Samson Chiu's (Golden Chicken) debut devotes its time to reporters and photographers, which is not the subjects of movies usually in Hong Kong. Wilson Lam is Yeung, the rookie reporter being taught the ropes by veteran Chui Kit (Miu Kiu-Wai), ace photographer Turbo (Andy Lau) and editor Wong (Eric Tsang). They all end up in danger as they are on the brink of revealing the shady tactics of businessman Pon (Wong Kam-Kong). You can draw parallels to the interaction and actions of policemen and mentors that resides within that particular genre movie but action isn't on Chiu's agenda. He asks the question if you can afford to stand by principles in this world and what sacrifices you're willing to make. Valid question, at times interesting and excitingly put together results in a fair experience that would only lead to pitch perfect ones for Chiu (such as Yesteryou, Yesterme, Yesterday and Lost Boys In Wonderland). Co-starring Cally Wong, Lo Wei and also featuring glimpses of Anthony Wong, Blacky Ko and Nick Cheung.

The ever so brutally honest Anthony Wong's path as director started with this highly odd mixture, leaning more towards horror. Utilizing a twisting narrative that drifts back and forth in time, between illusion and reality, the film is more of a show reel to see what little elements Wong can perform as director/co-writer/main actor. Because for this viewer, it sure isn't coherent what's going on here. Wong does show some decent knack for low-key horror, warmth and comedy but within the bizarre framework of New Tenant, them aspects do not end up as merits. Somewhat entertaining but ultimately only a curiosity. Dolphin Chan, Parkman Wong, Lawrence Ng, Teddy Yip, Dayo Wong and Lau Ching-Wan are among those that appear.

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Basic gang war on location in New York highlighted by hard violence, pitting Lui (Alan Tang) against Chao (Melvin Wong). In between boss Lui tries to treat the fellow Chinese well, falls in love with Maria (Maria Chung, also the co-producer on the film) to the point where she sacrifices her body for Lui in an unwarranted plot development. Some endearing side characters like Fatso works though which leads to the lighthearted side to the downtime amidst gangwar. But director Stanley Siu ultimately thrives when working his violence, often involving gritty shootouts and mentioned endearing characters being recipients of violence. End shootout entirely on a New York street caps all this nicely.

Highly regarded by those few who knows of it, Phillip Chan's excellent thriller scores so many points, it almost works its magic unconsciously so that you don't have to/can spell out the reasons why it's terrific. There's never quite been something this sharp in Hong Kong cinema, starting with an opening murder reminiscent of Dario Argento's style, leading to the hunt for Inspector James Wong (Melvin Wong) who is captured by the killer. Best friend and loner Steve Chan (Phillip Chan) leads the case together with boyish rookie Siu Lok (Pat Ha).

With well-setup friendship between Wong and Chan's characters, the tension is fine as the broken Steve can't afford to lose a valuable part of his life. On the other side, James has taken in the daughter of a murder victim, representing his chance to actually have and raise one. So a lot is at stake and director Chan even finds time for suitable lightheartedness while also highlighting the fact that the police do need local populous involvement for them to succeed (a reward is announced for helpful tips in catching the killer at one point). It's refreshing to see the cops not being tuned and how irrationality can destroy characters. Despite an early reveal of the killer's identity around the one hour mark, Chan keeps the piece strong, mixing in small but disturbing images of torture along the way. If there's a weak link here, despite a wonderful gallery of supporting characters (the wacky coroner chief among them, a fella who uses the freezer compartment for the corpses as his freezer and half a cranium as an ashtray), Pat Ha is left out of the tuned work. I understand she's a character that needs to grow into her job but Siu Lok's highs and lows aren't well enough supported by the actress or her director. Stuart Ong, Pauline Wong, Dick Wei and Alfred Cheung also appear.

Fine action and stunts greatly elevates this otherwise messy comedy. Max Mok and Chin Ka Lok lead the cast and while the former does absolutely fine, this show belongs to Chin action-wise. Among the very few funny things about Night Life Hero is Shing Fui On's performance as a traumatized triad boss and a decent parody of A Better Tomorrow. Also with Woo Fung and Fennie Yuen.

Somewhat on a roll after Doctor Vampire and Robotrix, Jamie Luk turning serious on us generates this flat action-drama. With Simon Yam as Tommy, the premium night rider of Hong Kong on the run from the police along with his fellows, girlfriend and an infant, Luk focuses on character choices of an unsympathetic nature. Yam's Tommy never shows remorse or restraint and certainly belongs only to the world of crime. This portrayal would've been fine if there had been some meat about loyalty, a different kind of heroism or motivation but when all we get is mostly characters wanting to be bad, there's no reason to care what happens to them. A grating Ng Man-Tat as the supposed father figure is the final nail in the coffin.

Standout elements however exists in Carina Lau and Danny Lee (who is credited with the story). The beautiful Lau as the girlfriend turned wife and mother thinks of the future but is in the end largely only drawn to the unspoken, natural bond with Tommy. Something that sounds on par with mentioned characterization of Tommy but it's motivation that equals depth the film doesn't have otherwise. Danny as the more humble cop flows naturally into that state of being. Also with Eric Kei and Shing Fui-On.

Fresh out of Shaw Brother's, Chang Cheh utilized part of his acting troupe such as Ricky Cheng and Lu Feng for this revenge tale with devil magic twists. Atrociously dubbed in English on Ocean Shores video, despite being a period martial arts/weapons/fantasy flick, someone saw fit to name main characters Gary and Joey! So the period revenge adventures of Gary (Ricky Cheng) and Joey (Lu Feng) start with the former making a pact with the devil in order to obtain the powers of the nine demons. Having his wish granted (thus becoming Demon Joey), with him is always the bloodthirsty demons either manifested in the form of flying skulls or acrobatic kids and the main one becomes a gorgeous woman. With very basic and repetitive special effects, it's still fun to see Chang Cheh not thoroughly make this film according to the template. Overall it's no different style-wise though but solid, acrobatic action (featuring weapons, hand to hand combat and a finale in a marsh on little surfboards!) is a reason for fans of the Venoms to look in. But trying drama as there's musings over Ricky Cheng's moral predicaments among other things really does turn The Nine Demons into a hokey mess when the filmmaker perhaps wanted the effect to be more felt. The Chang Cheh of this time simply couldn't. It was therefore wise to make it a wild and colourful extravaganza as well.

TROY'S REVIEW: One thing's for sure, mention of the names Tomas Tang and Filmark International is seldom ever likely to evoke to ones mind the concept of quality. True enough, there is a stand out scene at the climax of this film which for me at least, pretty much sums up in a particularly hilarious manner, the entire Tang/Filmark experience.
During said scene, our ninja hero manages to apprehend his nemesis with some magic ninja fighting hoops in a scene which really needs to be seen to be believed! But wait, for it gets a great deal worse when the bad guy next strikes a low blow by kicking our hero in the gut and attempting to make a run for it. 'What's wrong with that?', you might ask? Well, if you look closely, you can see clearly that as he does so, a cigarette has by some apparent miracle appeared in his right hand. What obviously transpired was that the actor playing the part was apparently having a puff between takes and the director was simply too careless to even notice such a dramatic inconsistency! Absolutely amazing! But, let's be entirely honest, such gross incompetence ultimately only serves to make this all the more hilariously watchable, precisely on account of its sheer ineptitude in fact.

TROY'S REVIEW: Well, you just know instinctively that a movie is going to be a true classic when one of its very first scenes has a character speaking the following immortal line: 'You listen to me, it's your job to find Lou Wong and tell him to instruct Gordon Mann to deliver this package to Warren Smart.' Sure enough, this confused entry doesn't disappoint and is furthermore, one of my all time personal favourites of Tomas Tang's insane cut & paste ninja output. The baffling story concerns CIA agent Tommy who is sent to Hong Kong to retrieve a 'top secret technical film' of some description. As it turns out, the CIA are not the only party seeking said item however, for the KGB have employed some ninjas to retrieve it also. This inevitably leads to some predictable friction and subsequently for we lucky viewers, dollops of hilarious fun. For instance, just marvel as Tommy learns the art of ninjitsu literally over night after merely reading a book on the subject. Wow! And there was me thinking it took absolutely years of loyal dedication to become a master in the arts. Joyously daft entertainment all the way. Also known as Bionic Ninja.