# 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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Rosa (1986) Directed by: Joe Cheung

Sporadic fun can be had in this buddy-cop actioner starring Yuen Biao and mostly otherwise composer Lowell Lo (An Autumn's Tale). We've seen better pairings and for 90 minutes it's also uneven Hong Kong comedy hijinxs with mainly two action set pieces in between. To list good points, Lowell Lo is a visual amusement in itself and Paul Chun is a good sport, being the object of much punishment at the hands of our two cops. The action directing trio of Yuen Biao, Yuen Wah and Lam Ching Ying also serve up dependably executed action and stunts, playing to the strengths of Yuen Biao nicely while Lowell Lo participates as much as he can as more of a comedic fighting sidekick. Kara Hui, James Tien, Dick Wei, Chong Fat, Tai Bo, Zebra Pan and Blackie Ko also stop by. Writer Wong Kar-Wai would go on to better things...

Rose (1986) Directed by: Yonfan

image courtesy of the A Free Man In Hong Kong website

Also known as The Story Of Rose and Lost Romance, Maggie Cheung is the titular character going from the pouting, annoying girl that every man wants to a full grown woman in the space of 90 minutes...or something like that. However many deep sensibilities may have been intended by director Yonfan, Rose is a hasty product with attempts that resembles grave pretentiousness despite not hiding behind abstract behaviour. There's the obvious journey Rose needs to take, from shallow youth to maturity, form an independent aura around herself and realize that love hurts, taking it or giving it. Her relationship with brother Charles (Chow Yun-Fat) is a close one, both clearly not being able to survive without each others presences. Loneliness. Bada-bim, bada-boom, Rose goes on a lighting fast ride through studies, marriage, parenthood, divorce, death and love again when Chow Yun-Fat turns up a second time in the picture as a different character. For obvious symbolic reasons partly, Yonfan doesn't convince other than in the careful design of the flick. Being a photographer, it's no surprise surroundings are impeccable and that the stars look marvelous. The transformation in Maggie Cheung is admirable because Yonfan finds an early version of the movie star she turned out to be while Chow spreads some well-honed charisma over the production. Then again, it never really helps. Roy Cheung, Ha Ping and Alfred Cheung also appear.

The dvd release supervised by Yonfan reportedly replaced the dubbing of the leads with a new voice track by Tse Kwan-Ho and Ada Choi. The Winson laserdisc preserves the original soundtrack.

Rose (1992) Directed by: Samson Chiu

"Have you ever seen Maggie Cheung act in a movie with Roy Cheung?
I don't know, we haven't tried but maybe there will be some sparks?"

This is actual dialogue from Rose (aka Blue Valentine), a not so subtle in joke but director Samson Chiu actually makes us believe it's an intriguing proposition for a romantic drama. Clear from the beginning is that he's mixing drama and generic triad action, these crucial points works fine for the opposite attracts romance between insurance sales woman Rose (Maggie Cheung) and triad bad boy Roy (Roy Cheung). Both of whom have been neglected and left alone, especially the pregnant Rose who is now living in a shell where she makes her smoking habit equal to that of a secure man in the house. A little calculated, plagued with some holes in the character sketches (in particular Rose's shift in behaviour when harboring the wounded Roy as she would probably at one point do anything to kick him out) and predictable, director Chiu, while "borrowing" slightly with the A Moment Of Romance formula, merges these opposite performers to pretty decent effect. The stars themselves carry their more all too familiar-roles from their perspective into this unusual narrative, especially Roy, and delivers emotions of the workable, bearable kind. Still only at his second feature film (the superb Yesteryou, Yesterme, Yesterday followed), Chiu at this point doesn't seem to know that sappy montages are not needed for dramatic effect but his final reel moments does however speak of a subtle, simple poignancy that would be very evident in later films. Veronica Yip co-stars as Rose's friend who can't juggle life and love while Norman Tsui, Michael Wong and Yiu Wai also appears.

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The Roving Swordsman (1983) Directed by: Chor Yuen

One can't deny that Chor Yuen and company have done their best Wuxia filmmaking in the past but The Roving Swordsman contains worthwhile elements despite. It's simply a lot of fun watching the cunning trickery back and forth between the rival martial arts families for starters. All contained within colourful, intricate sets that Shaw's did not put in sloppy work into, even during their decline at this time. The actual sword fight action by Tong Gaai does not feel inspired but an extended sequence in a mirror maze (that curiously comes with a disco ball!) has creativity in spades from all involved, even though the concept is far from riveting) With Ti Lung, Cheng Lee, Ching Hoh-Wai, Goo Goon-Chung and Ku Feng.

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Royal Destiny (199?, Vincent Leung)

Reportedly a co-production between IFD and Austria's Lisa Films that fell apart and was therefore left incomplete, Joseph Lai used what footage he had and scoured the archives for already existing footage of his. Hence crafting a for once complete movie out of an incomplete one (this practice was rumored to be how IFD went about creating their products from the beginning). Not entirely easy to spot the seems, personal theory is that Jonathan Isgar starred in the incomplete footage while Lai inserted older action- and narrative scenes featuring the likes of Bruce Fontaine and Kenneth Goodman. The end result is pretty basic, very busy on characters and scoring pretty low in the coherency-department. Truth be told, it's a common plot involving revenge, cops, druglords and feels pretty much like any modern actioner IFD produced. But with the added production history and certainly arriving armed with a pretty decent drive and pace, Royal Destiny never bores. For one the co-production SEEMS TO have meant slightly bigger budget and time scheduled to shoot gunplay. Meaning there's more than usual of it here, rather than technically skilled. Older and new scenes also feature funny and hilariously profane dialogue (from mainly an energetic Jonathan Isgar) so while only a curiosity (and the last cut and paste movie from IFD) and no swansong, it certainly makes enough in front of- and behind the scenes noise to make it a decent one time-watch.

The Royal Scoundrel (1991) Directed by: Johnnie To & Chik Gei-Yee

Further signs of Cinema City's decline and dressing the buddy cop genre in Hong Kong colours doesn't make for an outstanding or even good time with The Royal Scoundrel. Tony Leung Chiu-Wai and Ng Man Tat are paired up but that's where all the effort ends. They go into both sedated comedic banter (feelings of Johnnie To's subsequent Lucky Encounter crop up) and exaggerated exchanges but these are just guys punching in for a few days work where nothing is expected of them. They do comedy, romance, action while directors Johnnie To and Chik Gei-Yee try to convince themselves they have a passable product. This is the heyday of assembly line filmmaking though (not a forgivable thing but still...) and Johnnie To certainly turned his act around. Wu Chien-Lien delights every time she's on screen and is one actress that could just stand in front of camera and pass with flying colours. Waise Lee, Wong Yat-Fei and Wong Tin-Lam also appear.

The Rules Of The Game (1999) Directed by: Steve Cheng

3 years into the then current triad boom started by Young And Dangerous and The Rules Of The Game comes out with a bland poster, stars that may or may not shine, the highest rating and a plot that inspires no one. However director Steve Cheng clearly is aiming for distinctive familiarity and it helps actually. David Chow (Louis Koo) and friends run a garage but are struggling financially. Their conflict with triad boss Shing (Alex Fong) results in one of them, Chun (Sam Lee), crippled and brain damaged and circumstances force the group to join Shing's Hung Lok Group. David vows to only do it for Chun's sake and underneath the notion of revenge is brewing. It starts to draw the once tight group apart. Especially Ann (Kristy Yeung), who's the object of desire for Shing, feels more and more detached from the scheming David...

Within a trend, who craves effort? Then again having cinematographer Joe Chan make matters look pretty solid and because of the choice of shooting in synch sound, Steve Cheng at least makes us watch on for the above average professionalism on display. The darker turns the story takes engages and although some of the effects of the out of control spiral of violence gets taken down fully by some awful choices of music, The Rules Of The Game can indeed be argued to be familiar in a good way. Louis Koo and Alex Fong display the cool and emotional in solid ways but positive glimpses sporadically in a familiar production doesn't make for a full movie. Unexpected but not approved. Also with Edmond So, Ronald Wong, Simon Loui, Frankie Ng, Wayne Lai and Berg Ng.

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HK Flix.com

Rumble In The Bronx (1995, Stanley Tong)

After a couple of failed attempts at breaking the US market, it was funnily enough a Hong Kong production that made Jackie's name in the American mainstream. Rumble In The Bronx was not only a massive hit in Hong Kong but the American box office of 32 million dollars signaled audiences responded to Jackie's mix of playful and intricate choreography, stunts and comedy. Thank director Stanley Tong's comfort merging an international vibe with the Hong Kong one as demonstrated in Police Story III: Supercop, here and in First Strike then. The Bronx-set but mostly Vancouver-lensed action comedy sets the basic stage for genre-content with Jackie arriving to work at his Uncle's (Bill Tung) store, a bike gang are mean to him and the new shop owner (Anita Mui) and that's all Tong needs to do get going. Anyone would primarily walk away having been dazzled by Jackie's creativity in choreography, using props, kung fu but it's Stanley Tong's stamp on proceedings and the dangerous stuntwork, that shares the spotlight equally well. Judging by the outtakes, people were hurt, Jackie famously injured his leg so you'll get to choke on the fun-cocktail you've just had come credits-time. Tonally pretty reckless but not particularly caring that it is, suitably neither Tong or Chan are expecting us to take any of this seriously either. Including the fact that Jackie and his newly found biker friends can essentially take the law into their hands by driving a hovercraft onto a golf course and nearly killing our villain by the end. Yay for approved vigilantism. This tracks back to its Hong Kong roots and the full version (US version by New Line cinema had about 15 minutes of edits) reveals Anita Mui was a victim of the editors. Her character goes through emotional highs and lows, which makes the uncut Rumble... very much resemble a schizophrenic Hong Kong movie. But it was the right movie for the American mainstream despite. Also starring Francoise Yip who gets to engage in a far fetched romance with Jackie's character. Not the first time that has happened.

Run (1994) Directed by: Derek Cheung

In this day and age where the remakes debate is at a fever pitch, it is easy to forget but somehow be less disturbed by the fact that Hong Kong cinema share quite a lot of blame in this area. They've however not been as open about it beforehand or even secured rights and with Run, you have a largely beat for beat remake of El Mariachi by Robert Rodriguez.

This does mean a change of scenery for the Hong Kong action film but one time director Derek Cheung does know it's for his local market despite. The casting of Leon Lai all means an excuse for him to promote his singing (that's the strongest feeling you'll get from his act) and as support, the "comedy" double team Eric Kot/Jan Lam are there to disrupt any mood established by director Cheung. That or rather those moods are achieved fairly well whenever Veronica Yip is on screen as she puts in dramatic acting just a few notches above the material, despite little chemistry with Leon Lai. It's never felt but the stock narrative beats aren't devoid of good instincts at points. Also at his disposal is action director Tony Leung who adds suitable style, excessive gunpower and gore to a few sequences. Co-starring Peter Chan Lung.

Triva time: Hong Kong's love affair with El Mariachi didn't stop with Run as Wilson Yip's Mongkok Story featured a clip within the movie showing Anthony Wong as a B-movie actor in a Hong Kong version of said flick.

Runaway Blues (1989) Directed by: David Lai

David Lai got rewarded the Category III rating for this triad action-drama and for very valid reasons. It may very well have been due to the triad activities featured but early on he delivers violence that just isn't suitable for even IIb.

Runaway Blues is the kind of effort where it's hard to really put any huge amount of care into story and characters as it's all been done in various forms before. Pace becomes an issue and a longing for gory violence to break it all up sets in. Blackie Ko is the action director at hand and sporadically before the final act puts together fine stunts and brutality with a capital B. Nothing is redeemed on director Lai's behalf when the unexpected finale goes the bloody places it does but it's working with Ko that he finally manages injects some welcome emotional content in the film. It makes Runaway Blues very memorable for its minutes of bloodshed but overall, this is kind of a drag. Andy Lau, Sunny Fang, Kelvin Wong, Tien Ni and Shirley Lui stars.

Run Don't Walk (1989) Directed by: Wong Chung

Not that I remember the Nick Nolte/Martin Short vehicle Three Fugitives very well but the same year Hong Kong used its template for their Run Don't Walk, doing re-takes of the main character plots and some of the gags. Director Wong Chung (Vampire's Breakfast and co-star of Cops And Robbers) does however get the casting absolutely right for this one, with the newly released gangster played by Ti Lung and the desperate robber by Richard Ng. Add into the mix an absolutely adorable little girl (Chan Cheuk-Yan - Wild Search) and the remake recipe does fly quite nicely on its own. It's mostly successful when displaying heart through its performers, making one forget there's merely snickers to be found otherwise and that comedic scenarios such as Richard Ng disguising as a nurse (blocking out his facial hair with a bouquet of flowers) isn't only far-fetched but uninspired. Kent Cheng plays one half of a pair of bumbling and also annoyingly unjust cops but Cheng provides some deadpan humour to make his supporting act stand out. Wong Chung also keeps a consistent tone mostly throughout, rarely choosing to go vicious on us as per the Hong Kong cinema recipe so the entire family can go and see ALMOST all scenes together. Also with Lam Chung.

Running Mate (1989) Directed by: Stanley Ko

Best not be late for this one as it starts extremely harsh with rape, courtroom drama and into the reformatory for girls for Irene Wan's character (sharing a cell with Rachel Lee amongst others). Cora Miao plays Fong, a social worker assigned to that group of girls that eventually escapes after a car crash during transfer. Working alongside the police (mainly Alex Man's Yung), Fong obviously dislikes the black and white view by the police of the escaped girls as they're not criminals as such but what's the verdict of her actual handling of the cases? She is also introverted while also being pushed by match-making friend played by Elaine Kam. Despite the odds being against it and especially during the dire circumstances, Fong takes a liking to the rough Yung...

Two movies and several moods existing with each other, director Stanley Ko can't seem to make them work together either. Bathing the proceedings in green, sloppily slapping on social commentary about the justice system, the opposite attract bit of Running Mate does charm at times thanks to leads Miao and Man being fairly well in-tune. Man's usual rough and growling act argues successfully that it can logically hold humanity and Miao's buttoned up, boyish appearance that gradually and extremely breaks out into womanhood is stuff Miao seems comfortable in performing. The resolution of both films does mean the halves of Running Mate finally works a little together as well. Wu Fung, Shing Fui-On and Kwan Hoi-San also appear.

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