I CORRUPT ALL COPS (2009) review

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Insanely prolific filmmaker Wong Jing (in 30 years, close to 200 films as a producer, a director and/or a writer) is known mainly for his shameless cash-grabbing, exploitative proclivities, extreme mining of film trends and taste for crass humor, but once in a while he decides to write and direct a film that can actually be taken seriously. 2002’s Colour of the Truth was one such film, the recent The Last Tycoon (2012) was another, and in between you have I Corrupt All Cops, which charts the circumstances in which Hong Kong’s Independant Commission Against Corruption came to exist. In the seventies, rampant corruption in the Hong Kong Police (which thus amounted to little more than another triad) was drastically reduced thanks to the efforts of agents from the newly-formed ICAC, who had to sustain tremendous pressure and threats.

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THAT DEMON WITHIN (2014) review

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Reminiscent of a small wave of psychological thrillers that were released at the end of the nineties and beginning of the naughties (Ringo Lam’s Victim, Law Chi Leung’s Inner Senses and Double Tap come to mind), Dante Lam’s That Demon Within follows a troubled cop (Daniel Wu) who one night offers to give his O- type blood to save a severely wounded man (Nick Cheung), who turns out to be the leader of a vicious gang nicknamed the “Demons” because of their colourful demon masks and cruelty. Their paths are to cross again to disatrous consequences, as the cop start to struggle with deep-buried mental issues and violent urges while the robber locks horns with his double-crossing gang.

This is a tremendously confident film. Dante Lam, who has been on a critical and box-office roll for the past 6 years, makes superb use of every trick in the book to convey psychological torment and collapse : Patrick Tam’s editing is razor sharp, Kenny Tse’s photography is strikingly in-your-face (for instance, sudden red lighting signal Daniel Wu’s violent schizophrenic fits, a trick so obvious and literal it actually works perfectly), and Leon Ko’s masterful score is a bold and propulsive mix of tribal, electronic and orchestral influences, all geared towards maximum expressivity and drive.

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Z STORM (2014) short review

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A tale of greed, corruption, and wire-tapping in the Overheard mould but with only a fraction of the star-power and production values,  Z Storm follows an ICAC (Independent Commission Against Corruption) team that has less than a week to expose the wide network of corruption surrounding the forthcoming IPO of the Z Hedge Fund, a US operation in which the government has invested 15 billion dollars. Director David Lam made the unwise choice to combine over-complicated (to the uninitiated at least) financial jargon and palaver with a fairly simplistic narrative and a self-righteous tone that borders on parody and/or propaganda. All ICAC agents are portrayed as knights in shining armors (or rather, in tailored suits) with some lines sounding more like slogans than something anyone would naturally say : other reviews have rightly singled out “Where’s there’s corruption, there’s the ICAC too”, but we also like the impressed “You have outstanding men at your service”, that a cameo-ing Alfred Cheung intones to the head of the ICAC. Nevertheless Z Storm is never boring, and while Louis Koo sleepwalks handsomely throughout the film, Lam Ka Tung and Michael Wong as a corrupt cop and a corrupt lawyer respectively, both cut strikingly despicable figures, and provide the film with some life and sparkle. **

 

BROTHERHOOD OF BLADES (2014) review

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In the year 1627, the Ming dynasty is in its final years as emperor Chongzhen takes over the throne, and in the process expels powerful Chief Eunuch Wei (Chin Shih Chieh) from his position of power. But a large number of court officials are still secretly in the service of the Eunuch, forming the so-called “Clique” that the emperor decides to dismantle. His prime resource in doing that is the “Jinyiwei”, his imperial assassins who are tasked with arresting, getting a confession out of, and/or killing, all presumed members of the Clique. Three Jinyiwei are chosen for the critical mission of finding and killing the Eunuch himself: Shen Lian (Chang Chen), who is in unrequited love with a courtesan (Cecilia Liu) and is saving up to buy her freedom, Lu Jianxing (Wang Qianyuan) who is desperate to meet his father’s standards by getting a promotion and is ready to bribe his way to it, and Jin Yichuan (Ethan Li), who is being blackmailed by a former friend (Zhou Yiwei) who threatens to reveal their criminal past and the fact he stoile a man’s identity to become a Jinyiwei. The fact that their new superior (Nie Yuan) is a pawn of the Eunuch further complicates the matters and soon an intricate web of lies unravels with tragic consequences.

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OUT OF INFERNO (2013) short review

outofinferno_poster One of two high-profile firefighting films that came out in the end of 2013 and beginning of 2014, the Pang Brothers’ Out of Inferno is a disaster film that plays by all the most well-worn rules of the book. It has a typical ‘wrong place, wrong time’ set up as it takes place on the most humid day of the past 50 years in Guangzhou, in a building whose air conditioning inexplicably malfunctions. And before the fire erupts, forthcoming human drama is set up, that will complement the mayhem, and a roster of diverse characters played by familiar faces is introduced. At the center there’s two estranged brothers : Tai Kwan (Lau Ching Wan) is a sturdy, no-nonsense but conflicted fireman called in to deal with the fire, and whose pregnant wife (Angelica Lee) happens to be visiting her obstetrician in the building ; and Keung (Louis Koo), a former fireman himself and now the building’s director of security is also on the spot, holding a fundraiser whose guests he soon has to take to safety. There’s also a diamond-cutter (Hui Siu Hung) whose employees take advantage of the fire to steal the merchandise, a family guy (Eddie Cheung Siu Fai) whose wife is opening a shop in the building, and a few others. This is an efficiently-directed disaster film with often impressive CGI (though nothing ground-breaking on that front), that suffers from an intense and ever growing sense of ‘been there, done that’ as it borrows from countless films, plays out in completely predictable fashion and possesses little originality in a genre that needs originality to generate any kind of relevance or excitement. The chemistry between Lau and Koo, in their 12th pairing, is the film’s saving grace, but in the end nothing is likely to stick in the spectator’s mind. **1/2

ONCE UPON A TIME IN SHANGHAI (2014) review

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The sort-of real life story of Ma Wing Jing, a wholesome country boy with stunning fighting skills who comes to Shanghai to escape poverty, only to end up befriending a charismatic but shady mob boss and losing his soul in the process, has already been the subject of two high-profile films, Chang Cheh’s The Boxer from Shantung and Corey Yuen’s masterpiece, Hero. Though that kind of half-folk, half-historical tale is bound to reappear on film every two decades, one would not expect it to be, as Once Upon in Shanghai is, scripted and produced by gargantuan and insanely prolific money-grabber Wong Jing, while being directed by edgy, often pretentious arthouse darling Wong Ching Po. And yet here it is, starring young upstart Philip Ng in the Ma Wing Jing role and the underrated Andy On as the mob boss, with prestigious action directing by Yuen Woo Ping and Yuen Cheung Yan, and a sturdy supporting cast of legends : Sammo Hung as the benevolent master of the community Ma Wing Jing moves into, as well as Yuen Cheung Yan, Fung Hak On and Chen Kuan Tai as a trio of rival mobsters called the Axe Fraternity.

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ANGEL WARRIORS (2013) review

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A stunningly atrocious concoction from the brilliant mind who gave us Kung Fu Hip-hop, Angel Warriors is unfortunately less laugh-out-loud ridiculous than its plot synopsis might lead you to expect. Our heroes, as an ugly anime introduction makes it clear, are a group of five stunning women, all modern adventurers thirsting for new experiences : one is a company CEO (Yu Nan), one is an archeologist/polyglot, one is a wildlife protectionist, one is a dancer and a martial artist, and the last one is, we kid you not, the owner of an online shop for outdoors clothing. Real screenwriting gold right there. Their latest adventure is a trek inside the Kana Jungle, home of the Tiger tribe. Their guide is Sen (Shi Yanneng) a member of that tribe who doubles as the pidgin-English narrator of the film, bragging about how he’s going to marry soon and bringing the audience up to date anytime it is unclear what’s happening onscreen (that is, quite often). Also joining the girls are Wang (Collin Chou), a military friend of Yu Nan’s late brother, and a National Geographic team headed by Dennis (Andy On). But soon it transpires that it is not actually a National Geographic team, but a mercenary outfit on a search for the Tiger tribe’s precious jewels. All hell breaks loose as the girls and the mercenaries part ways and are both hunted down by the tribe.

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KUNG FU JUNGLE (aka KUNG FU KILLER) (2014) review

Kungfu Jungle Official Poster Ever since his excellent turn in Peter Chan’s superb Wu Xia in 2011, martial arts spearhead Donnie Yen’s career had been a bit underwhelming, with films either overdosing on special effects (The Monkey King), lacking in any kind of script to tie the amazing fight scenes together (Special ID), getting lost in juvenile comedy (The Iceman 3D) or worse, casting him as a romantic leading man named ‘Cool Sir’ (Together). Kung Fu Jungle, as I’m happy to report, is a definite step up in quality. Donnie is Hahou Mo, a martial arts master who is first seen surrendering himself to the police after killing another master (a barely glimpsed Bey Logan). Three years later he’s peacefully nearing the end of his sentence but a TV report of the murder of a Kung Fu master sends him in a frenzy to contract the inspector in charge of the investigation (Charlie Yeung). He understands the motives of the killer, a demented fighter (Wang Baoqiang) who overcame a leg defect and is challenging all the greatest masters, to the death. But when Hahou Mo is allowed to get out of prison and assist the inspector, it becomes obvious that he has a hidden agenda, part of which involves his girlfriend (Michelle Bai Bing).

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MAN WANTED (1995) short review

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Lok (Simon Yam) has been working for two years as an undercover cop, gaining the trust and friendship of drug lord Feng (Yu Rongguang). When the time comes to arrest him, Lok reluctantly reveals his true identity to him, but the arrest goes awry and Feng is presumed dead after his flaming car falls into the sea. Shaken by conflicting feelings of duty and remorse, Lok decides to support Feng’s girlfriend Yung (Christy Chung), but slowly falls in love with her. A year later Feng reappears, asking for Lok’s help on one more job, for old times’ sake. But his real intention is to get revenge… A relatively small film by Benny Chan’s standards, Man Wanted nevertheless benefits from the director’s usual impressive flair for action, and while the story is really nothing new, the chemistry shared by Simon Yam and Yu Rongguang (the latter being particularly excellent here) ensures the film never bores. It is however frequently weighed down by the heavy-handed romantic subplot, despite Christy Chung’s good performance, miles away from her overacting in Red Wolf the same year. ***

 

LEGACY OF RAGE (1986) review

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In the middle of the 1980’s, Brandon “son of Bruce” Lee was looking to get into the business of film, though more as a straight dramatic actor than an action star. He was trying to make a name for himself outside of his father’s long-reaching shadow, but naturally producers were mostly interested in having him take up that mantle and he was quickly offered action films both in America and Hong Kong. In his tragically short career, Ronny Yu’s Legacy of Rage was Brandon Lee’s first leading role as wellas the only film he made in Hong Kong. The film was a success (though precise box office figures are hard to find) and netted him a Hong Kong Film Awards nomination as Best New Peformer. Despite that, Lee decided to pursue a career mostly in the United States, where he shot a few solid actioners before dying at the tragically young age of 28 on the set of The Crow.

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