# 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
The Queen Bee (1973, Ting Hsan-Hsi)

While veteran director Ting Shan-Hsi often tackled genres such as kung fu and war epics, bringing him in to perform horror- and scare-tactics wouldn't be out of line or character. As evident in the anthology film The Blood Reincarnation and the visually experimental work on The Queen Bee here. Occupying itself with an untangling mystery, the film also deliberately employs a haunted house amusement park ride and nightmare-logic sensibility. Meaning the core story of the new maid (Ling Yin) tending to her elderly employees that are either dead or insane as well as a young mistress (Fong Hing) that might be keeping her husband's corpse around as a tool of revenge may not be as clear cut as you think. While loud and abrasive, which seems like basic and simple tools, because director Ting Shan-Hsi also plays with light and pitch black cinematography, tilted and unconventional angles, this audio-video assault becomes alluring for a decent stretch of the movie. It's intense imagery that might not always correspond to reality but in the end, there is a concrete, conventional mystery to be told. He doesn't abandon his desire for raw atmosphere (both in terms of content and filmmaking technique) though and manages to engage in the moment. Also with Wong Yong, Miao Tian and Chu Bo-Lin as the hunchback servant.

The Queen Boxer (1972) Directed by: Yu Fung-Chi

Aided by latter half ferocity, The Queen Boxer (aka The Avenger) puts Chia Ling and occasionally Peter Yang Kwan (Enter The Fat Dragon) vs. the gangs of Shanghai in the name of revenge. A terrific opening sets a mood where brutal, sinister and gory violence is to be expected and the gritty bashing is of solid caliber for early 70s. The film loses quite a bit of momentum for a few reels but two big brawls involving Chia Ling and Peter Yang Kwan are highly entertaining as the two vs one hundred plus axe violence confirms A Queen Boxer's fair reputation out there as a ferocious time.

Queen Of Fist (1973) Directed by: Kim Lung

Also known as Kung Fu Mama, in reality its concept is more akin to a kung fu GRANDMA and that makes us endure this otherwise reeking piece of... generics. Getting in trouble with local gangsters, the titular character (played by the awesome Tse Gam-Guk) is the head of a kung fu family and herself specializes in internal strength. Yep, it gets a pay off but when we're looking through the less than glass state of the widescreen print at hand here, it's easy to make the determination that when the bashing is so non-distinctive and not dangerous in the least, we've got a problematic genre entry on our hands. Not even recurring Taiwan baddie Lung Fei manages to make an imprint before the finale but again, Tse Gam-Guk does when she lets loose. Showcasing the needed intensity and grit in her mammoth battle with Lung Fei, finally Queen Of Fist nails the coolness of the concept, in spades.

The Queen Of Gamble (1991) Directed by: Siu Sang

Randomly plotted early 90s gambling comedy kept afloat thanks to silly nonsense. Carol Cheng is the titular character that travels from the Mainland (where scamming people on the streets only results in pocket money) to the land of monetary opportunities, Hong Kong. Shacking up with her cousins Po (Aaron Kwok) and Lik (Alex Man), the random nonsense starts...

A certain state of mind is required to approve of The Queen Of Gamble. Taking a long time to reveal a thrust for the plot involving Simon Yam getting fooled into giving up his wealth and along with Sibelle Hu plus above lead characters they go after Ng Man-Tat for revenge, there's out there fun to be had that rarely if ever has to do with anything. You wouldn't say you're watching inspired skits involving Alex Man eating horse feces to detect vitamins in order to determine which horse to bet on or Man helping brother Kwok to hit on a girl by playing a rapist. Carol Cheng claiming she has kung-fu skills but simply kicking folks in the testicles on 5-6 occasions fits into that category too but despite being too long and possessing little flair once we're in the expected gambling finale, The Queen Of Gamble should play well to the seasoned crowd. The crowd who detects the sporadic, random, silly and poorly translated subtitles as major positives.

Queen Of Temple Street (1990) Directed by: Lawrence Lau

Wah (Sylvia Chang) runs a brothel and has a daughter, Yan (Rain Lau), on the loose, born and bred in the same underworld. The two finally go on an ultimate collision course emotionally...

Lawrence Lau provides another snapshot of social realism akin to his amateur acted affair Gangs. However with Sylvia Chang and debuting Rain Lau, Queen Of Temple Street is put into another division, with expectations. Providing up close but not overbearing views of the prostitution surroundings, Lau's drama is agreeable but lacks a final, expert touch. The emotional battles between Wan and Yan are perfect scenarios and the aspects covered are both rife with texture and explicit symbolism. But the latter goes into pretentious overdrive at times and the drama is merely performed, not so much enhanced. It's comforting to know Lau is aiming to disrupt the destructive circles of our characters so the film definitely becomes worthwhile but it doesn't reach out fully and grow into something beyond its setup. Also with Lo Lieh, Ha Ping, Josephine Koo and Kwan Hoi San.

The film did pick up multiple Hong Kong awards though, including Best Supporting Actress for Rain Lau and Best Screenplay.

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Queen Of Under World (1991) Directed by: Sherman Wong

You might think from the getgo that Wong Jing (who wrote and produced) would try and provide an insightful glimpse into the life of a hostess over the decades and that busty Amy Yip was going to attempt a respectful performance. Yip tries (she does know how to cry) but Queen Of Under World isn't designed for the classier realms of filmmaking, something Yip clearly knows as well. In fact, Wong Jing honestly wants the excess in the form of nudity, castration and gang rape among other "tasty" ingredients. Continuing on, since everyone in the film is 110% detestable (aside from perhaps Shing Fui On's character), there's little point to the high melodrama that takes place between mother and daughter in the latter stages of the film. The elements of exploitation are diverting for that crowd however and hence the only "merits". The film is also a decent star parade including appearances by Paul Chun, Blackie Ko, Ng Man Tat and Ray Lui, who reprises his Limpy Ho character from To Be Number One.

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HK Flix.com

Queen's Bench III (1990) Directed by: Alfred Cheung

An obvious attempt at reuniting the Her Fatal Ways cast & crew for a stab at success but it's via a courtroom drama so cashing in is something no one should blame the production for. While Alfred Cheung's reprises his character dynamic with Carol Cheng (who appears in a supporting role) and plays a rather oddball barrister, he in reality doesn't stray from the serious proceedings. Showcasing a dark side early on, Cheung holds attention and viewer engagement in the multiple courtroom scenes that take up the bulk of the running time. Some events come off as sloppy just for the need of narrative effect but Queen's Bench III becomes solid nonetheless. Also with Carrie Ng, Sunny Fang, Tony Leung Ka-Fai and Carina Lau.

Buy the DVD at:
HK Flix.com

Queen's High (1991) Directed by: Chris Lee

Chris Lee's structure for the opening of Queen's High bears examination and a little bit of pondering. Opting to give us a glimpse of what's to come as we see Cynthia Khan firing guns in her wedding dress, it certainly grabs you by the balls but is Chris Lee in the debut director position desperately trying to please? It seems strange to want to showcase the absolute top iconic imagery of the film early because very few other genre pieces really cared for reinventing the wheel. If you had your stock plot with the likes of Cynthia Khan and Simon Yam, you could indeed get away with being lazy as long as you delivered the content the genre dictates you should do.

So it's the Cynthia Khan character being one of the few members of her family left, fighting against betrayal but Lee can only give Queen's High a little big of kick ass factor. Aside from the wedding shootout, there's a sense of stiff execution of the various fisticuffs and gunplay but as the blood level is satisfactory, the film creates its tight pace. Warehouse finale amps all this up to the best degree the film has to offer, making Queen's High not a classic but a good time spender in the extensive genre. Kenneth Tsang and Shum Wai also appear.

A Queen's Ransom (1976) Directed by: Ding Sin-Saai

KENNETH'S REVIEW: The Queen is visiting Hong Kong and the police (headed by O Chun-Hung) has a theory that she is the prime target for assassination. They are right and in comes the gang consisting of, among others, Jimmy Wang Yu, George Lazenby and Bolo Yeung. Having multiple plans and making sure the police stays busy therefore, what the latter camp also has to concentrate on is the increasing problem of refugees from the likes of Mainland China and Cambodia. A detective, played by Charles Heung, also has the mission to protect an informant, a bar girl Chen Chen (Tanny Tien) while a friendly villager (Dean Shek) takes care of a pretty Cambodian refugee (Angela Mao) who is temporarily stationed in the countryside...

Intersecting stories has director Ding Sin-Saai (Whiplash) challenging himself and while A Queen's Ransom is not terribly well-made, got goofs and strange narrative choices galore, he manages to pace the piece well. Mainly a thriller, there's not even nail biting tension to speak of but the cast on display, engaging in both fisticuffs and really poor gunplay, makes matters totally bearable and satisfying in a strange, illogical way. Automatic Wang Yu-factor again?

A Queer Story (1997, Shu Kei)

While Shu Kei doesn't punch through and land in great drama territory, there's plenty of signs of and strengths present when using his seemingly preferred cinematic style. Extending his technique from Hu-Du-Men by shooting simply, observing, building, evolving, at center we find Law Ga Sing (George Lam) as a closeted gay man in a relationship with Sonny (Jordan Chan). Arguing that the world isn't ready for him to be that open, especially professionally, slowly director Shu Kei peels layers away revealing Law's deep fear and what it takes for him to just one step forward. He gets minus points for excessive voice over as in scene verbal and non-verbal developments come through anyway but actual positives take over, starting with George Lam's dynamic with Jordan Chan. One's buttoned up, one is not and their private interaction shows their age difference has never been an issue to resolve. Now instead Law needs to resolve issues out in the world through tragedy, the reintroduction of a childhood friend (Christine Ng) in love with him etc. Shu doesn't wear his intentions on his sleeve, isn't being clumsy navigating the territory and nor is he preachy. Where it might fail as something grand dramatically is that it's rather conventional. Then again, that and being accessible plus compelling actors being relaxed and natural is a cinematic joy in itself while Shu Kei also deals in dramatic moments crafted by sometimes turning his camera on subjects mid-scene. It's a neat, stylish touch that screams confidence in the situation. Focusing on Law merely, his situation is complex and weighty and that Shu Kei follows through on. Also with Francis Ng, Meg Lam, Fredric Mao and Shu Qi in a small role.