THE WHITE STORM 2: DRUG LORDS (2019) review

p2561172733

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.

(more…)

Advertisements

P STORM (2019) review

p2551598272

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.

(more…)

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

images

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.

(more…)

A HOME WITH A VIEW (2019) short review

093416.72251788_1000X1000
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.

(more…)

L STORM (2018) review

115801.88686597_1000X1000

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.

(more…)

ALWAYS BE WITH YOU (2017) review

160035.17407583_1000X1000

Always Be With You may be a somewhat clumsy title, but it’s still better than Troublesome Night 20, which is nevertheless what this Herman Yau film is. Louis Koo was in seven of these late-nineties, early-naughties horror films that often crossed narratives and mixed some comedy into the mildly tense supernatural goings-on. Now he’s back, surrounded with a cast of newcomers to the franchise (except Law Lan, who was in 17 of the previous installments). A handful of people are brought together by fate on the night of a car accident that claims several lives: there’s a cab driver (Julian Cheung), drunk after learning he is terminally ill, a couple of cops (Louis Koo and Charmaine Sheh), their exorcist auntie (Law Lan) a shopkeeper and his wife (Lam Suet and Kingdom Yuen), a young, freshly-engaged couple (Charlene Choi and Alex Lam), and a few more. In the aftermath of the tragedy, the ones who survived are haunted by those who died, and yet those who died are not necessarily the ones we think.
(more…)

MEOW (2017) review

p2460191879

Cats are actually aliens. They come from planet Meow, and those of them that exist on earth are actually there to colonize the planet, but they have been lulled into inaction by human love and food. And so a Meowian warrior, Pudding, is sent to earth with a magical weapon, to galvanize the troops and initiate a global takeover. Except that upon landing, Pudding loses the weapon and undergoes a transformation, due to the earth’s atmosphere, from alpha-feline warrior to chubby, oversized cat, while a mix-up leads to him being adopted by a family. The father (Louis Koo), is a well-meaning but hopelessly childish ex-football star, the mother (Ma Li) an highly-strung aspiring actress, the son (Andy Huang) a wannabe-film director who for know mainly collaborates with his pets, and the daughter (Liu Chutian) suffers from a bad leg which keeps her away from the sporting activity she would like to join in. At first, Pudding – now renamed Xixili – plans to break up the family, but soon he is won over by their kindness.

(more…)

DEALER/HEALER (2017) review

142948.15214172_1000X1000

Lawrence Ah Mon’s Dealer/Healer tells the true story of Chen Hua (Lau Ching Wan), a drug dealer and drug addict turned philanthropist, from his teenage years in the Tsz Wan Shan district of Kowloon, the start of a lasting friendship with fellow hellraisers Cat (Max Zhang) and Bullhorn (Lam Ka Tung) and of a romance with plucky waitress Kerou (Jiang Yiyan), to his time as a drug dealer in the infamous Kowloon Walled City, where he encountered drug lord Halei (Louis Koo) and reached the nadir of his addiction, and then to his reformed life – following a few years in prison – and his work in a Christian rehabilitation centre, while still mediating mob disputes to limit damage and avoid violence.

(more…)

ON HIS MAJESTY’S SECRET SERVICE (2009) short review

220751-38053254_1000x1000

Wong Jing’s On His Majesty’s Secret Service is as narratively unfocused and packed with non-sequitur scenes as any of the rotund Hong Kong film kingpin’s comedies, but here is the gist of its ‘plot’: an Imperial Guard (Louis Koo) with no martial arts skills but a gift for scientific innovation becomes embroiled both in his fiancée’s (Barbie Hsu) plot to make him love her more by pretending she’s in love with a handsome hitman who’s actually a beautiful hitwoman (Liu Yang), and in an evil eunuch’s (Fan Siu Wong) plot to overthrow the emperor (Liu Yiwei), who is organizing a competition to find a worthy husband for his daughter (Song Jia). Apart from lavish costumes and sets, the direction is lazy and uninspired, while the humor consists of constant and lazy pratfalls, obvious pop-culture references (some are even delivered while literally winking at the camera), some inscrutable (for non-Cantonese speakers) wordplay and a cornucopia of blissfully unhinged comedic acting: Louis Koo is a broad delight, Fan Siu Wong steals all his scenes with his ‘dainty evil’ act, Song Jia shows effortless comedic skills, and while Barbie Hsu’s silliness feels more forced and Sandra Ng seems on autopilot, Tong Dawei and Liu Yang provide fine serious support, the latter being particularly charismatic as a cross-dressing assassin. All in all, it’s a harmless and often amusing comedy which could have stood out more if its numerous action scenes had been choreographed and directed with more verve. **1/2