THE ENCHANTING PHANTOM (aka A CHINESE GHOST STORY: HUMAN LOVE) (2020) review

p2597931214After bringing back Vincent Zhao’s incarnation of Wong Fei Hung – albeit on the small screens – with The Unity of Heroes, and scripting Detective Dee: Ghost Soldiers (starring Kristy Yang as Empress Wu Zetian), one of the more high-profile and better-rated of the countless straight-to-VOD Detective Dee films, director Lin Zhenzhao tackles another beloved Hong Kong franchise with The Enchanting Phantom, a remake of Tsui Hark and Ching Siu Tung’s classic A Chinese Ghost Story (itself based on a Pu Songling story). Apparently at first destined for at least a modest theatrical release, the Covid-19 pandemic in the end sent it straight to VOD. And so we once again follow naïve scholar Ning Caichen (Chen Xingxu), who falls in love with beautiful demon Nie Xiaoqian (Eleanor Lee), and attempts to free her from the clutches of her dark master, hermaphroditic tree demon Lao Lao (Norman Tsui), with the help of Taoist demon hunter Yan Chixia (Yuen Wah). (more…)

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DRUG FIGHTERS (1995) short review

DrugsFighters+1995-1-bBy 1995, old-school, down-and-dirty Hong Kong action cinema was a dying trend, largely exiled to Taiwan and the Philippines, where most of its stars languished in cheap productions leagues below what they deserved – among them was the great Yukari Oshima. A Taiwanese production, Yiu Tin Hung’s Drug Fighters is far from the worst that dark age of action cinema yielded, but also a far cry from the heights of the genre. Oshima (in a truly hideous wardrobe of garish tracksuits) plays a cop assigned to a new drug-busting police unit (alongside Lam Wai and Chui Siu Kin), tasked with bringing down a drug trafficker (Yuen Wah) who smuggles drugs through shipments of antiques. The film starts with a jolt, a fairly exciting shootout aboard a train, as prisoner Ken Lo is extracted by his blood brother Alan Chui (also the action director). Then it becomes an incredibly limp affair, unfolding in drab industrial landscapes and juggling a variety of snooze-inducing subplots, most of which main attraction Oshima is absent from. Playing her husband, Collin Chou pops up from time to time for painful scenes of romantic banter, while Yuen Wah mostly glowers charismatically a few dozen seconds at a time. Martial arts action is served in the last ten minutes, and it’s too little, too late: Oshima and Yuen do have a short but over-the-top fight that’s quite exciting, but not worth eighty minutes of stabbing yourself with a toothpick to stay awake. *1/2

MASTER Z: THE IP MAN LEGACY (2018) review

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One of the most memorable characters in the Ip Man franchise, ambitious Wing Chun master Cheung Tin Chi (Max Zhang), gets his own well-deserved spin-off in Yuen Woo Ping’s Master Z: The Ip Man Legacy. After being defeated – behind closed doors – by Ip man at the end of the third installment, the humbled Cheung is now living peacefully with his son in Hong Kong, where he owns a small grocery store. His days as a martial arts teacher are over, and so is his side-job as a thug, which doesn’t sit well with his former employer (Yuen Wah). Cheung can’t stay out of trouble for long: after he defends bar hostesses Julia (Liu Yan) and Nana (Chrissie Chau) against local mobster Tso Sai Kit (Kevin Cheng) and his henchmen, his store is burnt down as retribution. Now homeless and tracked down by a mysterious assassin (Tony Jaa) working for his former employer, Cheung is helped by Fu (Shi Yanneng), the owner of a local bar, for whom he starts working as a waiter. And two dangerous figures loom large over him: mobster Tso Ngan Kwan (Michelle Yeoh), the sister of Tso Sai Kit, and Owen Davidson (Dave Bautista), a restaurant owner and philanthropist who’s also a drug trafficker.

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THE TROUGH (2018) review

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Nick Cheung’s third film as a director and star, The Trough follows Yu Qiu (Cheung), a cop who’s been undercover so long in the gangs of the fictional Solo City, that his mind is starting to slip: he’s developing a death wish, the limit between the Law and Crime has been blurred out, and between two missions he goes to live as a hermit in the Namibian desert, fighting wild animals. Solo City is a degenerate, crime-riddled sewer, and there’s no shortage of mob bosses for him to take down, under the orders of his handler Jim (He Jiong), a lone man of honor assisted by hacker Jackie (Yu Nan) but surrounded by dirty cops (including Maggie Cheung Ho Yee and Chris Collins). Yu Qiu’s new mission is to unmask and bring down “The Boss”, the hidden mastermind who controls Solo City; and the key to bring him down may be a little girl (Li Yongshan), who was plucked from an orphanage for mysterious reasons, and is now wanted by dirty cops and half the city’s gangsters alike.

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DETECTIVE CHINATOWN 2 (2018) review

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As promised at the end of 2015’s delightful and very successful Detective Chinatown, the unlikely duo of straight-laced amateur detective Chin Feng (Liu Haroan) and his loud, unhinged distant cousin Tang Ren (Wang Baoqiang) are back, this time in New York, where they have been summoned by crime boss Uncle Seven (Kenneth Tsang), along with the other top detectives on a high-standard crime-solving app named “Crimaster”. Uncle Seven’s son was recently killed in a temple, and his heart was removed from his body while he was unconscious but still alive; the crime boss thus offers five million dollars to whoever can catch the killer. Assisted by Chinese-American police officer Chen Ying (Natasha Liu Bordizzo), the rag-tag bunch of detectives – which includes brilliant hacker Kiko (Shang Yuxian), Japanese dilletante Hao Yetian (Stashi Tsumabuki), as well as an Indonesian witch and many more – soon establish a link between this case and the murder of a woman, whose liver was harvested from her body while still alive. This makes Song Yi (Xiao Yang), an illegal Chinese immigrant who was spotted at both crime scenes, the primary suspect. Now it’s a chase to whoever will catch him first and collect the prize money – but Chin Feng knows this is too simple.

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BURY ME HIGH (1991) short review

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Tsui Siu Ming’s Bury Me High is an interesting mix of action and fantasy, along unusual lines, using feng shui as not just a plot point, but a full-blown narrative stake. It concerns a burial ground in a mountainous region of a Asian banana republic, whose unique feng shui location guarantees immense wealth to those interred there. A corporate executive (Moon Lee), a feng shui scholar (Tsui Siu Ming) and a hacker (Chin Kar Lok, stretching belief as popular hero Wisely, who is said to have an IQ of 200) go in search of this location, but they have to contend with the republic’s cruel new dictator (Yuen Wah, quite superb), who covets the burial ground to strengthen his power and wealth; his sister (Sibelle Hu) is more conflicted. There’s a very enjoyable sweep and ambition to the film, unfolding against majestic Vietnamese locations, and lavishing special care on its action scenes, which are scarce for the first two thirds, but plentiful in the final 30 minutes. A night fight on a rickety bridge unfolds in the middle of a vast torch-bearing circle of soldiers, there’s a full-blown battle scene involving tanks, and Yuen Wah and Chin Kar Lok’s amazing agility makes their final fight a thing of beauty, especially when the great Moon Lee cuts in. It is a lopsided film that doesn’t engage until its final tier, and the feng shui stakes are often a bit abstruse, but the finale is worth the wait. **1/2

THE BODYGUARD (aka MY BELOVED BODYGUARD) (2016) review

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Sammo Hung’s first film as a director in nearly 20 years (since 1997’s Once Upon a Time in China and America), The Bodyguard came with a sense of expectation that was compounded by its starry cast of legendary old-timers (Karl Maka, Dean Shek, most of the Seven Little Fortunes) and A-listers both mature (Andy Lau, Tsui Hark, Hu Jun) and on the rise (Eddie Peng, William Feng), as well as a script (by Jiang Jun) that had earned some acclaim at the 3rd Beijing International Film Festival. Sammo Hung is Ding, a retired elite bodyguard who lives alone in his hometown near the Russian border, wracked with guilt after his granddaughter disappeared when he was supposed to watch over her. Dementia is creeping in on him, and despite the care of his lovestruck landlady (Li Qinqin), his only joy in this world is the friendship of his young neighbor Cherry (Chen Pei Yan), who often stays at his house to avoid her father Li (Andy Lau), a gambling addict. When Li goes on the run with a bag of jewels that he stole from the Russian mob to repay his debt to local gangster Choi (Jack Feng), Ding has to break out of his stupor to protect Cherry, who is about to become collateral damage as henchmen both Chinese and Russian hunt down her father.

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MERCENARIES FROM HONG KONG (1983) review

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Wong Jing’s third film as a director, even before he became a film producer, Mercenaries from Hong Kong was the Shaw Brothers’ answer to Andrew V. McLaglen’s The Wild Geese (1978), which itself foreshadowed Sylvester Stallone’s Expendables franchise by throwing a starry team of aging mercenaries in a suicide mission. And so here we have the ever-charismatic Ti Lung as a war veteran/medicine smuggler who is hired for a hefty sum by a powerful, seductive businesswoman (Candice Yu) to kill the man who murdered her father (Philip Ko) who’s hiding in Cambodia with a small guerrilla army. Ti Lung assembles a team comprised of his old friends Michael Chan Wai Man (deadly with knives), Lo Lieh (a peerless marksman), Johnny Wang Lung Wei (a fearful brawler), Wong Yu (a master at picking locks) and, last and least, Nat Chan (a womanizer, admittedly not the most useful skill in the team). But as they prepare for their mission, they must contend with the vengeful brother (Yuen Wah) that Ti Lung gunned down earlier, as well as a mysterious antagonist (a particularly intimidating Lee Hoi San).

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CHOY LEE FUT (2011) review

choy-lee-fut In 2001, two films focused on the widely practiced (in China at any rate) martial art known as Choy Lee Fut ; two films films which taken together say less about their subject than 10 minutes of Ip Man conveyed about Wing Chun. Of the two, John Ching’s Choy Lee Fut Kung Fu is the superior film, simply by dint of being funny on purpose. Tommy Law and Sam Wong’s Choy Lee Fut on the other hand, doesn’t seem to realize it’s laughable. Its unbelievably standard storyline concerns a young man (Sammy ‘son of Sammo’ Hung) who moves from London to China with his friend (Kane ‘son of Sho’ Kosugi) in order to learn Choy Lee Fut in a school owned by his father (Sammo Hung) and headed by his uncle (Yuen Wah). But just as they arrive, they are told that the school is about to be bought by a mega-conglomerate, and that the only way to keep ownership of it is to win a martial arts tournament a month later.

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KICKBOXER (1993) short review

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Directed by Wu Ma and sometimes billed as Once Upon A Time In China 6, which it is definitely not, Kickboxer instead focuses on a disciple of Wong Fei Hung (who is absent from the whole film), Yuen Biao’s Lau Zhai, who after being wrongly accused of smuggling opium into China, has to infiltrate a Opium gang led by Chairman Wah (Yuen Wah), with the help of his friend Bucktooth (Wu Ma) and constable Panther (Yen Shi Kwan). Produced not only to cash in on the success of Tsui Hark’s Once Upon A Time In China series, but also to provide Yuen Biao with a starring role worthy of his talents following his sidelining in the first film of Tsui Hark’s series, Kickboxer was unfortunately made with much less money, resulting in a far cheaper look. More disappointingly, despite its ambition to better showcase Yuen Biao, the film relies too much on comedy and not enough on fights. It has crazy moments, like what can only be described as a kung fu chess game between Yuen and Yen Shi Kwan, but overall has the feel of a TV knockoff. Things do get a bit more memorable in final fight between Yuen Biao and Yuen Wah (always an exciting match-up), but in the end, Kickboxer isn’t that much less a waste of Yuen’s massive talents than Once Upon A Time In China was. **