# 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 Lizard (1972) Directed by: Chor Yuen

Rewatch. Brother Dumb by day and the Robin Hood-esque character The Lizard by night, Yueh Hua plays the folk hero trying to evade the Japanese chief inspector played by Lo Lieh but has his identity revealed to a few of his supporters (including Connie Chan's Yo Xiao Ju) who'll fight by his side to the end. Chor Yuen creates and commands an elegant frame that's presenting a nicely digestible piece of action entertainment. While played straight and there's certainly violence, the overall feeling of The Lizard is one of not trying to complicate matters but to deliver a likable time within a commercial frame. Something Chor Yuen does very capably. Connie Chan is the action standout in the fight scenes choreographed by Yuen Woo-Ping and Yuen Cheung-Yan).

Lonely Fifteen (1982) Directed by: David Lai

The feature debut of David Lai (Possessed, Saviour Of The Soul), this synch sound youth drama certainly is not shy about bringing us 100 minutes of despair but it's thanks to the eye and skill of Lai that it doesn't become overbearing but rather affecting. Centering around Peggy (Lam Bik-Kei) and her friends drifting away from the priority of education and into drug use, crime and prostitution, neither have much of an anchor at home so it's resentment across the board here that sees these youths make irrational decisions. They face loss, death and violence throughout, all captured in a frank way by Lai. This is not manufactured grit but feels very much real and it's social realism that this Hong Kong new wave of the time did so well. Infused with anger as well as heart (rather than cynicism), we wish for something better for the girls in Lonely Fifteen, we're pretty sure that isn't going to happen but the experience is haunting in a positive sense despite. Making unflinching, making us sit and take it type of cinema is difficult without going over the top but Lai pulls it off. Nominated for multiple Hong Kong Film Awards, lead Lam Bik-Kei (in her only film role) eventually won for Best Actress.

Long & Winding Road (1994) Directed by: Gordon Chan

The quest for money after falling down hard, with a pretty repulsive character in the lead, Long & Winding Road may have spoken to its local audience more but most other viewers will indeed find it to be a long road. Lam Chiu-Wing (Leslie Cheung) loses his job as an insurance agent after scamming people for money, tries to establish a new business using his friend's (characters played by Tony Leung Ka-Fai, Dayo Wong and Michael Wong) money but ultimately causing more hurt. Using sly tactics, he gets a job in the real estate business though where encounters with employee Winnie (Rosamund Kwan) and money hungry boss (Kenneth Tsang) will get Lam to a point where a real estate deal will cause harm to his friends again...

Slight morality tale and despite Leslie Cheung playing such an unlikeable character, the Gordon Chan co-penned script is clear in structure. Problem is neither of what's at the top, middle and end has any points of interest, even when wisely focusing on essentially only the two male leads who provides decent energy at times. When Long & Winding Road also runs for a way to generous 104 minutes, it's hard to look past shortcomings as you desperately want to get past the movie.

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Long Arm Of The Law Saga II (1987) Directed by: Michael Mak

The Hong Kong police comes up with a new tactic in catching brutal gangs and that is to bring in a trio of Mainlanders (Elvis Tsui, Ben Lam and Yuen Yat-Chor) to go undercover alongside cop Biggy (Alex Man)...

Watching edited highlights from the seminal Long Arm Of The Law right at the very beginning, that is the sole connection which is risky and unnecessary because quality has dropped quite a bit compared to Johnny Mak's original. Even with writer Phillip Chan on board again, no underlying politics or character depth manages to come alive to an acceptable extent and we're left with a standard effort. However the piece flows fine and Chin Yuet-Sang's directed violence is tough and bloody. Out of the actors Elvis Tsui and Alex Man bring good presence to the table, making notions of lowly status as an undercover cop and Mainlander respectively take on an actual meaning. Kong Lung, Ng Hoi-Tin (also in the original) Pauline Wong, Wong Chi-Keung and another Wong Chi-Keung with the English name Kirk (acclaimed director of Organized Crime & Triad Bureau and Gunmen and here logging one of his patented rascal performances) also appear.

The Long Chase (1971) Directed by: Ho Meng-Hua

Ironically a long chase that doesn't feel it needs 81 minutes to do its thing and it's an effective choice. Known as the Flying Dagger, Kou Ying (Yueh Hua) assassinates the prime minister under Officer Fan Yi's (Lo Lieh) watch and he's given 5 days to find the guilty or he faces execution. Finding out Kou Ying's whereabouts, matters become complicated when he starts posing as another wanted character called Song, becomes a county official and is considered a hero of the people anyway (among other's Li Ching's Wang Hsueh Niang). And the opponents also grow to respect each other and on more than one occasion fight side by side. Ho Meng-Hua (The Mighty Peking Man) squeezes decent substance and weight out of the character relationships thanks to a charismatic leading duo and with a short running time, high Shaw Brothers production values and above average action for its time, The Long Chase adequately proves the majestic could still work as a decent character piece below 90 minutes. Also with Wang Hsieh.

Long Hot Summer (1992) Directed by: Wong Yau-Sing

This is what you get when scraping the bottom of the Category III, softcore porn barrel... 80 minutes of waste, almost toxic. Opening with a shower scene for no apparent reason other than making doubtful viewers stay for one extra minute, Long Hot Summer (aka Love Must be Crazy) in a very boring way subsequently gives us the world's most off-putting striptease, throws in some nonsense plot about a rival model company stealing a commercial ad script and nothing gets better from this point. No pace, no means to spice up the frame with at least editing or suitable music (prepare to be stunned when you hear the lowest of the low stock music chosen here). Crummy locations means crummy, long sex scenes with not even a hint of steam, Charlie Cho gets his obligatory chance to perform in a rape scene, Shum Wai and Ku Feng cashes a very minor check and the most thankful you are as a viewer comes during a 10 minutes period when the English subtitles go missing. It's an excuse to fast-forward! Also with Tsui Man-Wah who despite a wonderful performance in Temptation Summary II looks as lost as everyone else here.

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Looking For Mister Perfect (2003) Directed by: Ringo Lam

Outside of a jet ski chase and some very slight gunplay, there's nothing to suggest that this lighthearted caper comes from the usually dark mind of Ringo Lam, returning to comedy for the first time since the 1980s. I welcome versatility but when there's only the occasional glimpse of inspired comedy and action, one can almost imagine the mainstream minded Johnnie To (who produced) himself in the directing chair and the result would've been equally stale. What it really boils down to is a select bunch of good to so-so actors (Shu Qi, Simon Yam, Lam Suet, Hui Siu-Hung, Ruby Wong) and some not so talented (Andy On, Raymond Wong, Chapman To) enjoying the Malaysian sun and acting relatively silly. While semi-amusing at times and giving us some wild characteristics for Simon Yam's flamboyant villain, the proceedings are in the end rather unimpressive and disposable. Which is not a grade I'd want to lay on a Hong Kong film by Ringo Lam.

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Look Out, Officer! (1990) Directed by: Lau Shut Yue

Released the month before Stephen Chow's definite breakthrough vehicle All For The Winner, this Cosmopolitan production (headed by Shaw Brother's who now has the rights) is very much in the style that is now synonymous with Chow. Despite the inclusion of brutal murder, gunplay and ghosts, much time is devoted on behalf of director Lau Shut Yue (Ghost Fever) to let Chow thoroughly go his silly, outlandish comedic ways. The results are mostly hilarious (save for a few foul, low-brow gags) and really what's missing here, and what was solved in All For the Winner, is Ng Man Tat. Also with Bill Tung, Stanley Fung, Vivian Chan, Sunny Fang and Amy Yip.

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The Loot (1980) Directed by: Eric Tsang

Eric Tsang's first ventures into directing (after having been employed on various behind the scenes gigs in the capacity of stuntman and screenwriter) to this day keep and should be receiving praise. Both The Challenger and The Loot were independent productions but the latter can proudly stand beside any of the studio greats and not be ashamed. Much having to do with Chan Siu Leung's excellent martial arts choreography that also has the advantage of key players having been directed by the great Lau Kar Leung at one point.

Tsang also keeps a rather involved plot afloat quite well and while David Chiang is playing it broad mostly, when he eventually teams up fully with Norman Tsui, the movie gets a lot of momentum and even strays away from the typical comedy of the period to deliver actual wit. Best sequence being the obligatory expository one where the duo struggles to keep a man alive in order for the plot to be AAAALMOST fully exposed. Also starring Phillip Ko, Lily Li and Kwan Yung Moon.

The Lord Of Hangzhou (1998) Directed by: Andy Chin

Andy Chin's (Call Girl 92, Love Among The Triad) last movie to date, seemingly shot with a mixed cast in Chinese locations without the use of synch sound. A rare choice considering the filmmaker.

The age of old story of the spoilt, rich boy whose gullibility is exploited and he's reduced to beggar status, Chin starts off with fairly picture-esque visuals but also with an awfully talky, boring narrative. It's only when he thrusts leading man Tse Kwan.Ho (The Mad Phoenix) into the lows he goes through, even experiencing a re-birth first hand in a lot of ways, the film becomes semi-passable. Tony Leung Siu-Hung's action is even good for the brief moments it lasts, times where lead Tse shows the best of his commanding presence. At times off-beat but not overly broad, The Lord of Hangzhou does represent Andy Chin himself having lost something but there's no doubt, his body of work is highly respectable. Also with Waise Lee and Chan Kwok-Bong.

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