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# 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 Stone Age Warriors (1991) Directed by: Stanley Tong

After working as action director for a number of years, Stanley Tong got the chance to helm his own feature in 1991. The result was this jungle adventure starring Elaine Lui (Angel) and Nina Li (Tiger On The Beat) that, judging by the outtakes, was not an easy going and glamorous shoot for anyone (Lui and Li has several very real encounters with the wild and its animals here).

Aside from some lagging pace initially, The Stone Age Warriors settles in nicely after a while, giving us equal amount of low brow humour, slight detours into sleaze and competent action directing. The latter being the standout and is supposed to be a standout in a movie such as this. Tong doesn't create overly complex set pieces but plus points goes to the fair brutality of it and the fact that stars Lui and Li are most of the time performing themselves. If any style is evident in Tong's early work as a narrative director, it's that of giving us a piece not only set outside of Hong Kong but amongst several exotic locations. Something that would be very true for his subsequent collaborations with Jackie Chan on Police Story III and First Strike. Fan Siu-Wong co-stars (and gets a fine fighting showcase) and Dick Wei appears in a cameo during the intro.

Stoner (1973) Directed by: Wong Fung

George Lazenby (the one time only 007) plays American cop (although the original trailer seems to go with him being Australian) Stoner who goes to Hong Kong to stop the new drug "Happy Pill" (a mixture of heroin and aphrodisiac) and to exact a little personal revenge as well. A parallel investigation is headed by Taiwan police woman Li Shao Hu (Angela Mao) who's suspecting the smugglers are using old Taiwanese boats to ship their drugs into Hong Kong. Traces leads to a local temple where the sick and poor go to have their illnesses cured...

If you're into the particular, sometimes unexplained atmos a Golden Harvest production can provide, you'll feel right at home with Stoner as it features elements and cast members we've come to expect to be included, including Whang In-Sik and Sammo Hung (also the film's co-action director). The film also takes some wonderfully dopey detours into exploitation as the effect on the drug can be seen at an early drug party scene where a woman is screaming for men and sex all while the onlookers praise the black man who's delivering the happiness. Lagging in pace somewhat, Lazenby does look powerful in his various brawls and the finale at the James Bond-esque lair gives Angela Mao her time to shine. Especially an extended end fight with Whong In-Sik is intense and even dangerous as it's got a fair amount of fire gags incorporated.

A shorter version on Hong Kong vcd loses a good chunk of Angela Mao's scenes (even fight ones) and nudity from the film. Lazenby went on to star in an additional two Hong Kong productions: The Man From Hong Kong and A Queen's Ransom.

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Stooges In Hong Kong (1992) Directed by: Otto Chan

A comment on the lows television goes to to satisfy its audience, it's not a finely tuned view on our times but in this second James Wong/Tommy Wong romp (first being Stooges In Tokyo), the combination of hit/miss silliness equals an entertaining, silly time. James is the host of a dirty jokes show that is a smash but when he threatens to exclude Tommy as credited writer for their upcoming book, the buddies go their separate ways. No longer repressed, Tommy achieves great success utilizing a dirty singer while James is left to his own devices that drains the life out of his audience. Verbal vulgarity, a lot of lame parody and skit-theft (Airplane! and Monty Python being victims although the makers of the former seemingly gets an end credit acknowledgement!), director Chan (Devil's Woman) begins rebounding in the second half thanks to excessive silly behaviour that means a lot actually sticks to the wall. See one of the television bosses scratch his always growing testicles, multiple jokes about Amy Yip's breasts, her choice of vibrators and even when she's sporting a beard, there is something amusing and successful about Otto Chan's straightforward directing. James Wong mostly grates but Tommy Wong is funny and part of a surreal sense Stooges In Hong Kong has as the character for some reason enter different eras wherever he goes at times. Among others appearing are Mimi Chu, writer Vincent Kok and producer Clifton Ko.

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Stormy Sun (1973) Directed by: Directed by: Mo Man-Hung

KENNETH'S REVIEW: Also known as Super Man Chu, in the realm of yet another the flick definitely fits but the standard proceedings remains totally watchable despite. We're actually not seeing our heroes during the opening credits but the the vile bad guys that goes on a murder/rape rampage at a local inn. Thankfully an actual hero turns up, the son (Chang Yi) of the murdered family and off he goes on the revenge path. He can make proceedings stormy alright and possessing good eye/hand co-ordination (like so many others in the film, be it when they're using knives or clogging guns by throwing coins from a distance) equals created cinema of the crude but admirably intense kind at times. What's lacking in invention is made by some brief flashes of that intensity and while darkness in this straight effort never registers as truly effective, lead Chang Yi has the chops to carry standards. Some neat, fast paced choreography towards the end involves a samurai and turns out to be the true standout in this department. Also starring Pai Ying.

The Story of Drunken Master (1979) Directed by: Ngai Hoi-Fung & Wu Pang

Despite the English title suggesting so, this ain't a recap of how Simon Yuen's So Hat Yi became the drunken beggar but pretty much your run of the mill kung-fu flick that uses some of its cast members well sporadically. Yuen himself is a mildly fun inclusion especially in the training scenes but it's clear the actor isn't as inspired as when he was directed by his son Yuen Woo-Ping in Drunken Master for instance. Yen Shi-Kwan is his nemesis after revenge and it's pretty much the only story strand you can interpret. The rest is an abstract mess of things that doesn't matter one bit, aside from a funny scene with Sharon Yeung on stage performing acrobatics and Dean Shek trying to sabotage the performance. The final reel has some expressive choreography involving Casanova Wong and Sharon however. Of note is that the director team was behind The Cub Tiger From Kwangtung (Jackie Chan's early starring role, a movie that was re-edited into Master With Cracked Fingers, featuring new footage with Simon Yuen and Dean Shek) and over 50 Wong Fei Hung films (starring Kwan Tak-Hing) respectively.

Story Of Kennedy Town (1990) Directed by: Wu Ma

For Story Of Kennedy Town, parallels can be drawn to the core story of the three friends in Bullet In The Head and perhaps it's no coincidence either as Wu Ma's film premiered just a few months after, with Waise Lee again in a large role. Despite an unnecessary character fate reveal at the beginning, Wu Ma gets respectable mileage and poignancy out of such an expected story covering friendship, honor and law. Performances from Waise Lee and Aaron Kwok suitably match this fair competence but it's Mark Cheng who does some of his best work ever here. Cinematography is very attractive as well, enhancing the respectable nature the production. It ultimately doesn't mean a lot but Wu Ma the director usually didn't either in this capacity so it's nice to be able to proclaim this as one of his best films despite. He appears in a supporting role as well the late Bill Tung, Sharla Cheung, May Lo, Tai Bo, Billy Ching and Chu Tau.

The Story Of Movie (1996) Directed by: Shut Mei-Yee

Although not featuring the structure of Pulp Fiction to any large degree, director Shut Mei-Yee clearly channels esthetics of Quentin Tarantino's film (and places a poster of it in one scene to make the inspiration ultra-clear). More specifically via the use surf-esque music for the soundtrack accompanying two slightly interconnected stories. Chun (Ken Lo) is a former boxer turned truck driver that happens upon waitress Lorna (Alice Lau). A connection is made through various interactions but it's a love brewing. Brewing to a frustrating degree and coming up are crossroads where choices has to be made. Meanwhile close by, or not, we find Man (Moses Chan), a low-life triad and pimp for Cat (Amanda Lee). Betting on horse races while she does the do as Miss Frenchkiss, these two spend so much time together only a wall apart that it's inevitable that they start to get to know each other.

Taking its sweet time and being rather flimsy, some character reveals and dialogue is quite on the off-beat side and director Shut doesn't seems to want to place crucial events in a reality. Doubtful if any of what we see therefore means anything but the title The Story Of Movie all of a sudden turns accurate. Little by little, his cast begin to gel at key points and slight charm grows out of this very different Hong Kong production. Also with Lee Fung, Peter Chan Lung and Lam Suet. See if you can spot Wu Ma too.

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The Story Of My Son (1990) Directed by: Johnnie To

Future Milkyway founders Johnnie To and Wai Ka-Fai collaborated for the first time on this melodrama in the wake of To's success working on All About Ah Long (starring Chow Yun-Fat). Running a mere 80 minutes, it's no wonder he thrusts us into the life of Damian Lau's Li whose wife has just died. Not telling his young children Chien (Wong Kwan-Yuen) and Kang (Jeng Paak-Lam), they trio try to cope but broken promises, hospital bills, triad debts and in general a hellish hand continues to be dealt to the family. While the elder son Chien does try to act as a role model, all is crushed the more Li gets pushed around by the triads. It's all cinema distressing to almost the max from beginning to end, giving us no light and more importantly, no distinct belief from the director's chair. Considering To's debut The Enigmatic Case was quite the tour de force of subtle behaviour, it's definitely clear Johnnie was playing the commercial game while trying to find a footing (which he did eventually after forming Milkyway). Occasionally effective in his punishing ways, The Story Of My Son is merely extreme melodrama put out there in the hope that the masses will accept it because they're easily fooled. We aren't. Ng Man-Tat, Sunny Fang and Lau Siu-Ming (in the film's only subtle performance) also appear.

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The Story Of Pei-Li (1993) Directed by: Chou Tan

Threatening to be a big character piece through text cards identifying each new one that pops up, in reality Chou Tan's movie is very contained and simple. But also hard to grasp as it doesn't seem to want to be simple. Wong Yue-Man is the titular Pei Li, a single mother of a mute son who she's planning to send away for education experiments in America. Unless they can crack that surface and feel love as a family unit that hasn't been there due to a possible trauma in the boy. Carrie Ng also appears as an escort girl who's going where the money is and gets Pei-Li into the line of business too. Chou Tan scores through a naturalistic frame and the simple moments of character drama but never truly cracks OUR surface continually. Valiant effort but too much focus it could be argued. Also known as A Modern Love Story, presumably for Hong Kong release of this Taiwanese movie and featuring very misleading poster art. Things are never that cheery in the film.

Story Of Ricky (1991) Directed by: Nam Nai Choi

Probably director Nam Nai Choi's (The Cat, The Seventh Curse) most ambitious project in terms of special effects, the aspect Story Of Ricky is most widely known for (in addition to the fact that it's based on the Manga cartoon Riki-Oh by Tetsuya Saruwatari and Takajo Masuhiko).

No one could ever argue that Nam displayed consistent filmmaking skills. Case in point, Story Of Ricky bears such traits as poor dialogue, poor framing, cheap looking sets, sans logic for most of the running time, obvious continuity errors and performances that even for the genre barely becomes average. That leaves Nam with his special effects and those alone makes the film very much watchable. For a Hong Kong movie of this era, the execution is good even if the different impalings, explosions and gut bustings on display can't hide that distinct rubber look of the setup's. One or two aftermath effects are surprisingly effective and, again, judging this element by Hong Kong movie standards, Nam's team pulled off the high number of effects well.

Providing unique, insane, Hong Kong cinema entertainment is what director Nam does best and he can spellbind the target audience with his frenetic to the on screen spectacle. The problem with Story Of Ricky is that it doesn't opt for that high gear intensity previously and later seen in Nam's work. Also, certain areas of the film are played serious and with that comes a cheesy atmosphere, a bad one unfortunately. Still, it's good fun, Nam Nai Choi rarely provides less. Also with William Ho (not nearly as evil as in his different Cat III movie roles), Fan Mei Sheng (star Fan Siu Wong's real life father) and Yukari Oshima. In a nice touch, the original Hong Kong cinema trailer on the Hong Kong Legends dvd features original artwork from the Manga and how it was realized in the live action movie.

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