A movie feeling like it wants to be impenetrable but in fact it wants success like Jackie Chan had the year before and Snake Shadow, Lama Fist makes that disguise look very transparent and ugly. Accompanied by some of most known pieces from the Star Wars soundtrack, opening credits cartoon versions of characters to be seen in the movie, yes it does go down annoying comedic paths but is mostly a straight faced revenge story starring Chi Kuan-Chun. Good casting as Chi can done the serious face, the serious hurt but no one is attempting any personal depth here. It would've been fine had we understood any motivations or known who anyone is plus there's very little kung-fu action that until the final, decent reel is mostly set at night to boot.

Back from when IFD were Joseph Lai AND Tomas Tang and therefore no apparent ninja craze was present to cash in on, this South Korean martial arts vehicle was brought into the hands of IFD for re-dubbing and possible cutting (but no pasting). The Snake Strikes Back gives that impression, of someone attempting to speed up the already unbearable film so that audiences wouldn't feel like captives for a torturous 90 minutes. As a matter of fact, the Godfrey Ho stamp of approval doesn't change the original so original director along with Ho will get disapproval for a nonsense filled time but approval for the kooky elements present. Elton Chong plays an abused youngster who after some plot incoherency about him being the Master Of Absolutes and bad guys after that title as well as the Book Of Invincible, turns to a big bellied beggar (Mike Wong) for his proper martial arts training. Teaching techniques of working blindly but also channeling the energy hidden in your stomach, here's where the select few minutes of film equals wonderful, especially the finale where Elton graduates (yes, he gets his own deadly belly). A few Eagle Han Ying scenes of legwork are otherwise noteworthy as well as various Wuxia style weaponry. All in all, one can definitely praise IFD for having the eyes open for the light stuff because it is what makes The Snake Strikes Back and possibly sold it. Also re-titled by IFD to Dragoneer 10 The Remarkable.

Deathly dull and complex triad affairs and family melodrama with fear of more of the children ending up in the gangster world, all round in front and behind the scenes force Addy Sung's execution is stiff but focusing solely on the action reveals promising sparks. In particular two sequences, starting with a parking garage fight that doesn't skimp on the power and Addy running through a mall blasting away cops (and having actors and stuntmen loaded up with squibs) is compelling as it's also very tense. Reference clips rather than a reference movie for Addy.

Protecting a valuable cargo on behalf of his adoptive father Wong I-Hsia, Wan Fu (Peter Yang Kwan) has to fight his way through hordes of henchmen belonging to Master Leung. Eventually Wan Fu is injured but is rescued by female swordswoman Pi-Ku. This triggers various revelations and connections the rival families thought they never had...

In my experience, outside of Kung Hu, Joseph Kuo was the only director with any sense of style or tension when depicting the Wuxia world on film. Striking narrative gold with King Of Kings the same year, Son The Of Swordsman has strengths that makes it climb to an acceptable level as a movie but runs out of steam when the intricate plotting isn't particularly interesting (or surprising to follow). The overall mature intent shines through though and having assured male lead Peter Yang Kwan at the forefront of all this benefits Kuo's frame. The action is also almost extremely plentiful with at times terrific tension and fluidity for its time.

When it all comes crashing down, it crashes down HARD as Deannie Yip's upper class character finds out. It starts with her husband Kai Yeung (David Chiang in a cameo) of many years falling to his death at the police station where he works. A suicide the police calls it but soon the wife, the Taiwanese neighbour and her kid Leong, are the targets of a bumbling trio of triad assassins. As the neighbour, who turns out to be the mistress of of Kai Yeung, falls at the hand of a knife, Yip is given responsibility of Leong and begins her own character re-building. Taking on parenting and tracking back to the past what might be the reason for Kai Yeung's demise....

Shu Kei (Hong Kong movie critic and director of the acclaimed Hu-Du-Men) sure causes death and destruction across his characters but does so in a more dreamy, subdued manner that makes the all too familiar aspects of the plot template take on a different life than we're expect and are used to. The piece is moody and rather underplayed (especially violence that tends to be very incidental and therefore haunting) with nice, unexpected touches such as Jacky Cheung's triad character learning to think for himself, leading to him abandoning his big brother. It can be tricky to take in what exactly remains the main purpose of Deannie Yip's journey but then again it seems to be in design that she doesn't go straight roads towards her goal. Violence we know is looming though but how and when makes Soul take on a dangerous edge at times. But mostly it leans towards being a picture of a female backtracking, learning to fight back and Deannie Yip at center of these traits is an asset for the production that also deals with suitable, in tune comedy at times! Reportedly a remake/re-take/rip-off/whatever expression you find suitable of John Cassavetes Gloria. Elaine Kam, Dennis Chan and famed Taiwanese director Hou Hsiao-Hsien appear in support. Director of photography was Christopher Doyle who won the Hong Kong Film Award for his work here.

Attempting some depth about the futile pursuit of supremacy in the martial world (The Dragon Verse Sword represents the ultimate key here), Cheung Paang-Yee (Night Orchid) certainly provides the ominous and stern atmosphere suitable for the material but the material is pretty lifeless for this on-screen examination of the compelling theme. Simple to follow, the character gallery is still too extensive which doesn't allow for audience investment. Action is relatively sparse, usually competent but also surprisingly sluggish at points too considering the talent involved. Film stars Wong Goon-Hung, Yueh Hua, Phillip Ko and Wang Ping.

As pedestrian as they come when it come to plotting and narrative in a period martial arts vehicle, yet The South Shaolin Master escapes entirely without criticism (personally I could've done without such a large character gallery that naturally ends up being barely distinguishable). Director Siao Lung (Lackey And The Lady Tiger) superbly utilizes the big look the location of Mainland China offers up so when dealing with genre staples (such as training sequences), the film is shot up a notch. The true star of the show is the Brandy Yuen co-directed fight choreography that brings a fair mixture between weapons and hand to hand combat with the added advantage of full visibility and crisp movement. Yuen brought something with him indeed as part of that famous family of filmmakers and action directors. Star Yau Gin-Kwok returned for the 1994 sequel, reprising the role of patriotic fighter Lin Hai-Nan.

Very much fueled by Basic Instinct, Lo Kin (Heartbeat 100) and his writer Sze-To Cheuk-Hon seems to take pride in their concept of two sisters (Jade Leung). One weak, one strong, one lethal. Injecting "class" into the proceedings by shooting in synch sound and hiring above average DOP Joe Chan, it all halts there. Sure the erotica and gore elements are tasty enough to keep us occupied but Lo Kin not only loses us but himself into the cryptic murder case led by cop Edwin (Michael Wong, unfortunately he also in synch sound, switching heavily between Cantonese and English). A relatively sparse cast of characters whose motives and purpose are not made clear adds further insult, especially in regards to Day Wong's truly bizarre supporting role. Acting as a consultant coroner for the investigation, he sexually harasses and abuses his assistant played by Emily Kwan without the cops taking much notice and Spider Woman slowly takes on the feel of a David Lynch movie we demand an explanation from. Not a good sign. Also with Lowell Lo, Valerie Chow and Chan Kwok-Bong.

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Taiwanese production that utilizes the Joey Wong as a ghost-image to make up any kind of story, however implausible it may be. Ding Sin-Saai (The Beheaded 1000) creates an almost extremely dull looking frame that has its so called interesting starting point at Joey Wong's Ginny's suicide. On the board of directors at a beverage corporation, a far fetched plan is hatched to collect Ginny's ashes and somehow feed it to her identical twin Fen in order to to maintain the company image. Spirit Love lacks a craziness in pacing and visuals to support such a wild plot but when it finally creates a focus, it's mildly enjoyable to see the filmmakers come up with just anything, especially when they bring in the Joey Wong multiple characters angle. The film spirals into melodrama where secrets behind Ginny's death are revealed, emotional scars brought to the surface and several logistically impossible elements (such as perfectly arranged photographs being available for Ginny's last moments) just adds to what really is made up on the spot-entertainment. Or rather thoughtless entertainment. It makes for curious viewing at a few points, nothing else and when final, final twists are revealed, THAT is the ultimate moment where no rules apply anymore. Ay ay ay...