ICEMAN: THE TIME TRAVELER (2018) review

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Law Wing Cheong’s Iceman 3D was, at the time, the most ambitious project of Donnie Yen’s rejuvenated career as a leading man; a remake of Clarence Fok’s cult classic The Iceman Cometh, with a hefty – for the Chinese film industry in 2014 – budget of 33 million dollars, it was conceived as a one-off, until a spiraling budget (Hong Kong’s Tsing Ma bridge had to be rebuilt as a set for a quarter of the film’s budget when permission to shoot on the actual one was refused) and the necessity for ever more reshoots led to the decision to release the film as a two-parter. But Iceman 3D had more scatological jokes than fights, and a shoddy grasp of its time-traveling concepts, puzzlingly eschewing the simple, pulpy pleasures of Clarence Fok’s original for something both more ambitious and less thrilling. It underperformed on release, and now four years later comes Iceman; The Time Traveler, with solid journeyman Raymond Yip taking over the helm from Law Wing Cheong.

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FAT BUDDIES (2018) review

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After starring in Wen Zhang’s directing debut, the passable romantic comedy When Larry met Mary, Bao Bei’er co-stars with Wen in his own directing debut, Fat Buddies, which – much like the former film – did solid but unremarkable business at the Chinese box-office. Coincidentally, it is one of two Japan-set fatsuit action comedies produced the same year in China, the other being Donnie Yen and Wong Jing’s Enter the Fat Dragon. Bao plays Hao Jingyun (an amusing game on words that sounds like he’s saying “Hello, handsome” every time he states his name to someone), a security guard at a Tokyo hospital who, having been obese most of his life, has learned to roll with the constant jokes about his weight, and at least has the love of his unfathomably attractive wife (Clara Lee). One day, Hao meets someone even fatter: J (Wen Zhang), a 150 kg reluctant patient of the hospital who says he’s on a mission to stop a drug kingpin masquerading as a philanthropist (Guo Jingfei). Sensing a kinship, Hao decides to follow J on his mission, despite the latter’s insistence on going it alone.

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GOLDEN JOB (2018) review

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After a cameo in Da Peng’s Jianbing Man (2015) and a successful concert tour seemed to indicate the audience was ready for more of the Young and Dangerous quartet of Ekin Cheng, Jordan Chan, Jerry Lamb, Michael Tse, here they are reunited for a whole film, for the first time in 20 years, since 1998’s Young and Dangerous 5. Their co-star in the latter film, Chin Ka Lok, here directs, choreographs the action and co-stars again. While Jason Chu, an original member of the Young and Dangerous gang, is nowhere to be seen, he will indeed star with Jordan Chan, Jerry Lamb and Michael Tse – but without Ekin Cheng – in Wilson Chin action thriller The Lonely War, while Ekin Cheng, Michael Tse and Jerry Lamb will appear together – without Jordan Chan and Jason Chu – in Lv Kejing’s fantasy thriller Love Illusion in late 2018. Do keep up, our point is that Golden Job is a rare alignment of stars.

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THE BRINK (2017) review

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Sai Gau (Max Zhang) is a violent police detective who narrowly avoided jail-time for the involuntary manslaughter of a corrupt colleague, whose daughter (Cecilia So) he now supports financially, out of a sense of duty rather than guilt. With an empty personal life, a single-minded approach to his job, a disapproving, pencil-pushing boss (Lam Ka Tung) and a debt-ridden partner on the cusp of an early retirement (Wu Yue), he is dead set on bringing Shing (Shawn Yue), a cruel gold smuggler, to justice. Shing has just gotten rid of his mentor (Tao Bo) and his rival (Derek Tsang) ; he’s now aiming to get to a $50 million stash of gold hidden in an underwater cache in the high seas (thus out of police jurisdiction), and belonging to Triad boss Blackie (Yasuaki Kurata). The violent cop and the brutal smuggler are on a collision course.

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MANHUNT (2017) review

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In John Woo’s Manhunt, a remake of the classic 1976 Japanese thriller of the same title, Zhang Hanyu is Du Qiu, a successful lawyer who’s been working in Japan for a big and shady pharmaceutical company headed by Sakai (Jun Kunimura), who is passing the torch to his son Hiroshi (Hiroyuki Ikeuchi). But when Du wakes up with a dead woman (Tao Okamoto) in his bed, no recollection of what happened but all clues conveniently pointing to his being the murderer, he must go on the run. Hunted by hard-boiled cop Yamura (Masaharu Fukuyama) as well as by two female assassins, Rain (Ha Ji-won) and Dawn (Angeles Woo), who work for Sakai, Du can only rely on the help of Mayumi (Qi Wei), a mysterious woman linked to his past.

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GOD OF WAR (2017) review

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A genre that dominated the 00’s in China and culminated with the massive success of John Woo’s Red Cliff and Peter Chan’s The Warlords, the war epic has been much scarcer in the 10’s, and much less successful in general, as indicated by the high-profile underperformance of passable examples of the genre like Andrew Lau’s The Guillotines and Ronny Yu’s Saving General Yang, not to mention the downright flop of Frankie Chan’s Legendary Amazons. It remains to be seen if Gordon Chan’s God of War can re-ignite the Chinese war epic’s popularity (even the success of Daniel Lee’s Dragon Blade in 2015 didn’t manage that), but it is, on its own merits, one of the finest examples of the genre. Set in the 16th century and based on historical events, it follows the efforts of Ming general Qi Jiguang (Vincent Zhao) and commander Yu Dayou (Sammo Hung) to defeat an army of Japanese pirates and Ronins led by Kumasawa (Yasuaki Kurata), and that has been pillaging the Chinese coastline for the enrichment of a Shogun whose son Yamagawa (Keisuke Koide) is among the pirates but disapproves of their treatment of civilians. General Qi enlists local peasants and trains them into a new and better-equipped army.

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MILLIONAIRE’S EXPRESS (aka SHANGHAI EXPRESS) (1986) review

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Though Sammo Hung Kam-Bo as a director is better known for his films showcasing the mighty trio of Jackie Chan, Yuen Biao and himself, his filmography as a director/screenwriter/actor includes a gem of a film that is not nearly as famous and celebrated as it should be : Millionaire’s Express, a crazy hybrid of martial arts film, western and comedy, a combination later applied by Jackie Chan in Shanghai Noon and Shanghai Knights, but executed here with more ambition and creativity. In the film, Sammo plays Ching, a man who once brought great misfortune on his hometown by blowing up the dam that supplied it with water. After a few years of exile and run-ins with the law, he returns home with a plan to make things right : he will sabotage the nearby railway so that the “Millionaire’s Express”, a luxury train, will be stopped, and its wealthy passengers will have to go to the town and spend money there. That’s only the tip of the iceberg, as many subplots emerge, including the prostitutes Ching has brought along with him (including Rosamund Kwan), the head of security of the town (Eric Tsang) who’s also an arsonist and a bankrobber, Japanese swordsmen (including Yasuaki Kurata) who carry a mysterious map, a gang of outlaws who plan to rob the train (including Richard Norton and Cynthia Rothrock), a man who desperately tries to cheat on his wife (Richard Ng), and a fireman who has the responsibility of the security of the town thrust upon him (Yuen Biao). And I’m still omitting some for the sake of brevity.

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