DYNASTY WARRIORS (2021) review

An adaptation of the Japanese hack-and-slash video game of the same title that has spanned 24 years and 15 consoles, Roy Chow’s Dynasty Warriors was shot in 2017 but dragged its feet through post-production for 4 years due to financial issues, finally landing with a thud at the Chinese box-office, with an online release following less than a week later. Like the video game, it follows the epic events of Luo Guanzhong’s fundamental novel Romance of the Three Kingdoms while infusing it with fantasy tropes: no mythical creatures, but near-superhuman heroes wielding weapons infused with supernatural energy. And so the future lords and generals of the Three Kingdoms era: Liu Bei (Tony Yang), Guan Yu (Han Geng), Zhang Fei (Justin Cheung), and their future enemy Cao Cao (Wang Kai), as they lead the resistance against imperial usurper Dong Zhuo (Lam Suet) and his undefeated general, Lv Bu (Louis Koo).

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ALL U NEED IS LOVE (2021) short review

Ten Hong Kong production companies and two dozen Hong Kong celebrities unite forces, for free, in All U Need is Love, an ensemble comedy shepherded by old hand Vincent Kok, for the benefit of local film industry workers painfully impacted by the Covid crisis. From these best of intentions emerges a scattershot collection of mediocre vignettes as we follow Hongkongers quarantined in a hotel: Eric Tsang and Tony Leung Ka Fai reprise their horny characters from Pang Ho Cheung’s classic Men Suddenly in Black, looking for a sexcapade within the hotel’s limited roster of young females; hotel manager Michael Hui grandstands while trying desperately to escape quarantine (one of his attempts is foiled by a random Jackie Chan appearance, in his briefest fight ever against Ken Lo), Julian Cheung and Louis Cheung trade threats but warm to each other as rival gangsters forced to share a room… There’s more, but nothing much worth mentioning. In 75 minutes the film hurries clumsily to the conclusion that love conquers all, but keeps dropping cameos (Louis Koo, Francis Ng, Raymond Wong, Yuen Qiu as – you guessed it – the landlady from Kung Fu Hustle…) because who would keep watching anyway? But it’s a benefit film, hurried into production under strained circumstances, so it’s hard to pounce on it too hard. It’s like 1991’s The Banquet all over again, only with much fewer stars. (no rating under the circumstances)

A WITNESS OUT OF THE BLUE (2019) review

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In Fung Chih Chiang’s A Witness out of the Blue, Louis Koo (now in his sixth film released this year) plays Sean Wong, a career criminal on the run after a jewellery store robbery that left several people dead. Inspector Yip (Philip Keung), whose undercover agent was killed on that day, is especially dogged in his pursuit of Wong, but the case becomes more complicated when the latter’s accomplices start being killed one by one. The only witness of the first murder is a parrot, a clever animal which inspector Lam (Louis Cheung) believes can help him find the killer. Quickly, it becomes doubtful that Wong is the one killing his accomplices; instead, suspicion falls on some of the customers present on the day of the robbery, whose life was forever altered by it: a butcher whose mother died on that day (Patrick Tam), and a security guard (Andy On) whose girlfriend (Fiona Sit) was crippled. But Lam also suspects Yip himself, believing his thirst for vengeance to have gotten the better of him.

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LINE WALKER 2: INVISIBLE SPY (2019) review

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2016’s Line Walker was a loose spin-off from the highly-successful TVB series of the same title, with the characters of Charmaine Sheh and Hui Shiu Hung the only ties between small and big screen; this Line Walker 2: Invisible Spy is a thematic sequel, with all narrative connections to the TV show now severed, as Sheh and Hui don’t return. Louis Koo, Nick Cheung and Francis Ng do return however, in new roles. When a hacker (Jiang Peiyao), arrested for her connection to a terrorist car crash in the center of Hong Kong, reveals that there may be a network of undercover terrorists in the Hong Kong police, everyone becomes a potential suspect, including the three officers in charge of retrieving a hard-drive containing a list of the moles from a location in Burma: Ching (Nick Cheung), Cheng (Louis Koo) and Yip (Francis Ng). Ching and Cheng are both former students of Yip, but they may share a far older bond, while their allegiances soon prove mysterious.

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THE WHITE STORM 2: DRUG LORDS (2019) review

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Louis Koo’s third sequel of 2019, after P Storm and Chasing the Dragon II, and before Line Walker 2, Herman Yau’s The White Storm 2: Drug Lords (hereafter Drug Lords) is an in-name-only follow up (for obvious heroic bloodshed reasons) to Benny Chan’s hugely enjoyable 2013 actioner The White Storm. Koo plays Dizang, a triad member who gets severely punished by his boss (Kent Cheng) for peddling drugs in one of his night clubs. Reluctantly dishing out the punishment is his longtime friend Yu (Andy Lau), who cuts three of his fingers. Fifteen years later, Dizang has risen through the triad ranks and become a feared drug lord, while Yu has left the triads and become a billionaire financial expert, married to a successful lawyer (Karena Lam), and founder of an anti-drug charity. But when his illegitimate son Danny falls to his death while high on cocaine, Yu takes his fight against drugs to the next level, promising a 100-million $ bounty to whoever kills Dizang.

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P STORM (2019) review

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Less than five years after 2014’s modestly successful Z Storm, David Lam’s ICAC franchise is still strongly storming through the alphabet: with each new installment, box office results grow, while the light in Louis Koo’s eyes gets dimmer and dimmer. He returns as officer William Luk, a poster boy for the ICAC (Independent Commission Against Corruption, lest anyone forgot), a character which after four films still has the depth of, well, a poster. This time, Luk goes undercover in a prison where corruption runs rampant between a few powerful inmates – including wealthy heir Cao (Raymond Lam) – and most of the wardens, headed by superintendent Sham (Patrick Tam). There, his mission is made all the more risky by the presence of Wong (Gordon Lam), a former detective Luk himself put behind bars in Z Storm.

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CHASING THE DRAGON II: WILD WILD BUNCH (2019) review

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The second film in Wong Jing’s planned Chasing the Dragon trilogy of films based on real-life Hong Kong crimes, Wong Jing and Jason Kwan’s Chasing the Dragon II: Wild Wild Bunch (hereafter Wild Wild Bunch) focuses on Logan (Tony Leung Ka Fai), who took advantage of the legal limbo in the few years leading to the 1997 handover of Hong Kong, to establish a kidnapping ring targeting Hong Kong’s elite for extravagant ransoms. From there, the films veers into fiction, as cop Sky He (Louis Koo) is sent undercover in Logan’s gang: his superior Lee (Simon Yam) has been tipped off that the kidnapper, who often uses improvised bombs to threaten his victims, is in need of a new explosive experts. Well-versed in that field, Sky manages to infiltrate the gang, thanks in no small part to Doc (Lam Ka Tung), Logan’s second-in-command, who appears to be playing both sides. The gang’s next target is the richest man in Hong Kong, casino tycoon Stanford He (Michael Wong), but Logan seems to know there’s a mole in his team.

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A HOME WITH A VIEW (2019) short review

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Adapted from a play by Cheung Tat Ming, Herman Yau’s A Home with a View follows a property agent, Lo Wai Man (Francis Ng), who shares a small, cluttered apartment in Hong Kong with his ailing father (Cheung himself), beautiful wife (Anita Yuen) and two kids (Ng Siu Hin and Jocelyn Choi). Surrounded by noisy neighbors and perpetually counting pennies to make ends meet, the family has one daily relief: their view on the sea. So when that view is blocked by a billboard erected by the mysterious Wong (Louis Koo), they’re ready to resort to any means, legal or illegal, to make him take it down. A Home with a View starts like a trite sitcom (with endless shouty bickering and plenty of slammed doors), morphs into a kafka-esque examination of contemporary Hong Kong (where absurd property prices and constant financial pressure lead to a volatile, near dog-eat-dog climate), before plunging headfirst into unexpected depths of macabre – still amusingly belied at that point by the bright hues of the cinematography. Its occasionally stagey feel (no wonder) and disappointingly scattered narrative (intriguing characters, like Anthony Wong’s lovestruck government worker, come and go before amounting to anything) weigh it down, but Francis Ng, Anita Yuen, Cheung Tat Ming and Louis Koo are all on fine form, especially the latter going for less-is-more for the whole film before letting loose in the hilarious, pitch dark final ten minutes. ***

KUNG FU MONSTER (2018) review

 When a foreign kingdom gifts a rare monster to the Ming Emperor, Ocean (Louis Koo) is put in charge of taming it, but evil eunuch Crane (Alex Fong) has nefarious plans for it. Having grown attached to the beast, and having named it Lucky, Ocean decides to free it, thus becoming a hunted outlaw in the process. When he’s captured by Crane’s second-in-command (Wu Yue), his lover Bingbing (Hayden Kuo) hatches a plan to rescue him, enlisting under false pretenses a couple of hapless swordsmen (Zhou Dongyu and Cheney Chen), two even more hapless bandits (Pan Binlong and Kong Liangshun), a mysterious vagrant (Bao Bei’er), and more.

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L STORM (2018) review

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Who could have predicted that David Lam’s modestly-successful financial thriller Z Storm would open the way to a full-blown franchise, yielding four installments in 5 years? In 2016, S Storm doubled its predecessor’s box-office take, before seeing its own financial success doubled by this year’s L Storm. And P Storm will come out in late 2019. Here, Louis Koo is back as William Luk, the handsome ICAC (Independent Commission Against Corruption) agent who looks bored even when he’s chasing a perp down an obstacle-strewn alleyway. Back from S Storm is Lau Po Keung (Julian Cheung) of the JFIU (Joint Financial Intelligence Unit): together, Luk and Lau investigate a money laundering case involving a corrupt customs officer (Michael Tse) and a dangerous criminal mastermind (Patrick Tam). Meanwhile, officer Ching Tak Ming (Kevin Cheng), of the ICAC’s own internal affairs division, has his sights set on Luk, after it is revealed by an informant (Stephy Tang) that he accepted a sizable bribe.

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