# 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 Street Car Named Desire (1993) Directed by: William Cheung

Without checking, little to nothing surely resembles the Marlon Brando classic now in the hands of Hong Kong cinema. Even if that was the case, The Street Car Named Desire is one incomprehensible, boring train wreck. Lawrence Ng is Chi-Wah, a triad recently released from prison with plans to go against the mould. That doesn't mean he will stop walking the triad way or let violence walk far behind him this time. No, he justifies his acts by reasoning that the polar opposite of what's expected should be done. Has to do with some "creative" writing concerning some father figure conflict or something. Flat direction and performances walk alongside the flick too, with a world painted in exploitation and decadence never coming to life. We barely know what drives these characters but we do come to know why after all is said and done. They're simply fools and breaking the wall of the so called drama territory is ventures into acrobatic gunplay and fights that screams commercial desperation. A big pass. Also with Bonnie Fu, Tommy Wong, Grace Wong, Karel Wong, Billy Chow and Kwan Hoi-San.

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The Stud And The Nympho (1980) Directed by: Lu Chi

For one hour a silly sexy comedy about adultery and manipulation by men, women and delivered with a very non-amusing high pitch, Lu Chi (Mini-Skirt Gang) has trouble leading us through these episodes with admittedly a gorgeous female cast (Ai Ti and Ling Doi). Dropping hints of a peeping stalker (Lung Cheuk) with a lair of chains, cut out pictures of Ai Ti's character and a blow up doll, this is the spark of The Stud And The Nympho. Thankfully, despite not earning it, the last half hour is almost solely devoted to this thriller plot that features some fairly heavy violence with a hammer and glorious overacting by Lung Cheuk. A conflicted product that doesn't amount to much of anything, pushing darker exploitation-elements eventually makes us stay on at least. Also with Wai Wang and Siu Yam-Yam.

Suburb Murder (1992) Directed by: Jeng Kin-Ping

With a resume that also includes and stops at the horrific exploits Hong Kong Eva and Body Lover, Jeng Kin-Ping's directorial debut holds effective imagery. Based on the 1985 Braemar Hill murders, the movie depicts Kang (Lam King-Kong) who's never had warmth in his life. A cheating mother, a violent father (later in life he's disowned by his father who is played by Ku Feng and his mother is a prostitute)... no wonder Kang gets mixed up with small time hoodlums. Youths that are since long lost and with no moral values, the rapists within them are never far off but Kang finds support and warmth finally when childhood friend Chi (Ng Shui-Ting) returns. Coupled with the fact that Kang is also falling in love with a girl, a couple of drunk Westerners is going to change the course of his life...

Playing out mostly in flashback after Kang is arrested, most of Suburb Murder is cut right out of the standard Category III mold dealing with true crimes. Plus points goes to director Jeng Kin-Ping as he manages to make the seedy locations the youth gang often are in quite effectively looking on film. The life they're living, it translates. Furthermore when he lets Kang's psychotic behaviour go into overdrive for the final reel of the film, we're quite a bit on board with this tragic fate and the harsh violence that goes along with it. It's not an unexpected portrait of the psyche of a killer but a lot better than expected.

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Suicide (1995) Directed by: Alan Lo

Director Alan Lo continued to vent and cash in by being socially relevant/exploitive regarding the disillusioned youths-story. With Girls In The Hood released a few months prior, Suicide doesn't dress itself very differently but manages to register slightly better on a poignancy level. Relentlessly unsympathetic and generally ill behaved, the script calls for passages where the adult world turn on these kids, leading to the poor characteristics of the girls gang. It rings more true to the character traits for some moments and they all in the end want to feel love in some shape or form. Of course the title Suicide corresponds to plot elements so it's not a happy ride. Sad it may be but largely Alan Lo's document of the real Hong Kong is still yet another one trying to come off as socially relevant. A presentation of Cash Quick Inc. that happens to say something good every once in a while.

Summer Snow (1995) Directed by: Ann Hui

The Best Picture, Best Director (Ann Hui), Best Screenplay (Chan Man Keung), Best Actor (Roy Chiao), Best Actress (Josephine Siao) and Best Supporting Actor (Law Kar-Ying) winner at the 1996 Hong Kong Film Awards and a well deserved sweep by all involved. Ann Hui celebrates the strength of women but also family in her drama about the Sun family's struggle with keeping their Alzheimer diagnosed father (Roy Chiao) in check.

Thankfully not overbearing with her jabs at social problems such as elderly care and economical struggles, Hui rightfully takes the low-key approach for her detailed snapshot of reality and while the MTV crowd, or those in need of a quick entertainment fix, should stay away, Hui still crafts highly compelling drama that goes equally touching and funny routes. Funny in the way Chiao's disease stricken Lin takes some odd detours in the city but it's equally tragic to see the struggling family go through breakdowns, both inner and outspoken ones. The slight disinterest that crops up is via the son's sub story and Law Koon Lan's character is a few notches too broad for my liking. Still, Summer Snow couldn't come more highly recommended and with a trio of terrific performances, most notably the late Roy Chiao who finally received some overdue recognition, Ann Hui crafts perhaps one of her more uplifting movies in the end. A young Stephen Fung, in his debut, appears briefly as well as Ha Ping.

Sun Dragon (1979, Hua Shan)

In a way nothing surprising happens for the genre here but shifting the setting to the Wild West (but the movie seems to flip flop between that and contemporary America) we get some different atmosphere around a movie that otherwise exists for martial arts. Certainly earns high praise action-wise as the choreography (save for a few moments) is great and Billy Chong really makes his mark on the movie as a powerful hero. Often finishing off choreography with fine kicking, the movie also makes a the case for being wall to wall action for the last third because of variation and quality. Since it's also stripped of comedy largely, the in between stretches feel even more tolerable. Second lead Carl Scott possibly outshines Chong as he keeps up splendidly with the demand of the powerful and fast choreography.

The Sun Has Ears (1995) Directed by: Yim Ho

The setting is 1920s China where warlords are running the countryside. In an isolated village landscape, Yoyo (Zhang Yu, also producer) lives in poverty with her husband Tianyo (Gao Qiang), things being so bad that she is fainting in the street out of hunger. Lieutenant Pan Hao (You Yong) enters the life of Yoyo, forcing the husband to give her up for a short period of time. However when the agreement has run its course, Pan isn't letting go and nor is Yoyo...

Yim Ho directs this story where hurt and torn are keywords running through the often low-key narrative. With a certain connection to Red Dust therefore, even without knowing your history, Yim Ho will easily let in anyone who wants to. Yoyo at center is presented as a woman flowing with the so called prosperous options before you, whether it's wealth or an actual injection of passion into your life. There's a sense of doom over the film though and more often than not, Yoyo's action generates some kind of painful effect. Yim Ho has a firm grip on his atmosphere, where even slight motions and sounds are tension-filled. Few choices seem upbeat here by design and an obvious frustration is put forth as well, not just having to do with the Chinese history that the film is part of. While absorbing throughout, Yim Ho doesn't seem to develop his statements as much during the last 20 minutes, even if proceedings do get closure. A minor niggle in yet another atmospheric movie that benefits from fine cinematography and a score by Otomo Yoshihide (The Blue Kite, Summer Snow).

At the Berlin International Film Festival, Yim Ho ended up sharing the Silver Berlin Bear Award for Best Director together with Richard Loncraine (Richard III).

Sun Valley (1995) Directed by: He Ping

To Sun Valley comes a lone swordsman (Zhang Fengyi - Farewell My Concubine), one the villagers name the Avenger as that seems to be his agenda. He stays at an inn run by Hong Liu (Yuan Kuei-Mei) whose husband Hei Niu (Wang Xueqi) only occasionally comes home from his extended trips as a horse merchant. The Avenger carries with him hidden secrets though, being haunted by the sight of slaughter courtesy of a red hooded swordsman and a fear of blood, resulting in him taking the lives of several villagers in his confused state. His prolonged stay at the inn with Hong Liu creates an unexpected bond between the two subsequently but she carries with her secrets and agendas of her own...

He Ping's (The Swordsman In Double-Flag Town, Warriors Of Heaven And Earth) movie is slow but a rewarding drama that couldn't be farther removed from what Hong Kong cinema fans perceive as a swordsman movie. He Ping may break out from the mundane and held back into stylish bloodshed but it's violence, not action and even though Sun Valley may have a distant cousin in Tsui Hark's The Blade, the portrayal of a world with less and less swordsmen is a welcome perspective as it's from a Mainland filmmaker. The narrative is of course a large puzzle which may frustrate but in the end He Ping has hit a stride and given us a compelling character journey, one with a humanistic outlook, without ever condescending his audience. It's not particularly complex but the film does require your attention and perhaps, depending on the viewer, a good chunk of your patience. Rewarding is the key word though. Shaw Brother's veteran Ku Feng appears in support.

Super Citizen (1986) Directed by: Wan Jen

Produced by John Woo for Cinema City, this Taiwan set drama sets out to feel rather uneventful but slips badly into it so no memorable cinema here. Lee Shi-Xiang is looking for his sister in Taipei and he befriends various what you might call eccentric characters, ranging from regular kids, petty criminals and aimless street girls. Lee is the face of innocence and possibly the super citizen of the rather poor English title but he finds out along with others that life is filled with loneliness (and some grave darkness). Pinch me, I'm sleeping and while director Wan Jen employs cinematic language that can work, he is in fact novice at walking that tightrope.

Supercop.com (2000) Directed by: Phillip Ko

Phillip Ko was still directing cheap action films into the new millennium and long after a golden of era of that particular genre, it's no surprise there's no creative juice left. Doubt there ever was any substantial amount in Ko to be honest.

Shot in Korea and Hong Kong, Ko wastes no time, launching us right into an ultra-serious narrative consisting of SDU training, the step into crime fighting uniform and supposed personal drama resides in the film as well. Ko seems to want to have a fast pace to his narrative yet displays awful skill at it. This then continues throughout as the story and characters are unimaginative, to put it nicely. All that's left is to let the girls kick some butt then, something he refuses to do until the final reel. There any potential skills left in Cynthia Khan and company is obscured by more lack of imagination in the choreography and editing. Anthony Wong phones in a heartless performance where he literally is yawning and sleeping through scenes. I won't knock Anthony or Cynthia for that matter as their given direction really seems nonexistent. Also with Johnny Wang, Ken Lo and Angela Tong.

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