# 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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Witch From Nepal (1986) Directed by: Ching Siu-Tung

A witch from Nepal (Emily Chu) has finally found her new master as the scriptures have proclaimed. He's a modern day artist named Joe (Chow Yun-Fat) and the relentless devotion the witch has for him threatens to shatter his current relationship. Fate can't be avoided though and our Joe also has to step up to the plate to battle a not as nice witch from nepal (Ng Hong Sang)...

Ching Siu-Tung directs and despite his team of action choreographers being quite large (Alan Chui, Lau Chi Ho and Phillip Kwok), Ching puts a surprising amount of focus on story and characters. He infuses his narrative with a more subdued atmosphere which is truly surprising considering the supernatural elements of the plot. While very basic and unremarkable, he also does follow through on characters and their dilemmas. All this could've been seriously disrupted if Wong Jing had written the script but it becomes serious in a b-movie way and engages decently. Something you rightly can expect from a Ching Siu-Tung helmed production but not that it would come with this tone of filmmaking. Tom Lau (director of The Rape After) also offers up fine cinematography while the action flows and excites well enough. In particular the finale has striking resemblance to the climactic battle between Neo and Mr. Smith in The Matrix Revolutions.

With Or Without You (1992) Directed by: Taylor Wong

Hostess Tweedy (Rosamund Kwan) is the object of desire for sharp-shooting, psychopath Prince (Jacky Cheung) who does leave her alone after hit that forces him to flee. Meanwhile, young cop Ming (Leon Lai) and Tweedy falls in love and of course it's just a matter of time before Prince returns to wreck even more havoc now that he's challenged by another suitor...

Heavily stylized, both on an audio and visual level (Herman Yau was the cinematographer), there seems to be little reason to care for the love triangle presented and predictably because it's Taylor Wong directing, matters quickly turn really boring. The actors fall into their roles dependently though and John Ching is lively as a triad boss that is harsh on the hostesses looking after him. However the extended finale is sustained toughness, with an entertaining overact from Jacky Cheung and plenty enough gunplay mayhem. Also with Ng Man-Tat. The prequel No More Love No More Death was directed by Herman Yau.

Without A Promised Land (1980) Directed by: Keung Chi-Ming & Tung Liu

Produced at Seasonal, Ng See-Yuen co-wrote this social drama detailing the situation of Vietnam refugees trying to make it into Hong Kong or any kind of land. Initially a bit tricky to follow, not only due to the cropped full frame print, but co-directors Keung Chi-Ming & Tung Liu achieves focus very late in their story. There's a plethora of characters featured but in the end there's an actual focus on a very few and that's when the narrative starts to form. The writing allows for some hideously over the top symbolic gestures about how refugees view their fellow man adapting to a higher class lifestyle but a chilling nature comes with the proceedings as well. Not only violence is in your face but the notion of these social destitute's grabbing every opportunity there is results in the more poignant passages. In particular a scene where hordes of people are looting the possessions of a recently diseased. Eventually part of the film takes on the feeling of a pre-cursor to Long Arm Of The Law and the role for the star of that film, Lam Wai, here in Without A Promised Land begins expanding to a fine degree. On the surface seen as corrupting a young boy via his violent ways, it is a preparation for innocence to go out into a form of adulthood at the expense of the death of others, which certainly rings true of realism. Without A Promised Land isn't remarkable or balls-grabbing social commentary but what's said, however minor it is, feels warranted.

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Wits To Wits (1974) Directed by: Wu Ma

Wu Ma and Henry Yu are conmen that gets in trouble with the local thugs (led by Sek Kin). If your standards are the lowest ever and I mean ever, then Wits To Wits might register favorably for a minute or two. When the only thing caring about is the plethora of familiar faces that comes and goes, Wu Ma definitely doesn't have the audiences in the palm of his hand. Yuen Woo-Ping's action sparkles sporadically during the latter stages only.

Wizard's Curse (1992) Directed by: Yuen Cheung Yan

It's dependable Hong Kong horror-comedy hijinxs by Yuen Cheung Yan and starring Lam Ching Ying. The Cat III rating does allow for more outrageous imagery such as the Terrific Vampire's main weapon, easily described as some sort of supernatural glowing penis. Also, the gore level is slightly heightened compared to other horror-comedies but the brain sucking scenes obviously looks like a concept that never was able to flourish due to budget restraints. These previously mentioned points are definite merits though but the Cat III rating also makes way for even more crude so called humour, courtesy of Wong Jing's screenplay. Still, it's good fun and once again Lam Ching Ying demonstrates his flair for comedy in combination with his assured handling of the Taoist priest character.

Wolf Of Revenge (1992) Directed by: Hoh Lin-Chow

Gang war, gang war, gang war and the main character's wife appears as a ghost to sell this as a piece of family melodrama too, Wolf Of Revenge is very eager as it's almost wall to wall fights and gunplay. Some of which is poorly staged but overall energy shines through brightly and the willingness to go all out with squibs and pyrotechnics with stuntmen very much in the midst of it infectious. The fact that Hoh Lin-Chow (listed as director for 1988's Goodbye My Friend, the re-release title of an older Chow Yun-Fat movie) goes through with the supernatural angle is also very endearing and part of a free for all way of thinking that you can't help but to like. Starring Tong Chun-Chung. Dick Wei, Lam Wai and Shum Wai also appear.

Wolf Warrior II (2017, Wu Jing)

While Wu Jing's first entry made a 90 million US dollar dent at the box office, the returns for the sequel has been out of this world with 870 million USD in the movie's favour and counting. And it's important to note that its intentions in 2017 trying to be a big, bombastic 80s/90s Hollywood actioner manages to land quite nicely without being ironically retro. Being the pitch perfect hero that jumps into action at the drop of a hat and looks stylish once done, this of course could spark the discussion of propaganda and nationalism but not really for this movie as it's embracing being loud and sometimes ludicrous in its execution that there's no flag waving to be seriously concerned of here. No, once in Africa Wu Jing unleashes a solid string of set pieces, focusing a little bit on fight action but mostly on gunplay. The positive to that is Wu Jing moves with a grace and fluidity that makes him convincing enough in this department. The movie also attempts the grim, with innocents often getting in the way of the ruthless mercenaries but with little connection to politics, conflict and characters, this stands out very little. The fact that we also get an abundance of daytime computer generated blood is distracting as well. Despite all of that, Wu Jing gets the tone, pace and edge of your seat excitement mostly correct, with the shanty town chase standing out as a highlight as well as the final, quite ferociously brutal end fight with Frank Grillo. Ultimately Wolf Warrior II has the confidence to do the cheesy, hokey and even hollow, with rousing speeches by our lead, manipulative drama and not too much character downtime because it's all about moving so for an audience that might not be used to this formula, he executes in quality fashion. And internationally all this was understood as well. Co-starring Celina Jade.

Women's Prison (1988) Directed by: David Lam

Considering it owes Ringo Lam's classic Prison On Fire pretty much everything, David Lam's Women's Prison is a surprisingly passable prison drama. Everything we expect to be present is. You've got the crooked guards to the internal gang fights but thanks to the trio of leading ladies (Pat Ha, Carol Cheng and Fung Bo Bo), the film stands well on its own as a minor engaging triumph within the genre. Prison On Fire still need not to be threatened but Women's Prison has moments of such extreme gritty violence that even Ringo Lam would be impressed by. Mario Cordero co-stars and sings a Cantonese rendering of "House Of The Rising Sun" for the soundtrack. Liu Fan also adds fine support as the menace of the piece while Simon Yam, Tommy Wong and Ha Chia Ling also appear.

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Wonderful Killer (1993) Directed by: Zhang Ren-Jie

The last film from the director of The Devil is a busy mixture where a simple slasher plot involving ONE killer isn't good enough. Filler exists in spades but also low budget, laughable (the at and with kind) energy. Maria Tung takes out various victims and manages to elude the police (headed by Charlie Cho in a non Category III role) for half a movie. Then the rest of the family goes on a killing spree, including the mentally challenged brother (Shing Fui-On). Also a movie armed with ridiculous looking gangsters, gritty locations looking more embarrassingly cheap but at one point Wonderful Killer catches your approval. A couple of fight scenes involving willing stuntmen, solid gunplay (as Lam Wai logs his cameo), even the ending with a ton of deadly traps set up by an all of a sudden very smart Shing Fui-On sees Zhang Ren-Jie managing to maintain low-budget momentum. A minor surprise. Also with Dick Wei and Karel Wong.

Wonder Mama (2015, Clifton Ko)

A conflicted, crowded drama about shedding the shadow of your parents in order to start thriving personally but the twist here is that is centers around a 50 year old woman called Lovely Ng (Petrina Fung). Declining a promotion, she instead favors the well being of her elderly parents (Kenneth Tsang and Susan Shaw). But the quarrelling couple are in need of separation and a long overdue divorce, which seems like Lovely's way out. Instead the opposite happens, the problems become greater than ever and previously concealed, emotional wounds are sliced open. Quite adept at the natural Hong Kong drama as demonstrated in the past, Clifton Ko making stories about people in 2015 is very welcome but another contrasting force within isn't. In between some quite excessive shouting and crying, Ko goes into comedic directions that clash with the dramatic and warm intent of Wonder Mama. A sign of insecurity or way too much belief in the theme across the moods here perhaps. It makes a fair amount of sections a screechy product that strays from the reality of the core predicament and it's especially grating to see an otherwise tuned and wonderful veteran cast being thrust into wackiness when they are clearly excelling at tackling the down to earth drama. Because when Ko turns his eye on the plight of Lovely, this is where the intended movie shines. The simple becomes poignant because the simple is a massive, cinematic journey when handled well. So partly Ko is spot on. At other points he seems fearful of lingering on cinematically soothing emotions. Also starring BabyJohn Choi, Crystal Wang and Tse Kwan-Ho.

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