to the success of “Face/Off” is that in the midst of all the preposterous action, the film never really loses sight of the human side of the story. The plot follows FBI agent Sean Archer as he hunts down terrorist Castor Troy. Archer captures Troy and has surgery and takes his face to go undercover to find the location of a bomb. Things complicate when Castor has the same surgery and takes over Archer’s life. As you may have guessed, several gun fights ensue.

“Face/Off” ranks up there with the greatest of American action movies (“Lethal Weapon”, “Die Hard”, “Terminator 2”, “The Rock”, et al). The action is visceral and plenty of fun. Chases, shootouts, explosions, it’s got it all.

The acting is also excellent. Cage and Travolta have a great time playing each other and manage to keep the characters consistent when they change identities. The supporting actors give great performances as well, notably Joan Allen and Alessandro Nivola.

The movie only faults during the denouement, when it becomes a little melodramatic. But that is just one fault in this epic film. Everything else is top notch. The script, the cinematography, editing, music, you name it.

John Woo’s confident and elegant directing keep this film moving at a lightning pace. Had anyone else directed this film, it would have collapsed before the end.

James H’s Rating: 8/10

By Andrew

I could write a novel here and still miss some of the intricacies of Face/Off. I could watch it a hundred times and never identify all the subtle imagery and references. This film is primarily about Castor Troy, a twisted criminal, and FBI agent Sean Archer who is obsessed with bringing Troy to justice. Woo carefully constructs his characters and they remain true to form throughout the film, even though they trade identities.

Before you can finish watching the opening credits you’ve been introduced to Troy and Archer, and you know just why Archer is so bent on rounding him up- Troy accidentally killed Sean’s son while attempting to assassinate the man himself six years ago. Archer never forgave him, but became completeley involved in his work with the FBI, never yielding an inch to anyone and pursuing every criminal relentlessly, unafraid even of dying to take Castor from this world. Our first dialogue with Castor shows a self involved slimeball, who’s not above dressing up like a priest to try to molest a choir girl. It seems unusual that Woo would disguise his villan as a priest because the director professes to be Roman Catholic, but he is making it clear that we should despise Troy. He also makes it clear that Troy really doesn’t belong with the choir, his single black robe and gold chain in stark contrast to the pristene white of a hundred singers.

I’ll skip commenting on the nuances which every movie critic has already pointed out. A few other things I have noticed and truly enjoyed about this film are the scene where Troy and Archer meet for the first time after the surgery. Archer stands in utter disbelief staring at his own face, while Troy shows his sick amusement through facial expression. Notice that in this scene the light reflecting off of Archer (now played by Cage) is constant while the reflections dancing off of Castor’s (Travolta) face are chaotic. Very subtle, but the use of dancing light is used again when Castor makes the candlelight dinner and seduces Archer’s wife. One of my other favorites is the series of confrontations which occur just before the church shootout. The camera cuts back and forth from Castor and Archer’s wife to Archer and Dietrich’s sister. Of the four characters involved in these scenes, only Sasha, Dietrich’s sister, is unaware of the fact that Sean and Castor have swapped identities. The other three characters are all wearing sunglasses during this scene, symbolic of the fact that they know more than they are willing to admit. Only once in his conversation with Sasha is Sean being completely honest, and that is when he takes off his sunglasses long enough to say, “Whatever happens, I promise you, Sean Archer is out of your life for good.”

Woo listened to his test audiences and decided to throw in a happy ending for this film. Although a bit contrived, the ending was so good I felt like crying. We know that Archer is OK, that he hasn’t lost his marriage or the respect of his daughter, and that he has found it in his heart to finally forgive Castor Troy and start healing. What makes this film so moving though is seeing how each man reacts to living the other’s life. Not only do they discover things they never knew about each other, but they have an opportunity to know a little more about themselves. This kind of duality is without parallell in the modern cinema.

Andrew’s Rating: 10/10

Posted in Asian Related, Reviews | Tagged , , , |

The Usual Suspects Blu-ray Digibook (MGM)

Posted on March 25, 2011 by JJ Bona
The Usual Suspects Blu-ray Digibook (MGM)

The Usual Suspects Blu-ray Digibook (MGM)

RELEASE DATE: May 10, 2011

The Bryan Singer (Superman Returns) crime classic arrives, once again, in this special Digitbook Blu-ray version. Starring Gabriel Byrne, Stephen Baldwin, Chazz Palminteri, Kevin Pollak and Pete Postlethwaite.

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

Scarface Blu-ray (Universal)

Posted on March 25, 2011 by JJ Bona
Scarface Blu-ray (Universal)

Scarface Blu-ray (Universal)

RELEASE DATE: September 6, 2011

In the spring of 1980, the port at Mariel Harbor was opened, and thousands set sail… YOU know the rest. Just order the darn movie. =D For more details, click here. Also available is a $699 version. No lie.

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

Original founder of HKFlix.com speaks out

Posted on March 24, 2011 by squeedle
The end of an era.

The end of an era.

The following letter represents the author’s personal views and not necessarily those of anyone else associated with HKFlix or this website.

Dear HKFlix Customers:

In the wake of HKFlix.com being shut down last week, and in light of some of the feedback I have heard from customers in recent months, I am writing this letter in the hopes of explaining some of what happened to HKFlix and offering you the apology that I feel you deserve.

I was one of the original founders of HKFlix, and an owner until October, 2009, when we sold the business after ten memorable years of operation. HKFlix began (as HKFlicks) in an apartment in Honolulu, HI. It eventually grew to an apartment in Berkeley, CA; a garage in Berkeley, CA; a funky little converted storefront in Oakland, CA; and finally a proper warehouse in San Leandro, CA. We began the business when we were in our early 20’s and learned as we went—often the hard way.

I know HKFlix has always had its critics, but please believe me when I say that it was always run by a very small group of people who sincerely cared about the films we sold, the customers we serviced, and the way we did business. Our goal was to offer collectors the best possible selection, pricing, and shopping experience, while also providing an exceptional work environment and a living wage to our employees.

We took great pride in our network of affiliates—independent, film-related web sites that collected a generous commission for sending more customers our way. We were always eager to help them succeed, above and beyond simply promoting HKFlix—whether that meant offering programming help and advice, free review copies of DVDs, plugging them in our newsletters, or just someone to chat with.

Beyond that, we always invested as much money as possible back into the company to continue to expand our catalog and our quality of service.

No one got rich working at HKFlix—believe me, when you’re working up to 90 hours a week, you’re well beyond the realm of monetary compensation!—but we all took pride in our work, looked out for each other, and took great delight in the positive feedback we regularly received from our customers—who were, by and large, the most loyal any business could ever hope for.

There is a very vocal segment that loves to talk about “bootlegs”, and as that is a conversation that could go on forever, I’ll just address the issue as briefly as possible. The fact of the matter is that HKFlix was always between a rock and a hard place there. What people need to understand is that questions of copyrights on many of these obscure films are often 1) in dispute, or cloudy at best, 2) beyond the means or purview of a small retailer to disentangle, and 3) dictated by what the rest of the industry is doing. Which is to say that if four different companies are claiming a copyright on the same film (or claiming there is none), if the film in question itself contains copyright-infringed material, if other major retailers and distributors are selling a product and our customers demand it, if our distributor claims they have a right to sell the film to us, and if the (alleged) copyright holders are unable/unwilling to enforce their copyrights through proper legal channels (or even reply to our proactive inquiries); then we’re really at the mercy of circumstance to navigate the proper course. None of us at HKFlix liked inferior products from ANY supplier (PanMedia products were often referred to as PanShittia in our warehouse), and we always strove to identify and publicly denounce inferior products on our web site, calling attention to any and all flaws we knew about. Furthermore, we all didn’t agree on this subject. We had plenty of internal disputes about these products. Sure, we made some mistakes along the way, but it does seem HKFlix was held to a higher standard than any of our competitors, which I suppose is both flattering and frustrating.

All of this brings us to October, 2009, when we sold HKFlix. We did our best to find a buyer whom we hoped and expected would honor the traditions of HKFlix and grow the company. I stayed on for some time to aid in the transition, but eventually left the business for the new owner to run. I cannot speak to how the business operated after that, but I was saddened to see that HKFlix.com was shut down last week.

It was very painful to watch the company we had built disappear, to read accounts online of HKFlix customers who had abandoned the site and said their emails and calls were not being answered. I know it might not mean much at this late date, coming from someone whose involvement in the site ended long ago, but please allow me to say this: I AM SO SORRY. I’m sorry if your emails went unanswered. And I’m sorry that one of your favorite film resources has disappeared. Lastly, I’m sorry that I am not in a position to change it. All of you who used HKFlix as a resource over the years during which I operated the business were, and continue to be, important and valued members of a wonderful community.

When HKFlix.com disappeared, a wealth of valuable content went with it. In addition to thousands of customer and professional reviews, there was ten years’ worth of my own personal effort building the world’s largest database of martial arts films, complete with manually-verified technical details the likes of which have never been collected elsewhere. I’ve seen a few scattered comments here and there from people who would like to see that content resurrected in some kind of non-commercial/informational context. I have backups of all the data up to the sale of the business, and rights to it, and would welcome any ideas anyone has about how best to accomplish this (see contact link below). I built the HKFlix web site from the ground up (using nothing but Notepad!) and would be more than willing to do a good deal of technical legwork. But the biggest issue is the hosting costs. HKFlix was a fairly complex site running on Microsoft SQL Server (dedicated) and IIS, which unfortunately makes it very expensive to host. I’m open to hearing your ideas. But please do include some viable means of covering those costs.

In closing, thank you once again for ten years of supporting HKFlix. By doing so you gave good jobs to good people, supported independent films and local businesses, and hopefully got yourself some fantastic films in the process. All of us from the original HKFlix are deeply indebted to you and hope you will continue to search for deserving, independent businesses (and films!) to support in the future. The Amazons, Netflixes, and multiplexes all have their place, but please don’t let them bulldoze over the entire market, at least not without a fight.

Sincerely,
Mhat Bernstein

You can reach me using the contact form on this site:
http://www.mhastery.com

Posted in News |

Infernal Affairs 2 (2003) Review

Posted on March 24, 2011 by JJ Bona
"Infernal Affairs 2" Korean Theatrical Poster

“Infernal Affairs 2” Korean Theatrical Poster

Director Andrew Lau
Co-director: Alan Mak
Cast: Anthony Wong, Eric Tsang, Francis Ng, Carina Lau, Edison Chen, Shawn Yu, Andrew Lin, Roy Cheung, Teddy Chan, Arthur Wong, Henry Fong Ping, Chapman To
Running Time: 119 min.

By Owlman

Let me begin by saying that the synopsis is not a spoiler. Being a prequel to the first IA, the ending of IA2 is a foregone conclusion – we know that Sam is a top triad boss and we know that Wong has every intention of taking him down.

With that being said, the appeal of IA2 is that the focus of this story is on the relationship between Wong and Sam, hinted only in the first IA as one that use to be quite amicable. In fact, IA2 actually starts off with both Wong and Sam sitting together in a police station sharing a meal and conversation. During this conversation, Wong confesses to Sam that he has never taken him down for his illegal activities because he truly believes him to be a noble person. Further, he also tells Sam that he would rather see him in power than the current top boss, Keung, as he believes that he would be less ruthless and bring balance to the criminal underworld.

This discussion hints at the things to come. As stated in the synopsis, throughout the rest of the film, betrayals are revealed and conclude what Wong originally wished for – and, as a result, remind everyone to be careful of what you wish for.

IA2 really shines in the fact that they’ve put the focus on strong actors who bring complexities to characters that could have been the usual one dimensional cookie-cutter type so prevalent in gangster movie after gangster movie. Anthony Wong is brilliant as the conflicted Inspector Wong who tries to balance the nobility of his profession with the “necessary evils” that he ends up getting involved with. He brings the usual intensity to this role as with his many others and while watching this film, I began to sympathize with his character as he made the difficult and mostly ruinous choices to take the triads down.

On the same coin, Eric Tsang also portrays Sam with a more layered characterization than in the first IA – we know that he’s ruthless in IA but IA2 allows Tsang to reveal the gradual hardening of Sam’s heart. Starting off as a noble follower of the Ngai family who never questions the leader, Sam is beset with a power play that he has never chosen to be involved in and this leads to an evolution into the cold and calculating triad boss in the end.

Playing Hau, the son of the assassinated top triad boss, Francis Ng also brings to his role the cool demeanor that he’s so good with. At first glance, Hau looks like a mild mannered accountant but as the film moves on, it’s obvious that lying behind the low-key manner is everything that Sam is destined to become – cold, calcuating, and ruthless. One of the best scenes in the movie has Hau calling up each of his father’s lieutenants while they’re having a late night dinner together. One by one, each fall victim to his blackmailing and have no choice but to swear allegiance to the new top boss. Whereas this could have fallen into parody with Ng yelling threats to everyone, it showed that more subtle methods are even more effective.

Carina Lau plays Mary, wife to Sam, and a catalyst for everything that happens throughout the film. Instead of playing the character as a subservient type of gangster moll, Lau gets to shine as a dedicated wife who gets a little too involved in her husband’s activities.

You’ll note that so far, I’ve made no mention of the characters of Yan (Shawn Yue playing a younger Tony Leung) and Ming (Edison Chen playing a younger Andy Lau). That’s because their roles are so minor in this film that it’s best to describe them as sub-plots that probably didn’t need to be in there. Sure, you see how they both end up as moles within the triads and within the police force but it really didn’t add anything to an already strong story.

Chapman To…well, he’s just an annoying tool in this movie. ‘Nuff said.

One more minor minus on this film – the score. The use of choral music seemed out of place in many scenes and unnecessarily overpowering in others.

CONCLUSION: IA2 is an excellent prequel and a great showcase for some strong acting. I would be quite happy if they stopped the franchise with this but with the critically-savaged IA3 already out and plans for a TV series, the old economics law of diminishing returns is inevitably going to take effect.

Owlman’s Rating: 9/10

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

Infernal Affairs (2002) Review

Posted on March 24, 2011 by JJ Bona
"Infernal Affairs" Japanese Theatrical Poster

“Infernal Affairs” Japanese Theatrical Poster

Director: Andrew Lau
Co-director: Alan Mak
Cast: Andy Lau, Tony Leung Chiu-Wai, Anthony Wong, Eric Tsang Chi-Wai, Sammi Cheng Sau-Man, Kelly Chan, Edison Chen, Shawn Yu Man-Lok, Elva Hsiao Ah-Hin, Chapman To, Gordon Lam, Ng Ting Yip, Wan Chi Keung
Running Time: 100 min.

By Alexander

Fellow City on Fire reviewer Raging Gaijin had this to say in a recent review: “Now I know the whole ‘the good, the bad, the ugly’ approach to writing a review is over-used and cliché.”

To this I say, Fuck you, dude. My review of Infernal Affairs:

The Good: Tony Leung shines in his role as Yan, and is easily the best thing about IA. Since Tony Leung has appeared in every Hong Kong movie since 1982’s Five Element Ninja (as a tree ninja, I think), it’s easy to forget that we’re actually watching Tony Leung in character, and not just watching Tony Leung walking around as…Tony Leung. I mean, he’s so pervasive in Hong Kong cinema that we don’t point at the television and say, “Hey, that’s Yan, an undercover cop.” We say: “Hey, that’s Tony Leung.” Because Anthony Wong and Sammi Cheng and Andy Lau don’t really act. Instead, they just sort of exist in front of the camera and play themselves, film after film, while only occassionally “getting in character” by donning fat suits and wigs. But in THIS film, I did forget that I was watching Tony Leung. I saw a disheveled, conflicted, hard-working cop, NOT Tony. THAT’S a testament to how good he is in IA. More good: the story is pretty solid and Anthony Wong as Anthony Wong is great. (In fact, he’s as good here as he was in his debut, 1977’s The Three-Fingered Disciples of Shaolin).

The Bad: The worst thing about IA is the hype surrounding it. A few of the reviews I’ve read tout IA as the best thing to emerge from HK since John Woo’s The Killer and Wong Kar Wai’s Chungking Express. Bullshit. IA is a solid crime flick that proves moderately entertaining. That’s it. Nothing great, and certainly not worthy of TWO sequels. Because I was expecting something superior (superior writing, superior directing, superior this and that and everything else) as result of the effusive praise spewed by bored Asian film fanboys, I was ultimately let down by the average-ness of IA. (You know what I hate? I hate it when Asian film forum posters toss out the increasingly irrelevant and erroneous “You can’t compare Hollywood films to Asian films!” Again, bullshit. Take the underrated U.S. film Narc, for instance. Good movie. Had this film looked exactly the same but had been produced by an Asian crew with an Asian cast, it would have been recognized as the best movie ever to emerge out of HK. THAT’S how far behind Asia is in the realm of filmaking. I mean, if Narc, a film 54 people saw in the theaters, according to IMDB, is that superior to the best Asia has to offer, then how good are Asian films REALLY? Hm? Comparisons are NECESSARY to ensure the bar is set high in Asian film; to ensure we’ll keep seeing creative crime drama gems like The Killer and The Longest Nite, and not generic fare like IA which is only as good as the best episodes of Law and Order.)

The Ugly: Sammi Cheng. Once Hong Kong’s hardest working actress, she’s relegated to a minutes-long cameo as one of the character’s wives. Remember her award-winning turn in the martial arts classic Ancient Shaolin Seamstress? How the mighty have fallen.

The Bottom Line: IA is solid, but not as great as some would have you believe.

Alexander’s Rating: 6.5/10

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

Rapper’s delight: Scarface Blu-ray announced

Posted on March 24, 2011 by JJ Bona
Say hello to my Scarface Blu-ray!

Say hello to my Scarface Blu-ray!

The Scarface Blu-ray release is coming on September 6. Features: “newly-restored” print and 7.1 audio; and of course, a pack of extra features. It will come in a limited-edition BD with SteelBook packaging, ten exclusive art cards, a digital copy of the film and a DVD of the original 1932 Scarface. The studio is also holding a national Scarface fan art contest (Visit Scarface page on Facebook for more details).

There will also be a Limited edition (1,000 worldwide) set priced at $999.99. It will feature a hand-crafted Scarface-themed humidor. Created by the renowned Daniel Marshall, the humidor’s exterior is hand painted and polished with the Marshall’s trademark “1000 coat brilliant finish.” The interior – made with untreated Spanish cedar – will properly condition and age approximately 100 cigars at optimal humidity levels.

– Thanks to Juan Calonge, blu-ray.com

Posted in News |

Double Edge | aka American Dragons (1998) Review

Posted on March 23, 2011 by JJ Bona
"Double Edge" VHS Cover

“Double Edge” VHS Cover

Director: Ralph Hemecker
Cast: Michael Biehn, Park Joong-hoon, Cary-Hiroyuki Tagawa, Don Stark, Byron Mann
Running Time: 91 min.

By Mighty Peking Man

Double Edge is one of those titles you’d see at your local video rental store and say: “Oh God…what the hell is this, another straight-to-video piece of shit?” or “Who the hell is that asian guy standing next to Michael Biehn, a wannabe Jackie Chan?” Well, I can’t blame anyone for making those remarks. After all, it’s an unknown flick. Other than the presence of Biehn (Terminator), Double Edge is a hard movie to sell (unless you’re a B-movie enthusiast who thinks Cary-Hiroyuki Tagawa of Mortal Kombat is a selling-point).

But you know what? I know better. I’ve been doing my homework and can easily separate crap from the decent stuff. As much as I don’t mind Biehn, I didn’t see this movie for him. I saw it for the performance of Korean’s Park Joong-hoon.

Park Joong-hoon, probably best known for playing a psychotic cop in Lee Myung-sae’s Korean police-drama Nowhere To Hide, is barnone, the baddest mutherfucker working in Korean Cinema today (well, maybe not to that extent. Clarence Worley from True Romance possessed me for a second…). I’ve seen him in many Korean flicks and love his acting-style, so I had to check out his work in a Hollywood. The result: Even in an U.S. movie, this guy can act.

Park Joong-hoon’s english is almost flawless and his overall screen presence is something that can be compared to Chow Yun Fat. Basically, if you like Park Joong-hoon, then you don’t wanna miss this. If you don’t know who he is, watch Nowhere To Hide first, then I guarantee you’ll wanna see this; because other than a small part in The Truth About Charlie, it’s the only American-made film he has co-starred in.

Double Edge is a low budget action film with that typical buddy-cop thing thrown in. It’s a decent film that’s definitely steps above cheesy flicks of the same genre like Tango and Cash and Showdown in Little Tokyo. Keep in mind that it’s not a martial arts movie (I’m sure there’s a schmuck out there who thinks that just because there’s an “oriental” guy on the poster, he assumes the film has “kung fu” in it).

The director (Ralph Hemecker, who directed some of the X-Files TV episodes) and entire cast, including Byron Mann (The Corruptor) all make the best of it, despite the fact they probably knew it would only reach about 50 household DVD players.

It should be noted that Double Edge was co-written by Keith W. Strandberg, who is known for not only writing, but producing the No Retreat, No Surrender series, King of the Kickboxers, as well as Bloodmoon. Standberg is no Paul Schrader, but to fans of martial arts movies, the guy is respected (again, Double Edge is NOT a martial arts movie).

Double Edge is fair entertainment, but don’t go totally out of your way for it. If it’s on cable or something, watch it. If you’re a fan of Park Joong-hoon, definitely watch it!

Mighty Peking Man’s Rating: 6/10

Posted in Asian Related, Reviews | Tagged , , , , |

On The Run (1988) Review

Posted on March 23, 2011 by JJ Bona
"On the Run" Chinese Theatrical Poster

“On the Run” Chinese Theatrical Poster

Director: Alfred Cheung
Producer: Sammo Hung
Cast: Yuen Biao, Pat Ha Man Jing, Charlie Chin, Chan Cheuk Yan, Idy Chan, Lee Heung Kam, Lo Lieh, Yuen Wah, Philip Ko Fei, Alex To, Peter Pau Tak-Hai, Yau Kam-Hung
Running Time: 88 min.

By Reefer

On The Run is as dark and violent as any film I have seen. Imagine an alternate version of Righting Wrongs minus all the kung fu action and including an even more depressing finale and this is what you might have.

It is hard to imagine casting one of the most athletically gifted actors in film history, Yuen Biao, to play such a serious character without taking advantage of his obvious talent. But this film bravely does it, relying mostly one Yuen’s acting ability as special agent Heung Ming to carry the film. No small feat indeed. Ultimately, Yuen succeeds even though Ming is not a tradition hero. Sporting a bandage diagonally on his cheek and stubble sprouting on his chin, he no longer resembles Jackie and Sammo’s little brother. This is a serious actor and arguably the best performance of his career.

Pat Ha as the hit woman Yiu who murders Heung Ming’s wife and ultimately teams up with him against her employer. Ha plays the assassin cold and almost lifeless. Some have compared her performance to that of Chow Yun Fat in The Killer, a comparison that is as unfortunate as it is misleading. Chow Yun Fat’s Jeffrey was anything but cold and his violence was almost self-expression or strangely . . . character development. Ha’s character is just a girl with a gun. She shoots things. Her reasons for helping the endangered Hueng and his daughter Lin (revenge and she likes the kid) seem hollow as well, like a quick plot fix.

A good deal of an audience’s enjoyment of On The Run will be determined on how quickly they buy that Yuen’s character could forgive Yiu for killing his wife and the young girl’s mother. It was certainly a stumbling block for me. A little more development on her character would have worked wonders. We know that she is hard on the outside, but what is inside?

Having said that, one of joys of this film is that it doesn’t tell you everything. Hollywood counts on its audience being dumb and lazy. This film brazenly thins out the herd by immediately almost declaring that YOU WILL HAVE TO THINK HERE. For example, the first and only meeting in the film between Hueng and his wife (Chan Yuk-Lin) is so short and almost painfully low on information that I wondered if it was insignificant. It turns out to be the most important scene in the film because it provides the only background for the characters. It also underscores the profound sadness that haunts all the characters. Moreover, the audience is left to decide who is at fault for there break-up. Who is the good guy? Bad guy?

Well, we know soon enough who the bad guy is. Seems that Hueng’s wife left him for another cop, superintendent Lui Jun, and he and his gang of corrupt police need to eliminate Yiu for their own safety. He and his underlings seem to travel in packs so that conveniently enough their numbers can be paired down in interesting and incredibly violent ways during the numerous chase scenes. One of the bad guys is none other than Yuen Wah.

Leaving a trail of bodies and extreme brutality, On The Run keeps sinking lower and lower often resembling a trip into Hell. Lots of horrible things happen and not many good things to balance them against. From the cold-blooded murder of sympathetic characters to the climactic endfight in which two guys try to pulverize each other with anything handy, On The Run is an uncomfortable viewing experience that is impossible to enjoy if you check your brain at the door.

Reefer’s Rating: 7/10

By Numskull

I’ve often said that Yuen Biao is a highly under-rated performer. Well, now I’ve seen On The Run, and I’m even more assured of that fact than ever. The man doomed to be forever considered “little brother” to Jackie Chan and Sammo Hung simultaneously draws out your sympathy and demands your respect as Hsiang Ming, a CID agent; the kind of character one frequently associates with the likes of Chow Yun-Fat. Though Biao is known principally for his acrobatic and martial arts skills, this film is radically different from his typical work and proves that he possesses great dramatic, as well as physical, prowess.

Hsiang Ming’s soon-to-be-ex wife (she’s heading for Canada, and he asks her to postpone the divorce so that she can sponsor him to go there too), Lo Huan, is an anti-narcotics cop who is suddenly murdered by a Thai hit woman named Chui. Unsurprisingly, Ming soon becomes hell-bent on revenge, but when Chui and her uncle are betrayed by their employers, he is forced to join forces with his wife’s killer to elude a seemingly endless supply of corrupt cops who want him dead. This nifty twist is the root of the movie’s only significant flaw; Yuen Biao’s character accepts the situation a little too readily, and while it wouldn’t be entirely accurate to say that he “forgives” the assassin, one would expect considerably more hostility between the two of them even after it becomes clear that they must rely on each other to survive. It is also worth noting that Hsiang Ming, while a decent enough guy, isn’t exactly a beacon of purity and righteousness; when he does confront Chui, the “I’ll kill you, you fucking bitch” business comes only after he tells her: “Now I can’t emigrate.” Nevertheless, it’s impossible not to root for Yuen Biao. All he wants is what any of us would want: to protect his daughter, to save his own skin, and to get some payback for his dead wife, in that order. His situation is incredibly bleak; as the movie progresses, practically everyone that he trusts either gets killed or betrays him. There’s more suspense packed into On The Run‘s 88 minutes than there is in just about any lame-ass slasher flick you can name.

When just about everyone else is dead, Yuen Biao squares off against the one person whose hand has guided all of the misery and loss of life that has plagued him from the beginning. What results is possibly the single greatest fight scene, in terms of cinematic storytelling purposes, that I’ve ever seen. Since this movie does not fit into the action category, one might think that a fight to the finish would be considered a somewhat unimaginative climax, but trust me, when it happens, that’ll be the least of your concerns. Turn the volume up and shout your encouragement, neighbors be damned, as Yuen Biao, seething with rage the likes of which is never seen in generic martial arts films old or new, beats the unholy fuck out of his opponent with whatever he can get his hands on, and vice versa. This doesn’t go on for very long…three minutes, tops…but a really long, drawn out fight scene would be both inappropriate to the film and unrealistic as hell; there’s only so much stabbing, gouging, and bludgeoning that the human body can stand.

On The Run is a very in-your-face movie, glorious in its total lack of pretense. That’s not to say it doesn’t have style; the “lurking” scene with Chui and one of the baddies on opposite sides of a wall is incredibly cool. Perhaps it could stand to be a bit more ambitious, but the point is, it perfectly accomplishes what it sets out to do. The film is dark, and I mean that in the literal sense…lots of night scenes, and the majority of the interiors are dimly lit. This is essential in establishing the mood of the film, and in this particular case, the proper mood goes a long way. Same goes for the soundtrack…or lack thereof. For those scenes that have music, it complements the film very nicely. However, a large portion of On The Run features no music at all, and while in many other films that wouldn’t make any appreciable difference, in this one it adds tremendously to the lonesome atmosphere and air of mystery. The silence, as the saying goes, speaks volumes. The supporting cast certainly has its share of talent, with kung fu badass Yuen Wah (a man who, as a Peking Opera School student, once fell asleep while performing a headstand) playing kind of a wimp for a change, with surprising effectiveness.

So, you wanna see this movie, huh? Well, here’s where I piss on your parade. The VCD for this movie is out of print, and the only DVD that exists is a Japanese version in which the last scene has inexplicably been removed. A Hong Kong DVD was reportedly to be released in October 2001, but, as of this writing, has not seen the light of day, and never may. The version I saw was a Tai Seng video tape with clamshell packaging. This, I believe, is also out of print. The picture is full frame and the subtitles, to no one’s great surprise, often get chopped off at the left and right edges of the screen. The story can still be followed, though, and perhaps the single strongest recommendation I can give is that it’s actually worth tracking down a copy of the tape and putting up with Tai Seng’s bullshit treatment of the movie in order to see it. As for me, I plan on looking for another copy for myself, because I fully intend to wear out the tape I have now with repeated viewings of that short but incredibly sweet fight scene. After the closing credits, I rewound and watched it once more, and then a third time later on. In fact, now that I’ve said my piece here, I think I’ll go and watch it again. Bye.

Numskull’s Rating: 8/10

By Vic Nguyen

On the Run is perhaps known best for providing Yuen Biao with his finest performance to date. His portrayal as the troubled moralistic cop is dead on, combining both superb restraint and expressive emotions. Ah Biao’s female counterpart, Pat Ha, gives a noteworthy acting job, and is completely believable as a cold and calculated hitwoman, only to have human feelings and emotions to get in the way of her career. Also appearing in supporting roles is veteran Taiwanese actor Charlie Chin, who co-stars as the corrupt superintendent, and fellow Peking Opera schoolmate Yuen Wah, who appears as one of his cronies.

Director Cheung doesn’t disappont either, and perfectly complements the gloomy theme with dark cinematography which takes place in the black, Hong Kong horizon dimly litted with the traditional glow of neon lights. It is almost impossible to not be absorbed in the mood by the cinematography. The writing also plays a large part in setting the theme. The script is masterfully crafted, moving at lightning pace, providing the viewer with plenty of suspense and surprises to glue the them to the television for the 90 minute duration. All in all, you won’t find pretentious, incomprehensible wannabe filmmaking crap in the tradition of Michael Bay, just pure talented directors and writers at full force.

Of course, novices to Hong Kong films will immediately typecast this as standard, martial arts action fare. Well, it’s just pure ignorance on their part. Aside from an incredible pole-slide stunt performed by Yuen Biao, all of the action is played straight. The fight finale between Yuen Biao and Charlie Chin’s henchmen is nothing but intense brutality and realism at play. Fluid, acrobatic choreography is the last thing you should expect. In the case of On the Run, that is a good thing. Any type of cartoon- like Jackie Chan action will just ruin every theme the film is trying to convey. Thankfully the filmmakers didn’t bite to mass appeal just like so many others in this entertainment world today.

Overall, On the Run is a milestone achievement in Hong Kong filmmaking. Multiple viewings is absolutely required for this masterpiece, and of course, I highly recommend this overlooked gem to anybody itching to get out of the Jackie Chan/ John Woo mode.

Vic Nguyen’s Rating: 10/10

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

Victim, The | aka Lightning Kung Fu (1980) Review

Posted on March 23, 2011 by JJ Bona
"The Victim" Chinese Theatrical Poster

“The Victim” Chinese Theatrical Poster

AKA: Sacrifice
Director: Sammo Hung
Cast: Sammo Hung, Leung Kar Yan, Fanny Wang, Chang Yi, Peter Chan Lung, Wilson Tong, Yuen Mao, Cheung Ging Boh, Fung Lee, Karl Maka, To Siu Ming
Running Time: 90 min.

By Reefer

According to the Ric Meyers/Bobby Samuels audio commentary track on the DVD, The Victim marks Sammo Hung’s first directing effort, but originally released 3 or 4 years later. I am not sure this is true because I think popular belief is that Iron-Fisted Monk was his first. It is also one of the first old schools films I have seen that features a non-linear narrative, using an ample amount of flashbacks and creative editing to move the story back and forth in time. Anyway, this is undoubtedly old school kung fu theater at its best.

Sammo plays a goofy, rotund, and ultimately dangerous martial artist in search of a master. He scours the countryside in search of someone who can be him in a fair fight, therefore, becoming his master. After testing and beating a variety of opponents, Hung witnesses Leung Ka Yan rescue a blind man using some considerable skill and strength. Sammo is instantly impressed and decides to test him. Thus, begins a series of scuffles pitting hefty Sammo against lean, athletic Leung, all bouts leaving Sammo covered in bruises. Leung is clearly worthy of becoming his master. However, Leung has his own problems and is not interested in teaching Sammo’s smiling pest.

One of the fights takes place in a bathhouse were Leung gives Sammo the slip and the fat one ends up fighting scores of naked men. The bout quickly degenerates into a towel snapping and penis-flicking contest, complete with naked stuntmen flying into water or painfully hitting the floor. Could this be the start of Sammo’s cinematic obsession with male nudity?

A word about Leung Ka Yan. It is my understanding that he has no formal martial arts training. This makes his performance here all the more amazing. In a film with just about wall-to-wall fights, Leung is called upon to perform some very intricate sequences, featuring weapons and countless moves with a very a small about of edits. Watch this film and challenge Steven Seagal or Van Damme to try this stuff. They are such a joke.

Leung turns out to be a stepson to his master who also has another son. Both boys were his pupils. Chang Yi, the stepbrother, is something of a troublemaker. Seems that he decided to try to rape Leung’s bride (Faye Wong) on their wedding night. With his eye patch and pissed-off nature, Chang Yi can be best described as the badass Nazi son of the Devil. He’s a wonderful villain in the same way Yuen Wah is a great villain. Apparently, he even has the skills to back it up.

Now I am gonna say something the may turn off many Sammo Hung fans. The story eventually branches off centering on Leung’s family dilemma and Sammo becomes a supporting player. To me, that is fine because Leung and his wife’s troubles are quite frankly more interesting.

The kung fu fights in The Victim are simply amazing. Each one seems to have a pace and a temper of its own. The battles range from slapstick to serious to bloody viscous. Credit assistant kung fu coordinators Lam Ying Ching and Yuen Biao. I find it to be a minor treat to watch the action and pick out the places were these two future greats double other actors during fights.

Criticism time. The story, like most films of it time, suffers greatly from the spontaneous filmmaking style. Basically, it is quite obvious that at many points during filming that the crew had to stop and figure out what is gonna happen next. Given the fact that much of the narrative is presented with flashbacks and uses unconventional gimmicks for the time, the final product comes off messy. Sammo may have bitten off more than he could chew in that respect.

But hey, do what I do. Don’t think about it. Enjoy the chaos and the dilemmas of these very interesting characters.

Reefer’s Rating: 9/10

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

Victim (1999) Review

Posted on March 23, 2011 by JJ Bona
"Victim" Chinese Theatrical Poster

“Victim” Chinese Theatrical Poster

Director: Ringo Lam
Cast: Tony Leung Ka-Fai, Lau Ching-wan, Amy Kwok, Hui Siu Hung, Emily Kwan, Ma Tak Chung
Running Time: 100 min.

By Mighty Peking Man

Ringo Lam steps into the horror-genre with this wickedly-dark film starring Lau Ching-wan and Tony Leung Ka-Fai. There has been endless debate on the film’s plot which leaves the viewer asking themselves: “How much of it is supernatural,” “How much if it is just plain human crime?”… whatever it may be, this film is a great exercise for those who appreciate a good mystery.

Lau Ching-wan plays “Manson Ma” (Helter Skelter anyone?), an ordinary guy who was mysteriously kidnapped and then dropped off at an old mansion to be picked up. Tony Leung is the cop who picks him up and finds Manson hanging from the wall, alive but unconscious. Manson is taken into custody for questioning the next day. Here’s the angle: The mansion, where Manson was found, is well-known to the public to be haunted, due to a tragic event that happened years ago where a man murdered his wife, child and then himself.

Amy Kwok, who plays Manson’s girlfriend (and Lau Ching-wan’s real-life wife) realizes that after the strange events, Manson is not only in deep shock, but also, a totally different person. This leads to the conclusion that he may have been possessed by the spirits at the mansion.

Meanwhile, Tony Leung is a bit skeptical. As more and more shocking clues turn up, he realizes that this all may be just in act or cover-up behind what really happened between Manson and the mysterious kidnappers. This is where the movie goes from Amityville Horror to Full Alert...

Victim is an intense, superbly-written crime/horror film, which doesn’t surprise me coming from Lam. Its entire cast, especially Amy Kwok and Lau-Ching-wan, all give powerful performances. There are known to be some VCD versions of this film that feature “ghostly” figures floating around towards the end.

Think of it as Lam’s take on The Shining, if you may. Highly recommended.

Mighty Peking Man’s Rating: 8/10

Posted in Chinese, Reviews | Tagged , , |

Full Contact (1992) Review

Posted on March 23, 2011 by JJ Bona
"Full Contact" International Theatrical Poster

“Full Contact” International Theatrical Poster

Director: Ringo Lam
Writer: Nam Yin
Cast: Chow Yun-fat, Simon Yam, Anthony Wong, Ann Bridewater, Bonnie Fu, Chan Chi Leung
Running Time: 99 min.

By Joe909

Finally, after reading about it for years, I got to see Full Contact. To say the least, it’s a movie experience. A Hong Kong remake of John Boorman’s ’60s existential action flick Point Blank (also remade recently as the sub par Mel Gibson Payback), FC is a high-octane mix of guns, motorcycles, sluts, homicidal homosexuals, Road Warrior-rejects, and cock rock.

This movie doesn’t fuck around. In the first few minutes a female clerk is stabbed, and innocent people get shot to shit. The violence is very realistic, there aren’t any slow-mo, artsy John Woo shoot-outs at all. Most shocking is the half-second image of a severely-burned young girl.

The cast is good: Chow Yun-Fat is surprisingly believable as the toughguy ass-kicker, offering only more proof that he can play basically any role. His girlfriend is hot and registers the right emotion for each scene, Anthony Wong is as creepy as ever (I love the part where he unloads his .45 on some guy), Virgin is disgusting as hell, and her metalhead boyfriend is amusing. Simon Yam, however, outshines the rest of the cast, hamming it up throughout.

Full Contact does bog down in the middle half; there are too many extended dance/montage sequences, too many uncompelling scenes. Not until the final third does the movie pick back up, with Chow exacting his revenge on Simon Yam. Speaking of whom, Yam gets the “coolest scene in the movie award,” when he lights a cigarette with his thumb in the opening robbery scene.

Ringo Lam has always seemed like a Hollywood director to me: his films never look like anything else that come out of Hong Kong. Full Contact is no exception to this: other than the Chinese actors, you’d swear you were watching a low-budget, US-made action film. But that’s not necessarily a bad thing.

Joe909’s Rating: 8/10

By Lady Tequila

Full Contact rocks.

Bullet-cam. Scantily-clad exotic dancers. Lots of big guns. Lots of big motorbikes. Lots of big car chases. Ultra-violence. Sex-starved nymphomaniacs. Chow Yun-Fat wearing leather and biceps. Females which exist only to prove that the male leads, even while wearing leather and biceps, are in fact of course not gay in any way. Screaming rock guitar. Damn it all, this movie sweats male machismo. And it rocks. It’s a big, adrenaline-pumping, gun-toting ride of a film, and if you switch your brain off and watch, it fucking rocks.

The action is top-notch. A far cry from John Woo’s balletic touch, Ringo Lam injects gritty fury into his fight scenes, and we see blood, graphic detail, and the ‘bullet cam’ shot which Lam pioneers here. This is a world where nothing is taboo and anything goes, and just in case we don’t realise this, Lam ensures that we see plenty of innocent people get killed in various nasty ways, including a young, pretty clerk who gets brutally stabbed in the first minute or so of film. This scene is interesting because, according to the law Hollywood has created, this should not happen in a film – innocent people don’t get killed onscreen – so when it does happen, we are left knowing that this is a film where anything can happen, and we fear for the central character more because we have no guarantee that he’ll come out of this film alive. In a world of “hang on we can’t kill him he’s played by Sylvester Stallone” action films, this is not only a thrill but also a relief.

Chow Yun-Fat can do no wrong as an actor, and it’s interesting to see him take a big step away from his usual smooth, suave, sophisticated roles and jump headlong into playing a rough, tough, sneering character, complete with leather and biceps and even a buzz-cut (which are OK because he’s got a girlfriend, and so he can’t be gay). Anthony Wong is kind of unnerving (but does get a little whiney at times). Simon Yam is bloody brilliant as the homosexual bad guy, although his character would (rightly) have seen him crucified by gay rights activists outside of Hong Kong. Anne Bridgewater is reasonable but gets little to do other than supply proof of Chow Yun-Fat’s heterosexuality. Bonnie Fu plays Virgin (wrongful labelling if ever I saw it), who I find distinctly annoying.

So, yeah. It rocks.

But – to be honest this movie has me torn in two. I love the movie because of the action, cast, and some of the more touching, emotional moments. But, if inspected more closely, there are things in this movie which really rub me up the wrong way. There’s the blatant homophobia, the portrayal of women as nothing more than slutty fluff. This film has no morally redeeming features – it’s basically just (hugely enjoyable) eye-candy, some dodgy values, and violence for violence’s sake. I kind of wish Lam had some of Woo’s morals, then maybe this would be a perfect film.

But fuck that, it still rocks.

Lady Tequila’s Rating: 9/10

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