# 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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Heroine Susan, The Sister Of The Shantung Boxer (1973) Directed by: Wong Hung-Cheung

While the connection to Chang Cheh's Boxer From Shantung is there according to reports, Heroine Susan, The Sister Of The Shantung Boxer can be judged on its merits thankfully. Lacking in much merits however, at hand is revenge for a fallen brother by a sister (Wang Ping). Target: the axe gang and a drugs operation. Grit and fighting fury does rear its head but far too infrequently and most of the action comes off as devoid of power. Igniting a little towards the end with select sections of Chang Cheh-esque gore as Wang Ping fights alongside Charlie Chin, it's hard for the movie to walk away with its head up high after being so decidedly normal and weak before. Also with Suen Yuet.

Her Vengeance (1988) Directed by Nam Nai Choi

Decent rape/revenge thriller but at the same time remarkably solid considering it's Nam Nai Choi directing. Yes, gone is the outrageousness b-movie excesses that The Seventh Curse and The Cat offered and Nam goes for full on gritty brutality instead. Some of which is eerily effective and has seldom been outdone in 80s Hong Kong cinema (despite suffering from noticeable censoring). Only Alfred Cheung's On The Run springs to mind that regard.

Not that the revenge motive is particularly deep or polished as is normally the case whenever Hong Kong cinema attempts something like this. Therefore, pretty much all men are portrayed horny and evil but you do sense that there's no ambition to be the smartest exploitation flick on the block either. Lam Ching Ying brings solid dramatic weight to the piece and Pauline Wong, while being saddled with limited traits to work with, equips herself well, in particular during the intense action finale (co-choreographed splendidly well by Lam Ching Ying). Also with Shing Fui On and Billy Chow.

The vcd re-issue by Deltamac cut out most of the violence while adding a whole slew of new and alternate footage compared to the Cat III rated out of print Megastar vcd. For a breakdown of the additions and differences, visit the Her Vengeance Deleted & Extended Scenes Gallery.

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He's A Woman, She's A Man (1994) Directed by: Peter Chan

A little slow but quite an affecting romantic comedy starring Anita Yuen, Leslie Cheung and Carina Lau. Yuen plays Wing that goes to a singing audition dressed as a boy and surprisingly gets a shot at the big time. Living with producer Sam (Cheung) she falls for him and he is drawn to, what he thinks is, the boy. In the middle then is Sam's singer girlfriend (Lau). Anita pulls off the transformation to boy quite convincingly and Peter Chan explores the themes of homosexuality and idol worshipping without resorting to cheap gags or being distasteful. The cast gel with each other and Jordan Chan in particular has a likable supporting part. Same cast turned up for the sequel Who's The Woman, Who's The Man in 1996 but that failed to capture the spirit of the first.

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He Who Chases After The Wind (1988) Directed by: Albert Lai

After saving a married couple during a home robbery attempt, in the aftermath of his injuries cop Ko (Alex Man) becomes obsessed with the wife Lam (Elizabeth Lee). Having stolen her diary, he approaches her knowing more about her life. All while the robber (Shing Fui-On) that got away also needs to be stopped. Noteable for being one of Stephen Chow's first movie roles, he supports as one of the men in Ko's cop unit and gets to act as the troubled son or brother of Man's character so that he has an excuse to visit Lam at the social center she works at. Combining stylish cinematography, good shootouts and violence with this dramatic core, it would've worked better if we had sensed and picked up on the logic and emotions within Ko's and Lam's story. We rarely do and when we do, it's only when director Albert Lai forcefully says we should. Also with Carrie Ng and heavy usage of the Canto-pop version of 'Take My Breath Away'.

Hidden Desire (1991) Directed by: Ho Fan

Veronica Yip's path from being a coveted Category III girl to acclaimed dramatic actress started intensely with three films streaking down the finish line towards Call Girl 92. First out of the gate was Hidden Desire. with Yip in a supporting "role" in what barely could be qualified as a movie. Ho Fan (Brief Encounter) pays extremely little attention to plot but instead seems to give his all in creating high class erotica. Valiant attempts but laughable execution in its pretentious ways. However, Hidden Desire is harmless crap right up till a final reel that turns it into offensive crap. Good of Charlie Cho to spoil it all and try to find any sense in the excruciating rape finale if you can. Yipes.

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Hidden Hero (1990) Directed by: Chang Cheh

It seems appropriate that one of the last films from legendary Chang Cheh last would be a collection of elements from his prior Shaw Brother's flicks but it's a rather failed best of-collection that barely touches upon the excellent character-skills the Chang Cheh of the late 60s and early 70s possessed. The career trajectory was indeed quite notable/bizarre in that regard but clearly Chang found the combination of plastic heroes and bloodshed to his liking in his latter filmmaking life. While low-budget and utilizing quite embarrassingly empty, large scale sets, Hidden Hero is not unlike what Shaw's did turn out. Therefore we get an oversized character gallery, endless talking, plotting and backstabbing. All later interspersed with fairly lively bursts of martial arts that echoes weapons- and gore elements of past flicks. But it's an art that was dying and the screen results are very watered down. When Chang Cheh lets preferred leading man of this era, Tung Chi-Wa speak of the corrupt evil of our world, proceedings also turn corny beyond belief. Still, with a legacy left behind with classics such as One-Armed Swordsman and Blood Brothers, any amount of bad genre filmmaking won't be able to shake the foundation.

Hidden Passion (1991) Directed by: Leung Dung-Lei

Chu (Ng Jan-Wei) reminisces of his youth island adventures, being a virgin turned über horny teen and in love with neighbourhood woman Tak (Lau Wai-Han). In the mix is also Tak's handicapped husband and her outgoing niece Pauline (Asuka Tamami) and since we're also dealing with a Category III rating here, the drama is all about da sex! Yes, Tak's husband has troubles in that area and when not satisfied, Tak is both drawn to Pauline and Chu, creating jealousy in Pauline who has forced Chu to be her boyfriend and further bla bla bla...

Desires and fantasies collide in low-budget, run down environments which surely is representing a village reality but with such inept drama at hand (despite the "art" above in the screencap), it's no wonder Leung Dung-Lei focuses on the sex...A LOT. What feels like a dozen sex scenes in 90 minutes, the erotica could've gone places had it not employed your typical jazz/lounge porno score plus at one pivotal point where Tak REALLY gets what she wants, angelic choirs are heard on the soundtrack! Hilarity ensues then and even great inserts of big engine vehicles during a sex scene has the laughing center getting a workout. The end credits show brief behind the scenes footage of yet another Asuka Tamami vehicle which is possibly Love In Sampan. Remembering nothing of that flick, it all doesn't matter but is a choice by the filmmakers to welcome us to the next sex-marathon. Who's willing...really?

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High Risk (1995) Directed by: Wong Jing

In City Hunter, director Wong Jing 'borrowed' the concept of Under Siege to a certain extent and with High Risk he gives us Hong Kong Die Hard. It comes with trademarks of his and a common one is the main flaw with this otherwise entertaining spectacle. That is the often crude and silly humour but where it does work is in Jacky Cheung's funny performance as movie star Frankie. Corey Yuen, Yuen Tak and Bruce Law also gives us some very slick action, THE element plus Jet Li that makes High Risk memorable.

Going back to Jacky Cheung's character, Wong Jing apparently had disagreements with Jackie Chan during the making of City Hunter. The Frankie character is obviously modeled after Jackie (and Bruce Lee in a less mocking fashion) and portrays him as a cowardly womanizer. That's fine, often public figures becomes the target of parody, satire etc. However, having Wu Ma play Frankie's father, again absolutely inspired by Jackie's real life father, is a good casting choice but seems like a rather pointless inclusion since Wong never really attempts to mock him. Also in the cast; Chingmy Yau, Billy Chow and Valerie Chow. The newly released Universe DTS dvd is now uncut, as opposed to the remastered release that was trimmed for violence.

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High Sky Mission (1989) Directed by: Philip Ko

TROY'S REVIEW: Philip Ko directs and very briefly appears in this sadly, somewhat mundane war effort from Joseph Lai's infamous chopping shop, IFD Films & Arts Distribution. The story features a group of nine American Special Forces troops (including IFD regular Mike Abbott) who are dispatched to the Philippines in order to take on the Japanese army there. Despite one or two chuckles to be gleaned from a number of scenes (including in one when the enemy makes the bizarre discovery of a swear word that has been urinated into the sand) plus the utter historical inaccuracy displayed glaringly throughout, the film itself is regretfully a chore to sit through and is best done so with one's finger held securely on the fast forward button. A real shame. Also known as American Force 3: High Sky Mission.

High Voltage (1995) Directed by: Andrew Kam

Even for a no-brainer action flick, the Philippines lensed High Voltage scores astoundingly low. Although written by a woman, nothing but the standard cop (Donnie Yen) wants revenge on thug (Roy Cheung) for sadistically killing his wife-template is used, with quiet moments of character torment interspersed throughout to make us believe there's depth. You don't hire Donnie Yen for that but to flash his action skills. They're hidden in a murky vcd print and the poor editing, with the only clear moments being when Donnie Yen "blesses" us with his poses. While Phillip Ko makes worse B-movies, director Andrew Kam (Fatal Termination) not only disappoints but ends up dangerously close to Ko Fei's level.

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