Run of the mill basher about local conflicts with army and influential evil (Sek Kin) struggles for the first hour but unleashes some very intense fighting during the last half hour that re-emphasizes that some genre entries can survive on the genre's most famous inclusion. Especially impressive since several years pass and there's several main subjects as our good guys and not just Chan Sai-Chung's character who passes on the titular monkey fist.

The first of four parts (the others being Princess Iron Fan, Cave Of The Silken Web and The Land Of Many Perfumes) showing Shaw Brothers adapting the classical Chinese novel Journey To The West. For those of us accustomed to let's say the Stephen Chow Chinese Odyssey movies based on the same material, the 1966 sensibilities are a little bit more harder to swallow but it remains a fairly charming start with these endearing characters. Ho Fan (who would go on to acclaim for his erotic movies such as Yu Pui Tsuen) stars as Monk Tang who's asked to retrieve Buddhist sutras from India. Along the way he gathers up a trio of protectors who take on Buddhism in order to be forgiven for prior sins. They are Monkey King (Yueh Hua), The Pig (Pang Pang) and eventually Sandy (in addition to a dragon prince turned into the horse for Monk Tang). The movie takes a long time establishing the quartet, perhaps way too long as the feeling of NEEDED tightness do rear its head. Impressing with its charming use of indoor sets and outdoor beauty, director Hoh Mung-Wa also entertains with a special effects spectacle that includes a transformation of a normal-sized into big Monkey King and a giant sea monster. Meeting The Pig reveals more of a stage play approach that includes lots and lots of singing in the Chinese opera tradition, which is a tool not foreign to a local audience but it slows down matters somewhat for at least this Westerner. The continuing banter between Monkey King and The Pig is a center piece that does continue to entertain and the trio's temptation that almost has them losing an important jade is a decent adventure for this outing. It paves the way for possible similar entries in the saga but enough big budget, Shaw Brothers charm helps The Monkey Goes West to invite even the critical ones back for more.

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aka Monkey Fist, Floating Snake (English dub title) and furthermore, this indie should not be confused with the Shaw Brother's movie of the same name and production year.

Monkey Kung Fu expectedly comes off as a pale imitation of successful efforts in similar vein (most notably the Jackie Chan vehicles Snake In The Eagle's Shadow and Drunken Master) but due to that profitable concept, all that indie producers bothered with was making a quick buck on the movie title and content (whether good or bad). Shooting it on the cheap (with the outdoor locations being a dead giveaway) may just have been the concept and as you all know, it's the money that makes the world go round...

Bad filmmaking is still not an excuse however and despite veteran appearances (Eddy Ko, Yueh Hua, Chen Sing), the film gains nothing and when the monkey kung fu in itself receives a lackluster showcase, the movie quickly fades away from memory.

ALMOST way too stuffed and unacceptable Taiwanese Wuxia pian, this Pearl Cheung vehicle (she really shares the spotlight with Lee Wing) goes from seemingly spiritual to an escalating revenge affair. Both good and bad people lose close ones in this battle but there's no tension or fine lead up to a great battle. It's packed and often disorienting as a whole but scenes and concepts on an individual basis shows a higher strength. The Monk's Fight has plenty of cinematic cool on a budget, some fine action and gore (an assassination of several characters during temple prayer is well done) but extracting bits that work don't add up to a fine whole. Also with Casanova Wong.

High on style and spectacle but not coherency, Hsu Yu-Lung does adhere to Wuxia pian tradition by packing his frame with characters, twists and developments, something that in the case of this viewer often becomes an impenetrable mess and Moon Night Cutter doesn't get any easier as it goes along. But setting aside that, the stern and even bleak atmosphere coupled with a ton of bursts into high flying swordplay and cool style makes the exercise alluring to follow despite critically it deserving a huge slam. Starring Ling Yun, Wong Goon-Hung and Violet Pan.

The daughter of a famous chairman goes missing during an important visit to Taiwan. She is found drunk the street by a journalist (Gu Ming-Lun). Treating her hostile at first but warming up to her soon enough, he is also aided by his sister (Brigitte Lin) who starts off by supplying the girl clothes and may be the angelic character that brings them together. Thankfully short because Moon River is a corny entry in the vast Taiwan romance and melodrama cannon of films, Steven Lau reveals all too clearly his limited set of tricks by shooting well furnished interiors (often with a guitar or two mounted on the wall) and the antagonism turned aching romance won't fool anyone into sharing the feelings of the characters. Throw in some wacky cops looking for the girl and the clichéd techniques of employing romantic songs, slow-mo montages and issues of longing represented by a walk on a beach and Moon River manages to go down in history as one of the lesser Brigitte Lin flicks.

The punishing life of a hostess gets another examination through the eyes of Michael Mak (Long Arm Of The Law II, Sex And Zen), with very unimaginative end results. Despite the fantastic lineup of Cherie Chung, Carol Cheng and Maggie Cheung, the Stephen Shiu/Johnny Mak script offers up nothing new whatsoever and Michael can't exactly bring a fine tuned touch to the various harsh treatment the ladies goes through either. Sure some excessive moments gets your attention, including Maggie Cheung being forced to lose her virginity to an obese gwailo and the rape of Cherie Chung amongst strobe lights is eerie. But it's never enhancing any previous developments in the characters. That's because Mak does nothing with the script outline and even though the very final shot reaches some form of downbeat poignancy, it really doesn't count as meaningful based on the jerking around we've experienced prior. Hu Chin, Shing Fui-On and a very intimidating Wong Chi-Keung also appear.

Cat (Lau Ching-Wan) is an undercover police officer slipping deeper and deeper into unwanted criminal behaviour such as robbery. Death comes along with it and when his confidante and superior Li (Lee Gwok-Lun) is killed by robber Yip Huan (Robin Shou), Cat's grasp on trying to re-gain his identity as a police officer is slowly slipping. Especially as Super Intendent Cheng (Kent Cheng) is pursuing him intensely...

Opening in an atmospheric manner but showing less than exciting street life in and around Cat and buddy Sap (Bowie Lam), it's an non-distinct life and movie frame. Also very much the point as Cat is harboring a secret from his best buddy, The Most Wanted does fairly well examining the tough trials and breakdown of an officer stuck in undercover hell. With fewer and fewer knowing his real identity and being a victim of police politics, Lau Ching-Wan at center embodying all this makes a rather standard template grow during certain moments in the film. Cat has forged alliances on both sides, is trying to find romance with immigrant Lily (Eileen Tung) but it's the age old downwards spiral being against him. Director Wong Gam-Din provides some edgy atmosphere on a budget and the various scenes of chaotic gunplay has the needed street realism the story requires.

Lam's (Fung Bo Bo) son Man goes astray one day during a football match where he injures one of his bullies. Being an underdog with a very protective mom who's also a nurse, his stay at the hospital soon develops into extreme paranoia about possible jail time. He ends murdering one policeman but subsequently is shot and killed by superintendent Cheung (Lau Ching Wan). Not being able to cope or forgive, Lam goes on the path of irrational revenge, targeting those precious to Cheung...

David Chiang's last directed film to date, a thriller echoing Misery but thankfully not reenacting the James Caan/Kathy Bates vehicle completely. Chiang brings nothing new to the portrayal of insanity in the face of tragedy but has a thoroughly dedicated Fung Bo Bo at his disposal, a factor that makes Mother Of A Different Kind a highly chilling tale. Chiang and Fung takes advantage of the familiarity and even when going highly over the top (along with the plot), it not only seems logical but a veteran performer like Fung also makes it bearable. Lau Ching Wan backs up in a solid way as the victim nobody believes and Veronica Yip is annoying in the best of ways. A rare movie where comedic relief is welcome.