# 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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The Long Chase (1971) Directed by: Ho Meng-Hua

Ironically a long chase that doesn't feel it needs 81 minutes to do its thing and it's an effective choice. Known as the Flying Dagger, Kou Ying (Yueh Hua) assassinates the prime minister under Officer Fan Yi's (Lo Lieh) watch and he's given 5 days to find the guilty or he faces execution. Finding out Kou Ying's whereabouts, matters become complicated when he starts posing as another wanted character called Song, becomes a county official and is considered a hero of the people anyway (among other's Li Ching's Wang Hsueh Niang). And the opponents also grow to respect each other and on more than one occasion fight side by side. Ho Meng-Hua (The Mighty Peking Man) squeezes decent substance and weight out of the character relationships thanks to a charismatic leading duo and with a short running time, high Shaw Brothers production values and above average action for its time, The Long Chase adequately proves the majestic could still work as a decent character piece below 90 minutes. Also with Wang Hsieh.

Long Hot Summer (1992) Directed by: Wong Yau-Sing

This is what you get when scraping the bottom of the Category III, softcore porn barrel... 80 minutes of waste, almost toxic. Opening with a shower scene for no apparent reason other than making doubtful viewers stay for one extra minute, Long Hot Summer (aka Love Must be Crazy) in a very boring way subsequently gives us the world's most off-putting striptease, throws in some nonsense plot about a rival model company stealing a commercial ad script and nothing gets better from this point. No pace, no means to spice up the frame with at least editing or suitable music (prepare to be stunned when you hear the lowest of the low stock music chosen here). Crummy locations means crummy, long sex scenes with not even a hint of steam, Charlie Cho gets his obligatory chance to perform in a rape scene, Shum Wai and Ku Feng cashes a very minor check and the most thankful you are as a viewer comes during a 10 minutes period when the English subtitles go missing. It's an excuse to fast-forward! Also with Tsui Man-Wah who despite a wonderful performance in Temptation Summary II looks as lost as everyone else here.

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Looking For Mister Perfect (2003) Directed by: Ringo Lam

Outside of a jet ski chase and some very slight gunplay, there's nothing to suggest that this lighthearted caper comes from the usually dark mind of Ringo Lam, returning to comedy for the first time since the 1980s. I welcome versatility but when there's only the occasional glimpse of inspired comedy and action, one can almost imagine the mainstream minded Johnnie To (who produced) himself in the directing chair and the result would've been equally stale. What it really boils down to is a select bunch of good to so-so actors (Shu Qi, Simon Yam, Lam Suet, Hui Siu-Hung, Ruby Wong) and some not so talented (Andy On, Raymond Wong, Chapman To) enjoying the Malaysian sun and acting relatively silly. While semi-amusing at times and giving us some wild characteristics for Simon Yam's flamboyant villain, the proceedings are in the end rather unimpressive and disposable. Which is not a grade I'd want to lay on a Hong Kong film by Ringo Lam.

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Yesasia.com

Look Out, Officer! (1990) Directed by: Lau Shut Yue

Released the month before Stephen Chow's definite breakthrough vehicle All For The Winner, this Cosmopolitan production (headed by Shaw Brother's who now has the rights) is very much in the style that is now synonymous with Chow. Despite the inclusion of brutal murder, gunplay and ghosts, much time is devoted on behalf of director Lau Shut Yue (Ghost Fever) to let Chow thoroughly go his silly, outlandish comedic ways. The results are mostly hilarious (save for a few foul, low-brow gags) and really what's missing here, and what was solved in All For the Winner, is Ng Man Tat. Also with Bill Tung, Stanley Fung, Vivian Chan, Sunny Fang and Amy Yip.

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Yesasia.com

The Loot (1980) Directed by: Eric Tsang

Eric Tsang's first ventures into directing (after having been employed on various behind the scenes gigs in the capacity of stuntman and screenwriter) to this day keep and should be receiving praise. Both The Challenger and The Loot were independent productions but the latter can proudly stand beside any of the studio greats and not be ashamed. Much having to do with Chan Siu Leung's excellent martial arts choreography that also has the advantage of key players having been directed by the great Lau Kar Leung at one point.

Tsang also keeps a rather involved plot afloat quite well and while David Chiang is playing it broad mostly, when he eventually teams up fully with Norman Tsui, the movie gets a lot of momentum and even strays away from the typical comedy of the period to deliver actual wit. Best sequence being the obligatory expository one where the duo struggles to keep a man alive in order for the plot to be AAAALMOST fully exposed. Also starring Phillip Ko, Lily Li and Kwan Yung Moon.

The Lord Of Hangzhou (1998) Directed by: Andy Chin

Andy Chin's (Call Girl 92, Love Among The Triad) last movie to date, seemingly shot with a mixed cast in Chinese locations without the use of synch sound. A rare choice considering the filmmaker.

The age of old story of the spoilt, rich boy whose gullibility is exploited and he's reduced to beggar status, Chin starts off with fairly picture-esque visuals but also with an awfully talky, boring narrative. It's only when he thrusts leading man Tse Kwan.Ho (The Mad Phoenix) into the lows he goes through, even experiencing a re-birth first hand in a lot of ways, the film becomes semi-passable. Tony Leung Siu-Hung's action is even good for the brief moments it lasts, times where lead Tse shows the best of his commanding presence. At times off-beat but not overly broad, The Lord of Hangzhou does represent Andy Chin himself having lost something but there's no doubt, his body of work is highly respectable. Also with Waise Lee and Chan Kwok-Bong.

Lost Boys In Wonderland (1995) Directed by: Samson Chiu

Despite the setting of a male youth prison, Samson Chiu's Lost Boys In Wonderland is at core dead on similar to the likes of Girls In The Hood (especially so since they came out around the same time) but Chiu shows why an actual good filmmaker will nail storybeats much better. Mixing the light with the dark since there exists an extremely thin line for it in regards to his characters, the youths go about their lives flashing the disrespect towards society and family to instead put all their being into loyalty towards their scoundrel brothers. Lam Ming-Lun plays Chi who willingly takes a prison sentence just to be around his big brother but as he's no longer at the same prison, Chi must face the world alone. Redefine his thoughts on society status. Symbolism is strong and valid in Chiu's visuals as they include both multiple shots of heaven and its birds but registers most favorably when featuring a story connected to the comic book character of McDull (Chiu recently directed the 3rd of the feature length adaptations of the little pig's exploits). You pay a debt for clearly going against proper values, take some beating but hopefully come out sunny side up. Chiu is right in underplaying the melodrama of the situation, the darkness and in the end, his varied answers to what fate holds for the characters. To provide hope and darkness is not a bad way to go cinematically. The young cast do fine work, especially otherwise triad character actor Samuel Leung.

James Ha is credited with the story as well as being action director and it doesn't seem wrong to think this is a personal story of his.

Lost Control (1997) Directed by: Joe Hau

Impressive low budget thriller from usual lethal directing weapon Joe Hau, Lost Control is surprisingly and thankfully divided into two stories, making kudos come Hau's way as he doesn't try and stretch either to unbearable lengths. In fact, they are on separate discs of the vcd! Making a Fatal Attraction clone on disc 1 with Bowie Lam in a limp marriage giving in to his urges while drunk, Hau isn't exactly exercising snappy pace but his cast isn't completely dead like in 97' Lan Kwai Fong for instance. Bowie Lam you recognize but it's the ladies getting a gorgeous showcase via veteran cinematographer Venus Keung's eye. It even gives way to decent tension and a freaky twist that is familiar but an eye brow raiser nonetheless.

On disc 2, we see Chow Lui as a make-up person for the dead with past issues and possibly a way too great attachment to her job, something that worries boyfriend Wai (Lam Wai - My Wife's Lover). Quite slow and atmospheric but more importantly sick and depraved, this second story on relationships is a bit too pretentious but survives quite easily on mood and content.

The Lost Swordship (1977) Directed by: Lee Ga

The hunt is on for Lu Nan-Jen (Tien Peng) as villainous clan Tien Cheng Chao wants to obtain The Fragrant Sword from him. Twists, trickery, personal relationships, treachery... it's a regular time with Wuxia cinema and it's worthy of being disliked. Reportedly originally destined to be a Shaw Brothers production, their prolific writer Ni Kuang did however adapt yet another Ku Long novel that has been squeezed into 90 minutes. With a production knowing being extravagant is a key for this type of fantastical setting, director Lee Ga contributes little else but that as he plows through the twisty, turny plot. Despite trying to favour human interest at points, no interest is created and what The Lost Swordship basically offers up as it gets more muddled is the occasional flash of the genre creativity you would also expect. Best example being a fight in the classical setting of the bamboo forest and it's not a poor echo of A Touch Of Zen either. Outside of these highlight reel type moments, it's doubtful anyone would connect emotionally to the so called tension or the drama. Co-starring Pai Ying and Hu Chin.

L - O - V - E ..... LOVE (1997) Directed by: Matt Chow

Horny dogs want women in a beauty pageant or as the literal translation for Matt Chow's comedy goes "Super Invincible Pursues the Girl", which sums up matters quite nicely but Matt Chow's feature debut is an intolerable mess of over the top wacky antics and unfunny ones at that. The boss and workers at a sushi bar (Nat Chan, Eric Kot and Jerry Lamb) are joined by real estate tycoon Super Ma (Michael Tiu - False Lady) on a trip to Thailand after already pursuing/stalking the contestants of a beauty pageant in Hong Kong. No wonder, some of them are played by Shu Qi and Vivian Hsu. If a satire or parody of some sort was attempted or if Chow wanted to do a cheap throwback to 80s comedies in the vein of My Lucky Stars (again the horny dogs aspect), it all fails gloriously despite the eye candy automatically being good. With no restraint placed on the likes of Eric Kot, Chow lights the fuse and hope that his direction will explode into fireworks of hilarity. The sole laugh comes from the girls discarding their various surgical enhancements in one scene but a laugh like that is followed by the lame inclusion of Lee Kin-Yan (nosepicking transvestite of many Stephen Chow movies) as the transvestite participating and it's indeed all pretty lame. Pretty to look at and intolerable... die hard Shu Qi and Vivian Hsu fans don't even need to bother.

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