# A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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Dreams Of Glory, A Boxer's Story (1991) Directed by: Lawrence Lau

A slice out of lives rather than a fully plotted movie, Lawrence Lau (My Name Is Fame) provides scenery akin to a documentary as he follows a variety of kickboxers in Hong Kong trying to make it big. Lessons of enlightenment are imbedded within, mainly evident in the focus on the 2 year veteran and social outcast Ming (Jackie Lui - The Mission) and Law Yat-Tak (Do Siu-Chun), a martial artist trying out a new direction. Within the declining club they train at, these either blue collar workers or part of that type of family have their fragile inner selves shaken about in order to understand that gaining popularity and skill isn't measured in the ring. Law Yat-Tak tries to learn of this as his father (Lau Kong) opposes his choices while Ming travels to Thailand where the interaction with people does a difference. Shot in synch sound, the distanced direction of Lau's immerses us into a reality where the fighting movie-clichés are never able to detract. As a journey, the movie works. As cinema, the slow pace and lack of spice will turn off most viewers but despite not saying anything original, a noble work it is. Rain Lau, co-star of Lawrence Lau's Queen of Temple Street, appears in support.

The Dream Sword (1979) Directed by: Li Chao-Yung

A widely plotted Wuxia with human thoughts, it's not as masterful as it sounds but when enough translates it's worth acknowledging. But personally the narrative style of these movies are still tough going, with multiple characters presented, mentioned and otherworldly matters being the prime focus in plot. Basically the trio of Dream Sword, Hsia Shang Chou (Chung Wa - The Bastard), his student Fan Chih (Lung Fei in basically one of his few good guy roles) are joined by Swordsman Li (Yueh Hua - Come Drink With Me) to shake up the power balance in the Wuxia world. End target for this is the mighty Tzu Yi Chun (Nora Miao) and her deadly, projectile flowers. In the back of the head of Hsia Shang Chou though lies issues of heartbreak and a desire to reclaim love in his life. The design is suitably fantasy-like in nature, with especially the colours amped and the fantastique elements concerning fighting and weaponry are in tune but an attention grabber in the true The Dream Sword certainly isn't. Definitely just another with bursts of high drama skill, the film benefits more when being small in scope and therefore closer to human issues but this remains a sporadic inclusion. Therefore sporadic acclaim. The action is often grounded which is admireable considering the genre and story we're talking of here.

Dressed Off For Life (1984) Directed by: Lee Wing-Cheung

Former boxing champion Chan Kuen (Michael Chan) possesses self-pity and an impotence problem so he ruthlessly rapes and kills all across Hong Kong. Logical. He chooses to prolong the process with Ping (Michelle Lai - The Butterfly Murders) though. After Chan kills off a veteran cop (Lau Kong), it's up to his younger partner (Wong Yue) to stop the murder mayhem...

An unusual role for Chan, dealing with a character not triad related at all, despite his larger than life force, the chills and efficiency never makes it way into Dressed Off For Life. Wong Yue threatens to derail the film with farce but ends up playing it straight mostly. Screwball comedy ventures that instead takes place in the scenes with the police chief so you'll definitely know this is a Hong Kong movie despite. Goblin's score for Dawn Of The Dead turns up on the soundtrack.

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Dr. Mack (1995) Directed by: Lee Chi-Ngai

a.k.a Mack The Knife, this Lee Chi-Ngai scripted/produced and directed comedy-drama centers around surgeon Dr. Mack (Tony Leung Chiu-Wai), his clinic in Lantern Street and what effect he has on all the people that surrounds him (mostly women). Lee Chi-Ngai's lighthearted but stuffed movie talks about life, death, hope etc. but fails to make the kind of impact it apparently strives for. Proceedings are frankly dull at times and it's only towards the end a few of the characters really come to life (in particular Lau Ching Wan as the cop Chiu). It's not surprising that a Lunar New Year film overall is sloppy but Lee Chi-Ngai should get kudos for wanting to put genuine thought into a film released during that time of year. Tony Leung and Lau Ching Wan are good however and being a Lunar New Year film, a cast of stars such as Christy Chung, Richard Ng, Jordan Chan and Andy Hui appear. Based on the Japanese comic "Dr. Kumahige" by Sho Fumimura and Tagumi Nagayasu.

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The Drug Addicts (1974) Directed by: David Chiang

Martial arts superstar David Chiang's directorial debut goes the modern drama route with some gritty action thrown for storytelling- and commercial reasons. Ti Lung plays the titular drug addict who gets unexpected help to kick the habit by Wong Chung's Tseng Chien (after a night in a shed he's apparently clean). Back on the job as a kung-fu teacher, Ti Lung's Kuan gets recruited by the police to gather information about drug smugglers and finds out his saviour belongs to that gang. Over the top acting and some heavy handed commentary aside, Chiang's debut is flimsy and even borderline weak. The beats of strong friendship and brotherhood forged are there but little is felt as our leads are not in synch acting-wise for one. Ti Lung is always a few notches bigger than the admirably low-key Wong Chung and very little resonates dramatically (not even Louis Lee's female drug addict and subsequent love interest does). When danger and bloodshed is put into the mix, we care for the occasional distressing beat and certainly about the gritty end fight between the leads, Lee Hoi-San and Lo Dik as the drug syndicate head (in an excellent turn) but Chiang isn't a big enough visionary to take this story the grim, heart wrenching places he wants. The Drug Addicts sits there for a while, does its thing and disinterest is not a good response to a drama. In bursts a tolerable start but Chiang would grow confidence as a director eventually. Especially after his Shaw Brothers days. Also with Kong Do and Paul Chun.

Drugs Area (1991, Cheung Bing-Chan)

One of many low budget actioners of the 90s but it doesn't embarrass itself. Although it doesn't come recommended either. Lam Wai is Peter who grasps a power position away from drug dealer Mr. Ko (Eddy Ko) in Thailand. Previously he callously killed a cop (Michael Miu) and after revenge is his fiancee played by Sibelle Hu. A movie that needs its sellable goods to deliver because the in between drama isn't competent. Lam Wai however is dependable and gets to work with a few interesting beats but most content outside of his scenes tends to be forgettable. Action-directing mixes and gunplay and fights to a decent degree in a scene or two, with big squibs and effective editing to enhance intensity present. But any worthwhile aspect only comes up to the surface sporadically and Drugs Area really isn't making a mark at all most of the time. Especially evident in the lackluster boat chase-finale. Also with Kenneth Tsang.

Drugs Fighters (1995) Directed by: Yiu Tin-Hung

Functional storytelling (although a bit too thick on characters) in between the action but ultimately the latter aspect is THE showcase for Drugs Fighters. Not a bad thing since Alan Chui goes for intense bloodshed and fairly painful looking fight choreography, mostly showcased when he himself lights up the screen. Cast of Yukari Oshima, Ngai Sing, Lam Wai and Yuen Wah are all on board and game and Chui also ultimately deserves kudos for igniting what is a very low budget actioner anyway.

Drunken Master (1978) Directed by: Yuen Woo-Ping

The key team behind the Seasonal hit Snake In The Eagle's Shadow, Jackie Chan, Simon Yuen, Hwang Jang Lee, producer Ng See Yuen and director Yuen Woo-Ping assembled once again, creating another box-office smash with Drunken Master. As with the former breakout effort, this one still lives and breathes today.

Comedy is broad, with both Jackie and Dean Shek being culprits but Chan, giving us his take on the young Wong Fei-Hung, overcomes such negatives by displaying a lasting sense of childish charm and fun. With that solidified, the martial arts action (choreographed by Woo-Ping, Yuen Shun-Yi, Corey Yuen and Hsu Hsia), with emphasis on the comedic as that was a successful recipe to continue exploring, is intricate, lengthy and thoroughly entertaining. The various training sequences are arguably some of the most memorable aspects of the film as it shows a young Jackie at his very agile best.

Simon Yuen's veteran presence is always welcome, this time taking on the classic character of the drunken beggar (So Hat-yi in Chinese) but if there's a true niggle here for me personally is that the chemistry between the two leads is lacking compared to Snake In The Eagle's Shadow, where a genuine warmth existed between the two. Despite, Drunken Master became and still is an important martial arts classic which was topped tenfold by the Lau Kar Leung/Jackie Chan helmed sequel in 1994.

Mei Ah's remastered dvd is good although there seems to exist a difficulty obtaining a full length Cantonese audio master these days. Columbia's Region 1 release from 2002 filled in the blanks with English dubbing while Mei Ah in 2004, via branching, feature Mandarin instead. Shame that no effort was made to cull the audio master from older home video releases such as the Far East laserdisc but the branching works smoothly and it's a more preferable solution the Hong Kong disc provides. That said, the first fight scene in the film, between Hwang Jang Lee and Yuen Shun-Yi, is obviously newly redubbed. Madness. Thanks to John Charles of Hong Kong Digital for the above information.

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Drunken Master III (1994) Directed by: Lau Kar-Leung

Creative differences on the style of fighting prompted Lau Kar-Leung to leave the project and immortal classic Drunken Master II, with star Jackie Chan taking over the finale and completing the film. That's one version of the story and the same year a very sad story in moving pictures landed courtesy of Lau Kar-Leung. Namely yet another unrelated entry in the series covering Wong Fei-Hung's younger, more mischievous days and what a full on failure it was to boot. The whimsy story about rebels (led by Andy Lau) supporting Dr. Sun Yat-Sen, an emperor's princess (Michelle Reis) caught in the middle and Wong Fei-Hung (Willie Chi - Burning Paradise where he played another folkhero, Fong Sai-Yuk, as illustrated in dark ways by Ringo Lam) getting up to no good. If the real life backdrop mixed in with the myth of Wong Fei-Hung and comedic shenanigans worked even the tiniest bit, I would probably make an effort explaining the story more. But as this is such an anonymous effort to begin with, headed from the top by the legend Lau Kar-Leung, I shouldn't bother. Nor shall you. Embarrassing interludes with Simon Yam as a flamboyant bus passenger and fairly well executed action towards the last 10 minutes... it ain't enough to redeem anything and you'd wish some unknown crew was on this film. Not legends such as Lau and Gordon Liu. Also with Adam Cheng as Wong Kei-Ying, father of our titular character (who does very little drunken fist or boxing by the way). Lau Kar-Leung's wish for more traditional kung-fu on screen may be visible here but it's a shameful effort despite.

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Drunken Tai Chi (1984) Directed by: Yuen Woo-Ping

Donnie Yen's excellent big screen debut is a true work of Yuen Clan art. Because when at their best, their stamp isn't just on the fight scenes but they take on the challenge of making just about every scene filled with their creativity, wit and insanity. So Drunken Tai Chi is obviously conflicted in the vein of Dreadnaught (and a plethora of other Hong Kong movies) but thoroughly entertains. Oddly enough, the period piece has tons of 80s and modern references, ranging from the Wil E. Coyote/Road Runner cartoons (a scene involving extensive usage of fireworks, including a centipede shaped piece cements this), breakdancing, moonwalking and BMX cycling. All very smoothly integrated for the wacky/basic revenge story the movie is. There are some unexpected dramatic turns to take seriously if one like, mainly referring to Yuen Yat-Chor's supporting part as the lowly, mistreated brother of the spoiled Chin Do (Yen). Yuen Shun-Yi also reprises his psychotic killer role from Dreadnaught to an extent but director Yuen adds elements such as Shun-Yi being a mute and a single father. It's there to be taken in but can easily be ignored as scenes involving this are short enough anyway. Main highlight is of course the splendid choreography and character interplay that pays off mostly when it's all about Donnie (who works himself well into the wackiness of it all), Lydia Shum (who has several excellent scenes she performs to an admirable extent) and the drunken tai chi master himself, Yuen Cheung-Yan in a patented performance (and character design). There's no shortage of astonishment. Also with Don Wong and Mandy Chan.

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