After the middling exorcism film Daughter, director Chan Pang Chun returns to the horror genre and reunites with Kara Hui with Binding Souls, a mind-bogglingly laughable and cheap exercise in regurgitating the lamest, most overused horror tropes. Get a load of this plot: a group of college students (there’s the horny one, the bookish one, the sexy one, the scaredy one…) decide to spend a few days in an abandoned school that was once used by the Japanese army as a place to torture, rape and conduct experiments on Chinese prisoners. While the school has been closed for almost a decade, its old principal (Yuen Cheung Yan) still hangs around, as does a troubled janitor (Kara Hui), whose daughter disappeared years ago at the school, and who keeps hoping she’ll turn up. The youngsters plan to have some fun, but soon they’re plagued with visions of hostile ghosts. Over the course of the film’s skimpy yet overlong 88 minutes, there’s simply not a single fresh idea and not the least bit of suspense. The ghosts are standard-issue white-clad, black-hair-over-the-face, standing-at-the-back-of-a-corridor clichés. Ridiculousness – without any self-awareness of course – is omnipresent, from 33 years-old Carlos Chan cringingly playing a college student (one of the worst performances in a theatrically-released film this year, no doubt), to some very, very sad CGI. There’s no sense of atmosphere and the final twists arrive very late after any awake audience member saw them coming; only the first scene, a very nasty scene of wartime Japanese horror, raises the pulse somewhat, but it’s an ugly an exploitative sight. Kara Hui pops up from time to time, a sight for sore eyes made heavy by the blissful temptation of sleep. no stars
BINDING SOULS (2019) short review
Posted by LP Hugo on March 18, 2020
https://asianfilmstrike.com/2020/03/18/binding-souls-2019/
GUILT BY DESIGN (2019) short review
Posted by LP Hugo on March 10, 2020
https://asianfilmstrike.com/2020/03/10/guilt-by-design-2019-short-review/
LITTLE Q (2019) review
Far from an exploration of Maggie Q’s childhood, Law Wing Cheong’s Little Q is an adaptation of the Japanese novel The Life of Quill, the Seeing-Eye Dog, by Ryohei Akimoto and Kengo Ishiguro, itself based on a true story and already brought to the small and big screens in Japan. Here, Simon Yam plays Lee Bo Ting, a renowned chef who after going blind has become perpetually angry and despondent. His sister (Gigi Leung) encourages him to get a guide dog, and a resourceful golden retriever by the name of Little Q is chosen for the task. Proud to a fault, Lee doesn’t want to rely on a dog, but soon Little Q starts melting his defenses, and a beautiful friendship is born.
Posted by LP Hugo on March 8, 2020
https://asianfilmstrike.com/2020/03/08/little-q-2019-review/
ENTER THE FAT DRAGON (2020) review
Not a remake of Sammo Hung’s 1978 action comedy despite sharing a title and rotund lead with it, Kenji Tanigaki’s Enter the Fat Dragon follows Fallon Zhu (Donnie Yen), a well-meaning but slightly unhinged cop who becomes overweight after suffering a break-up from his longtime girlfriend, TV actress Chloe (Niki Chow), and a demotion to the archive room of his precinct. He jumps at the opportunity to get back to the field with a mission to escort a Japanese suspect back to Tokyo, where Chloe is coincidentally staying at the same time, hoping to expand her career to the Japanese market. But when the suspect is murdered by none other than the shady businessman (Go Hayama) sponsoring Chloe’s Japanese experience, and the inspector in charge (Takenaka Naoto) proves to be corrupt, Fallon teams up with a former undercover cop turned restaurant owner (Wong Jing) to bring them to justice.
Posted by LP Hugo on February 7, 2020
https://asianfilmstrike.com/2020/02/07/enter-the-fat-dragon-2020-review/
S.W.A.T. (2019) review
The latest in the ‘Glorified recruiting video’ subgenre of Chinese cinema (see the first Wolf Warrior, The Warriors or Sky Hunter, and many others), Ding Sheng’s S.W.A.T. follows the Blue Sword Commandos, an elite SWAT team, as they train arduously and go up against a ruthless drug trafficker (Robert Knepper) and his team of mercenaries. That’s about it for the plot: built like a banal network TV show, the film alternates between training sequences (in a hangar, in a plane, on the shooting yard), skirmishes (in a metro station, atop a skyscraper), and scenes of evil Gweilos going about their business, until a drawn-out action finale on an island. Subtlety is absent, and the usual racial paradigm of these Chinese propaganda actioners applies more than ever: Chinese are good, Africans are funny, Caucasians are evil.
Posted by LP Hugo on February 4, 2020
https://asianfilmstrike.com/2020/02/04/s-w-a-t-2019-review/
LOST IN RUSSIA (2020) review
Lost in Russia, the latest installment in writer-producer-director-actor Xu Zheng’s franchise of box-office juggernauts (Lost in Thailand was for a while the highest-grossing Chinese title ever with 208 million dollars, with Lost in Hong Kong topping that impressive tally three years later with 254 million dollars) has known a drastically different fate upon its release. It was among the half-dozen high-profile Chinese New Year film releases cancelled due to the outbreak of the Coronavirus in China. Except while films like Dante Lam’s The Rescue, Chen Sicheng’s Detective Chinatown 3 or Stanley Tong’s Vanguard, among others, are for now biding their time, Lost in Russia was released online for free in the middle of the downcast festivities, as a result of a deal between the film’s studio Huanxi Media, and streaming giant ByteDance.
Posted by LP Hugo on January 29, 2020
https://asianfilmstrike.com/2020/01/29/lost-in-russia-2020-review/
TWO TIGERS (2019) review
In Li Fei’s Two Tigers, Ge You plays Zhang Chenggong, a rich, lonely businessman who gets kidnapped by hapless loser Yu Kaixuan (Qiao Shan): acting alone, Yu asks for a one million RMB ransom, under threat of death. But Zhang quickly realizes that his abductor is rather harmless and out of his depth, and he strikes a deal with him: if Yu completes three tasks for him, he will give him double the expected ransom. The first task is to deliver a message to his ex-girlfriend Zhou Yuan (Zhao Wei), an actress whose career is declining. The second one is to help him make amends to Master Fan (Fan Wei), an old comrade from his army days, who went blind when he refused to lend him money for eye surgery. And the final task is to deliver a letter to his father, with the help of an old flame, Caixia (Yan Ni). Along the way, the prisoner and his abductor form an unlikely bond.
Posted by LP Hugo on January 22, 2020
https://asianfilmstrike.com/2020/01/22/two-tigers-2019-review/
THE CHINESE SOLDIERS (2019) short review
Whatever happened to Huang Yi? Not so long ago, she was well on her way to the A-list, with classy supporting roles in upscale productions like Alan Mak and Felix Chong’s Overheard 2 and 3, Derek Chiu’s The Road Less Traveled and Johnnie To’s Romancing in Thin Air and Drug War, not to mention a very promising lead in Herman Yau’s The Woman Knight of Mirror Lake. Now here she is, headlining one of the many straight-to-VOD knock-offs of Operation Mekong and Operation Red Sea, that have been flooding Chinese streaming services for a few years. Xu Mingwen’s The Chinese Soldiers follows Shengnan (Huang Yi), an officer of the Border Defense Corps, who loses part of her leg in an explosion during a hostage situation. Now fitted with a prosthetic leg and back to civilian life, she starts working as a head of security for a Taiwanese contractor (Wong Yat Fei) in Thailand, and soon runs afoul of gun traffickers. The Chinese Soldiers bounces around genres: a drama about disabled soldiers, a silly Wong Yat Fei comedy, a piece of clenched-jaw propaganda (the sentence “Mao Zedong and Xi Jinping, they’re the nicest people in the world” is uttered in all seriousness), and an action thriller (a la Mekong, which a final infiltration and eradication scene that’s of course a very pale copy of that film’s finale). It does none of these genres well, and it’s a sad sight seeing Huang Yi stranded in such mediocrity. Gweilo actor Karl Eiselen, however, amuses to no end with one of the most head-scratching and tone-deaf portrayals of a white devil in a while. *
Posted by LP Hugo on January 20, 2020
https://asianfilmstrike.com/2020/01/20/the-chinese-soldiers-2019-short-review/
SHEEP WITHOUT A SHEPHERD (2019) review
A Chen Sicheng-produced remake of the successful 2015 Hindi thriller Drishyam (itself a remake of a Malayalam film from two years earlier), Sam Quah’s Sheep without a Shepherd follows Li Weijie (Xiao Yang), a Chinese immigrant in Thailand and owner of a modest IT company, living a peaceful life with his wife Ayu (Tan Zhuo) and two daughters Ping Ping (Audrey Hui) and An An (Zhang Xiran). But it all goes to hell when Ping Ping is drugged and raped by Suchat (Bian Tianyang), the wayward son of a local power couple, chief of police Laoorn (Joan Chen) and mayoral candidate Dutpon (Philip Keung). Suchat has filmed his deed and is planning to use the footage to coerce Ping Ping into sexual favors; Ayu, whom she confided to, tries to intervene, but as he assaults her in a fit of blind rage, the distraught daughter kills him by accident. With his mother being the chief of police, and corruption running rampant in the town’s police force, Weijie knows his wife and daughter will be sent to jail regardless of having acted in self-defense. Drawing on his love of classic thrillers, he hatches a plan which he hopes will clear them of suspicion, but Laoorn is a formidable investigator.
Posted by LP Hugo on January 14, 2020
https://asianfilmstrike.com/2020/01/14/sheep-without-a-shepherd-2019-review/
WINGS OVER EVEREST (2019) review
When a plane transporting highly-sensitive CIA files crashes in the “death zone” of Mount Everest, above 8,000 meters of altitude and with temperatures that can go down to -60°C, a moutain rescue team headed by Jiang Yuesheng (Koji Yakusho) is tasked by shady operatives Victor and Marcus Hawk (Victor Webster and Graham Shiels) with locating it and retrieving the documents. After the tragic death of Jiang’s daughter months earlier, the team is one member short, so he must reluctantly hire gifted but reckless climber Xiao Daizi (Zhang Jingchu). She herself lost her boyfriend during an ill-fated expedition to the summit, and is hoping to locate and bring back his body. But when it appears that the plane’s contents – and Hawk’s intent – are not what they seem, the climb turns deadly.
Posted by LP Hugo on January 8, 2020
https://asianfilmstrike.com/2020/01/08/wings-over-everest-2019-review/








