LEGEND OF THE DEMON CAT (2017) review

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Based on a best-seller by Japanese author Baku Yumemakura, this massive, 200-million dollars production – whose enormous sets are soon to become an amusement park – is a uniquely ambitious co-production between Mainland China, Japan and Hong Kong. It takes place in the year 805, as a mysterious black cat stalks the imperial palace in Chang’an, just as the gravely ill emperor Dezong dies from a violent fit ; the same cat appears to Chen Yunqiao (Qin Hao), captain of the imperial guard, and to his wife Chunqin (Zhang Yuqi), revealing to them a cache of money, but asking in return to be fed eyes – the eyes of any creature, including humans. Buddhist monk Kukai (Shota Sometani), who had arrived from Japan to meet the emperor and senses the presence of the black cat, joins forces with scholar, poet and newly-fired imperial scribe Bai Letian (Huang Xuan) to unravel the mystery: they soon realize it takes its root thirty years before, when Tang emperor Xuanzong (Zhang Luyi) had his consort – and legendary beauty – Yang Yuhuan (Sandrine Pinna) killed. A known historical fact, about which Bai Letian has been writing a poem for the past few years: and yet it may be a lie, as the personal account of Abe no Nakamaro (Hiroshi Abe), a scholar who knew the emperor and his consort, seems to reveal.

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THE UNITY OF HEROES (2018) review

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22 years after his last appearance as folk hero Wong Fei Hung (in the Tsui Hark-directed final episode of the Wong Fei Hung TV series), Vincent Zhao is back, he’s a producer now, and he has barely aged at all, as the first shot of Lin Zhenzhao’s straight-to-VOD revival seems designed to prove: a topless Zhao running with his disciples, looking like it’s still 1996. This leads to a re-staging of the classic “Wong Fei Hung training with dozens at dusk” opening of Tsui Hark’s seminal Once Upon A Time in China, and indeed The Unity of Heroes is a veritable checklist of Wong Fei Hung tropes (something Roy Chow’s flawed Rise of the Legend did consciously avoid). There’s rival martial arts masters, 13th Aunt bringing western culture to Canton and flirting coyly with Wong, disciples Fatty, Bucktooth and Leung Foon bumbling around, some lion dancing, and of course, evil Gweilos. It all feels very familiar – in a nice, nostalgic way – except for one detail: a drug that gives super-human strength to those who take it.

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SPECIAL MISSION (2018) review

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Yin Chenyang’s Special Mission follows an elite mercenary (Fan Siu Wong) who joins forces with a detective (Augusta Xu-Holland) to find and rescue a Middle-Eastern princess who’s been kidnapped in Bangkok by a shady criminal known as ‘Black Star’ (Si Ligeng). As bland and generic as its title, the film clocks in at barely 70 minutes and isn’t much more than a string of perfunctory scenes trying hard to resemble recent Chinese hits. There’s tanks and a unit called “The Wolves” (Wolf Warrior 1 & 2: check), there’s naval officer determinedly pacing on a military vessel’s deck (Operation Red Sea: check), and more importantly there’s a duo of operatives investigating in Thailand (Operation Mekong: check). Of course, while it’s all shot and edited with a basic amount of technical competence, everything looks puny in comparison to the aforementioned blockbusters. So instead of a drawn-out speedboat chase on the Mekong, you’ll have to make do with a short jet ski chase on the Chao Phraya.

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A OR B (2018) review

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Zhong Xiaonian (Xu Zheng) is a ruthless businessman who made a fortune using insider trading and blackmail, with the help of his old partner Tang Wanyuan (Wang Yanhui). But this has been at the expense of his marriage with Wei Simeng (Wang Likun), who gave up her journalism career for him, but is now at the end of her tether and wants a divorce. One day, Zhong wakes up alone in his mansion: he’s been locked up in his bedroom, and the windows have been boarded up. A mysterious caller informs him that he has to play a game: he will be given a series of impossible choices between an agonizing option A (for example, publicly reveal he’s been evading taxes) and a no less agonizing option B (such as sacrificing a friend) – not choosing will result in both options being enforced. While trying to escape and discover the identity of his tormentor, Zhong can only count on the help of Tian Yu (Duan Bowen), a journalist he managed to contact with a talkie-walkie.

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MRS K (2016) review

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Mrs K (Kara Hui) is wife to a meek gynecologist (Wu Bai) and mother to a pouty fifteen year-old (Siow Li Xuan), living a peaceful life in a quiet suburban neighborhood. But, as her lightning-fast reflexes might indicate when two hapless burglars get into her house, her past is not as benign as her present. It soon emerges that more than a decade ago she took part in a brutal heist – and her partners in crime (played by directors Fruit Chan, Kirk Wong and Dain Said) are now getting killed one after the other by Scarface (Simon Yam), a dirty cop who played both sides during the heist, and ended up with a bullet in the head from Mrs K. Driven mad by the migraines and sleep-deprivation that resulted from this injury, Sarface kidnaps Mrs K’s daughter and demands a hefty ransom.

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ASH (2017) review

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In Chongqing, police detective Chen Weikun (Nie Yuan) investigates the murder of one Ma Xudong (Yang Yiwei), whose throat was cut with surgical precision in a theater. His suspicions land squarely on the victim’s stepson Xu Feng (Xin Peng), a young factory worker who visibly loathed his violent, abusive stepfather, and would have wanted to protect his mother – but both have a strong alibi. Then there’s a mysterious figure stalking the crime scene, wearing a surgical mask, but detective Chen cannot prove anything, and the case goes cold, until ten years later he spots a prominent surgeon, Wang Dong (Luo Jin) wearing the same mask – a coincidence which rekindles his will to solve the case. Yet it turns out that this is not a coincidence, as a series of flashbacks show that Wang Dong once knew Xu Feng.

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THE BOLD, THE CORRUPT, AND THE BEAUTIFUL (2017) review

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Madame Tang (Kara Hui) is the head of a shady syndicate colluding with the government and private interests to speculate on real estate. She is also the matron of a family of three women, which also includes her daughter Tang Ning (Wu Ke Xi), damaged from being instrumentalized in her mother’s dealings and attempting faint rebellion against her while drowning her sorrow in sex and drugs; and Tang Chen (Vicky Chen), still a teenager, observing quietly the corruption around her, pining for Marco (Wu Shu Wei), the lover of her friend Pian-Pian (Wen Chen Ling), while being groomed by Madame Tang as her new accessory of charm. But when the family of one of Madame Tang’s government associates is massacred (with the daughter, Pian-Pian, the only survivor, though in a coma), the matriarch comes under scrutiny of a police investigation and must claw, threaten and back-stab her way out of trouble, while Marco becomes a scapegoat, Tang Ning starts a fling with the policeman in charge of the investigation, and Tang Chen gets thrust even more deeply into her mother’s immoral world.

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BUTTERFLY CEMETERY (aka ON FALLEN WINGS) (2017) review

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Joe Ma’s Butterfly Cemetery, based on a novel by Cai Jun (whose works also “inspired” Law Chi Leung’s Curse of the Deserted, Fruit Chan’s Kill Time or Joe Chien’s The House that Never Dies II) follows Shang Xiaodie (Zhang Li), a ballet dancer still reeling from the mysterious disappearance of her lover Ming Ye (Vivian Dawson), with a vague newspaper obituary her only element of closure. When she receives an offer to spend one month in Budapest to train a Chinese ballet company founded by the wealthy Zhuang family, she takes it as an opportunity to clear her mind. But once in Hungary, she realizes her lost lover is still alive and is none other than the eldest son of the Zhuang family, that his fate is linked to a mysterious mausoleum on the Zhuang’s property, and that their first encounter in the past was far from random.

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WINE WAR (2017) review

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Leon Lai’s second film as a director, Wine War follows two friends who grew up together in an orphanage, Wei Li (Leon Lai) and Zhang Shui (Zhang Hanyu). While the former was adopted by a wealthy Frenchman and now lives an opulent and carefree life as a wine expert in France, the latter stayed in China where he’s now a cop. One day, out of the blue after they’ve lost contact for a while, Zhang Shui calls Wei Li and tells him he’s coming to France and needs his help bidding at the auction of a priceless bottle of wine from the 19th century, made from a secret recipe brought to Europe by a Chinese wine-maker of the Yuan dynasty. The auction is organized by LK (Nan Fulong) and his half-sister Li Fang (Du Juan), the last in a Mongol-Chinese lineage established in France, at their chateau in the Pays de la Loire. But as Zhang Shui arrives in France and is reunited with his childhood friend, it soon appears that there are hidden agendas, and that no one is who they say they are, especially not Fang Changfang (David Wang), one of the other potential buyers.

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OPERATION RED SEA (2018) review

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Just under a year and a half after the success of Operation Mekong, Dante Lam is back with Operation Red Sea, another bombastic extrapolation on real events. This time, the evacuation in 2015 of nearly six hundred Chinese citizens from Yemen’s southern port of Aden during the Yemeni Civil War is spun into a hybrid of Ridley Scott’s Black Hawk Down and Antoine Fuqua’s Tears of the Sun, also closely resembling Wu Jing’s immensely successful Wolf Warrior II with its unbridled patriotism, tank battles and extraction of endangered Chinese citizens in Africa (though it doesn’t count as a rip-off, as it was already done shooting when Wu Jing’s film came out). And so we follow the Jiaolong Assault Team, headed by Captain Yang (Zhang Yi) and operating with the naval support of Captain Gao Yun (Zhang Hanyu, perhaps as the twin brother of his Operation Mekong character Gao Gang?), as it ventures into war-torn Yemen to rescue Chinese citizens – including fearless journalist Xia Nan (Christina Hai) – and foil a terrorist plot to obtain nuclear materials.

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