Tag: 1993

Apaatkaal

  By

★★½
“Death Wish, Bollywood style.”

For the first hour and forty minutes, you may well be wondering why this is here. You will need to be patient: it gets there… eventually. However, to start with, it’s the story of the battle between crime boss Nikka Shaitan (Grover) and dogged cop Inspector Sidhu (Kumar). After members of the former’s gang are caught attempting a bullion robbery, Sidhu seeks to leverage them to reach their boss. But Shaitan uses all the power – both legal and illegal – at his disposal, to avoid justice. Initially, a state of martial law (the title translates as “emergency”) gives the cops the edge, but after that is declared over, the balance shifts, culminating in Shaitan’s gang invading Sidhu’s wedding and gunning everybody down.

Shaitan again avoids justice, getting a corrupt politician to give him an alibi, leading to his acquittal. This is where we finally achieve GWG relevance, for the Inspector’s bride, Shikha (Sabah), vows to take revenge on every single person responsible for the death of her husband. She delivers, taking them out in a variety of ways, from shooting repeatedly in the head after removing their tongue, through burning alive, to hacking apart with a sword. It’s certainly enthusiastic, though the execution isn’t nearly as much fun as it should be. It demands a lot more blood. Naturally, Shikha uses the gang’s tactics to escape legal punishment, the film ending in a large caption asking the audience, “Do you agree with this?”

Well, since you ask… It’s a typical early nineties Indian pot-boiler, with all that implies. So, it’s overlong at 144 minutes, stuffed with terrible songs (and I like some Bollywood music – Singh is Kinng is one of only two soundtracks I actually listen to outside the film), and painfully simplistic, rarely approaching any level of delicacy. By most standards, this is not a “good” movie. But I did find it interesting. As depicted here, Indian cops do not give a damn about civil rights; how much of that’s due to the declared state of emergency is unclear (there was such a two-year period in India, but earlier, from 1975-77). On the other hand, the courts are depicted as incompetent and/or corrupt, basically useless at dispensing justice.

The sudden blossoming of Shika in the final act is also surprising. It’s rare for a film to end up with its hero or heroine being one who is barely even a supporting role during the first two-thirds. However, Rao manages to pull the switch off, albeit mainly through killing everyone else who you liked to that point. Shikha, assisted by her friend Razia, as well as another survivor of the massacre, then goes to work after the legal system has failed her, in a way which makes Charles Bronson look like subtle understatement. This is a clarion call to the vigilante inside the audience, about as subtle as a brick, and all the more fun for that. I’d edit this down to eighty minutes and call it a vast improvement.

Dir: V. Subba Rao
Star: Sabah, Gulshan Grover, Kiran Kumar, Aatish Devgan

Undefeatable

  By

★★★
“Keep an eye out for you, Stingray.”

The traditional rule of thumb is, Cynthia Rothrock’s Hong Kong movies are good, but her American ones are bad. The question is, what category should this one be placed? On the one hand, it’s a Hong Kong production. On the other, it’s filmed in America, with an American cast. On the third hand, it’s directed by notorious schlockmeister Ho, as “Godfrey Hall”. I’m painfully aware how much his work can vary in quality, though I’ll confess, I am generally adequately amused. The results here are a real grab-bad of the good, the bad and the laughable. Put it this way: Cynthia is probably close to the best actor. That’s not something you’ll hear often.

She plays former gang member Kristi Jones, now trying to go straight. But in order to put her sister through medical school, Kristi raises money by taking part in street fights, arranged through her former colleagues in the Red Dragons. Meanwhile, Paul (Niam), a.k.a. “Stingray”, another fighter on the underground circuit, goes mad after his wife leaves him. He begins kidnapping, torturing and killing any woman who resembled his departed spouse. Unfortunately, his victims include Kristi’s sister, and she’s not happy about it. With the help of police detective Nick DiMarco (Miller) and psychiatrist Dr. Jennifer Simmons (Jason), Kristi makes her way through various opponents who might be involved, before focusing on Paul, and the warehouse from which he operates.

This is all, quite obviously, total nonsense. It’s the kind of film where everyone is adept at martial arts – even Dr. Simmons throws a few punches when she gets a visit from Stingray. It’s also the kind of film where a police officer will let the sister of a murder victim tag along on his investigation, because reasons. One wonders how much direction Ho was actually giving the cast. In particular, Niam, whose entire performance seems to revolve around making veins pop in his forehead. There is one (1) decent scene, where Dr. Simmons tries to figure out Stingray’s traumas and issues (his Mommy was bad to him or someting), in order to use them against him and escape. It’s the only moment this rises above the utterly basic.

On the other hand, we’re not here for the psychology. We’re here for the ass-kicking, and the film has no shortage of this, with Ms. Rothrock in decent form, both with her fists and some weapons. There’s a nice – if entirely pointless – scene of her doing forms on the lawn outside her house. But it’s mostly reasonably well-staged hand-to-hand fights, and there’s no question Rothrock acquits herself well. The end fight is slightly disappointing, in that Kristi has been hurt in a previous encounter with Stingray, so has one arm in a sling, and needs help from DiMarco. However, there are not one but two groanworthy eighties action one-liners there: the one in the tag-line above is perhaps only second worst. I couldn’t call this good, yet was I not entertained? Yes. Yes, I was.

Dir: Godfrey Ho
Star: Cynthia Rothrock, John Miller, Don Niam, Donna Jason

Beautiful Weapon

  By

★★½
“The world’s laziest assassin.”

By that, I am referring to the unnamed heroine of this film, because she doesn’t have to leave the house. She works as a hitwoman for Yakuza boss Yasuhiro Kokubu (Katô), and he delivers the targets to the front-door of her rural home, on the pretext of her being their entertainment. She then gives them the Black Widow treatment, having sex with them, before a couple of post-coital shots. She barely has to get out of bed, literally. In some way this makes sense, since she’s blind – I guess it’s nice to see the disabled being given equal opportunities in the assassin field. But she’s not exactly happy with her lot; her cleaner and handler Masahiko Yoshizawa (Murai) is concerned about her spiralling into alcoholism.

Of more immediate concern though, is Kokubu’s paranoia, which has convinced him that his trio of killers need to be disposed of, before they become a liability. His sent one assassin to visit her, only for her to prevail. So he follows up by dispatching the other one, Kenji Sakagami (Kusakari), to finish the job. Except he had followed the first killer and knows all too well what’s going on. Unsurprisingly, he suspects that once he kills her, his name will be next on his boss’s list, and so makes other plans, which involve him escaping with his target. However, Yoshizawa will need to be handled, and Sakagami also needs to convince her of his genuinely good intentions.

As you can imagine, given her static nature, it’s not exactly action-packed, though does ramp up nicely down the stretch. Until then though, it’s of an angsty drama, with more than the normal amount of sex. The focus is perhaps more on Sakagami than anyone else, with the heroine being quite passive. While this is perhaps inevitable, given her particular set of circumstances, it doesn’t make for thrilling cinema. The director seems fond of depicting things in real time, which is a bit of a mixed blessing. I could have done without a lengthy depiction of Sakagami’s first journey out to her home, but when the love-making between them gets a similar treatment, it’s an interesting variation on the way such things are usually depicted.

This is the first of the series which would give us Beautiful Beast a couple of years later, but is a little lower key and, in general, less interesting. The elements are all reasonable enough in themselves, it’s just that they are combined in a way which occasionally borders on the soporific. Action is probably not a secondary consideration here, likely ranking below both the drama and the eroticism, and very much of the “blink and you’ll miss it” kind. The finish is strong, though this too seems over-extended beyond what it might merit. As a portrait of a damaged assassin, it just doesn’t convince, perhaps because we do not spend enough time with her, and even her blindness doesn’t matter much. 

Dir: Kazuo ‘Gaira’ Komizu
Star: Masumi Miyazaki, Masao Kosakari, Kunio Murai, Takeshi Katô
a.k.a. XX: Beautiful Weapon

The Tale of a Heroine

  By

★★½
“That old bag wanted to damp my Spirit Knife with Virgin Sword.”

Yeah, if the above line of subtitled dialogue makes sense, this film then ups the ante, with white subs on a frequently white background, and which frequently appear to be making a bid to escape from the bottom of the picture. It’s safe to say that a decent presentation of this, perhaps with a print which doesn’t look like it was left in someone’s pocket when their suit went to the cleaners, might merit a half-star more. A few more fight sequences would help too: the ones there are, don’t lack in quality. There’s just a bit too much farcical comedy for my taste.

It begins with the evil Aoba swiping a book of martial arts skills, killing its owner and kidnapping his wife (Hui). Their daughter, Lunar (Wong, who was Jet Li’s first wife) grows up, clearly believing revenge is a dish best served cold. Eventually, along with her comic relief acolyte (Wan), Lunar enters Aoba’s castle, disguised as a man, seeking to recover the book, free her mother and take revenge for her father. However, complications ensue, largely down to Aoba’s sex-mad wife. To stop her from being unfaithful, Aoba has staffed the castle entirely with gay men. The acolyte is the only exception, and has repeatedly to fend off her demands. The always welcome Cynthia Khan also shows up, as another swordswoman who switches sides to join Lunar, after finding out the truth about Aoba.

At least, the above is my best guess. For the reasons explained in the first paragraph, I’m not prepared to stake my life on much beyond the film’s title. As usual, I do have to question the apparently literal gender-blindness of people here. The only person less convincing as a person of the opposite sex, than Wong trying to be a man, is likely Wan attempting to pass as a woman. That and him trying to keep his trousers on, occupy a significant chunk of the middle portion. While it’s not too painful, as comedy goes – at least, when compared to some entries I’ve endured – it’s not why we are here, and the decent opening fight only whets this unsatisfied appetite.

Although there are sporadic outbursts of activity, it’s not until Lunar discovers the key to tap into the power of Virgin Sword (let’s just say, it’s counter-intuitive to the name), that she’s able to take on Aoba and his many, many minions. This provides the acceptably rousing content for which we have been waiting, as she storms the castle and releases Mom. Not least, for a spectacular sequence involving some kind of outdoor scaffolding construct, and a significant quantity of pyrotechnics. Everyone ends up having to team up in order to destroy Aoba, and there’s an odd coda where the acolyte ends up with both Lunar and Khan’s character, while pretending his mother is one of the gay guys from the castle. I can only presume the phrase “lost in translation” applies here.

Dir: Chien-Hsun Huang
Star: Wong Chau-Yin, Deric Wan, Cynthia Khan, Kara Hui
a.k.a. Wu Tang Witch 

Whore and Policewoman

  By

★★★
“We prefer the term ‘sex worker’ these days…”

If the title is more than a bit blunt, it’s certainly accurate. May Lin (Cheng) is a brash hooker, who runs a sideline in blackmail videos with her flatmate, Nana. But one night she comes home to find Nana near death, the victim of a brutal client. She tells the police about the video, but before she can give it to them, the perpetrator – rich and influential politician, Kao Tien Chin (Cho) – sends an army of beige trenchcoat wearing killers to take care of both Nana and May. The former succumbs, but the latter escapes and goes on the run. With the police force apparently leaking like a sieve and the case being shut down from on high, prosecutor Yin Li Shan sends his niece, Nancy Cheng (Mishiwaki), to link up with May and bring her in. But they’ll have to get past the trenchcoat mafia, among other threats, for there to be any hope of justice.

This is relatively late in the Hong Kong GWG cycle, and is rougher than most, in more ways than one. There is a nice character arc for May, who initially seems intensely dislikeable, but ends up fiercely loyal to her protector, after realizing the extent to which Nancy will go – literally taking a bullet for the prostitute. This is harshly demonstrated when May lets herself be gang-raped, to save the injured Nancy from that fate. While not in any way explicit, it’s a tough sequence to watch, May mouthing “Go away” to Nancy. Of course, there’s the usual bonding in the middle between the mismatched pair, as they realize neither deserves the scorn with which they view each other.

The plot is more than a little flimsy, with any number of points at which things could easily have been resolved. There are some remarkable moments of coincidence too. For instance, after escaping the trenchcoaters (in a rather risky-looking stunt, involving a plummeting jeep and a giant fireball), seconds later in screen time, May and Nancy bump into them again at a train station. Similarly, the rapists are coincidentally re-encountered, giving our heroines the opportunity for revenge. However, in both cases, the results are a solid bit of one versus many action, in the interesting environments of a train carriage and a food court respectively, so we’ll let it slip.

I do wonder if Nishiwaki was injured during shooting. Because when it comes to the final confrontation, at a party in Chin’s offices, Nancy is replaced by another character for the last battle, without explanation. It’s not a stand-in, it’s a completely different actress in a separate, unnamed role. Very bizarre. This may also have been the final movie of Nishiwaki’s Hong Kong career, which would lend support to the “major injury” theory. All told, this is decent enough. Not all of it works (though the crappy English sub job doesn’t help), yet a sufficient quantity does, and with acceptable pacing to ensure the viewer is never bored, at least for too long.

Dir: Kuo-Chu Huang
Star: Yim Lai Cheng, Michiko Nishiwaki, Hoi-San Kwan, Charlie Cho

Beyond Fear

  By

★★
“Carry on camping.”

Former WWF star Lesseos, where she was known as the Fabulous Mimi, carved out a small career for herself in low-budget action films, mostly in the mid-nineties. Though the ones we’ve covered before, such as Double Duty and Pushed to the Limit, aren’t exactly classics. This, unfortunately, continues that trend, with far too much sitting around campfires, and not enough action. Put another way, it’s a movie which is in tents, instead of intense. [Thank you, I’ll be here all week…] Lesseos plays wilderness guide and former mixed martial-arts fighter Tipper Taylor, who has been contracted to take a bunch of noobs out for a few days of camping. Unfortunately, one of them, Vince (Axelrod), happens to witness and videotape a murder at a campsite. The two perpetrators need to recover the incriminating footage, and set about stalking the party through the wilderness, abducting Vince in an effort to get him to hand over the cassette.

This eventually leads to what is largely the film’s sole redeeming feature: a fairly lengthy and not badly-staged rural brawl between Tipper and Boar (Bower), the most brutal of the villains. The key word, unfortunately, is “eventually”. Because, to reach that point, you have to sit through well over an hour of the most mind-numbing chit-chat you could possibly come up with. It feels as if the original script was some kind of ensemble relationship piece, onto which the makers decided at the last moment to bolt on some fisticuffs. This feels most obvious during our first exposure to the heroine’s talents, in a thoroughly clunky scene where she literally pulls over to try and break up a fight between two vagrants. Instead, everyone is given a deeply uninteresting back-story. For example, Vince and his wife are lottery winners, now working through problems with their marriage, and Tipper is feeling guilty over her final MMA fight, which left her best friend paralyzed.

None of which has anything to do with the main plot, and so can entirely be ignored. Though I can’t over-stress just how much of this nonsense there is. If you’re looking for an open-air soap-opera, this should be your jam. Which is a bit of a shame, as Lesseos brings an easy, likable charm to Tipper, making her someone for whom you want to root. Her fighting style is stiff –  though I should clarify, this is intended in the pro wrestling sense, meaning hard-hitting, It’s clear that’s where her background lies, with moves like drop-kicks not typically being part of the martial arts armoury! The problems here lie elsewhere, with a plot which just doesn’t foreground its action elements, never manages to set up Boar and his ally as any kind of credible threat, and all but entirely fails to explain why Vince never bothers telling anyone – least of all the authorities – about the snuff movie he recorded. Though I must confess to having laughed at the line in the trailer, “Mimi believes in women’s rights… lefts and uppercuts,” it’s all remarkably poorly thought-out, and I couldn’t help feeling that Mimi deserves better.

Dir: Robert F. Lyons
Star: Mimi Lesseos, Verrel Reed, Robert Axelrod, Wayne Bower

Battle Angel: The OVAs

  By

★★★½
“Sweet, yet too short.”

Watching this after having read the manga version, it feels like the anime version can do little more than scratch the surface of the world of Tiphares, in the barely fifty minutes it has to work with across its two OVA (Original Video Animation) volumes. The stories here, originally released in 1993, cover the first two section of the manga, and it looks like much of what we see here will also be included in the live-action film next February. Slightly confusing matters, is the way this uses the original Japanese names. So Tiphares becomes Zalem here, and Hugo is Yugo. Most oddly, the heroine is not called Alita – hence the absence of her name from the title – but Gally. To avoid further confusion, I’m going to be consistent with our other articles on the topic, and stick to the translated ones for what follows.

We see Ido (Kariya) discover the head of Alita (Itou), and almost before we can blink, it’s back to being fully functioning. He’s a part-time cyber-doctor, part-time bounty-hunter, and after Alita follows him – suspecting he’s a killer who is stalking the streets of the scrapyard – she ends up rescuing him from the real killer. She also meets and falls for Hugo (Yamaguchi), a young man desperate to get out of the scrapyard, by any means necessary – a fact that proves to be the source of his downfall in the second OAV. Not present in the manga is the character of Chiren (Koyama). Like Ido, she’s a refugee from Tiphares, who resent his cyber-medical skills and wants to prove herself superior. To do so, she rescues gladiator Grewcica and sets him against Ido’s creation, Alita.

For something a quarter-century old, the animation has stood the test of time well. This is notable in the first part, and especially the battles between Alita and Grewcica, which remain more than capable of getting the blood pumping. The look of the scrapyard and Tiphares have been transferred nicely. The colours feel like your imagination told you they should, from the b&w manga, and even the sound design adds to the atmosphere, both in Kaoru Wada’s score and the groans of the pipes connecting Tiphares to the scrap-yard.

The problem, I think, is a script which doesn’t have enough room to develop the characters and their interactions. Especially short-changed is the relationship between Alita and Hugo, which feels like it goes from zero to passionate love (on her side, at least) in no time at all. As a result, you’re left to wonder why she’s prepared to go to such lengths for him, though his eventual fate remains poignant – not least the addition of a little flourish at the end, where Ido and Alita send up a balloon in his honour. I probably would have felt kinder towards these episodes if I’d seen them before reading the original source material; as is, while solid enough, I can’t help feeling there’s something missing.

Dir: Hiroshi Fukutomi
Star (voice): Miki Itou, Shunsuke Kariya, Kappei Yamaguchi, Mami Koyama

Women on the Run

  By

★★★
“Letting the Cat III out of the bag.”

womenChinese teenage martial-arts champ Li Siu-Yin (Guo) is seduced into a life of prostitution by her boyfriend, but eventually snaps and kills him. She escapes to Hong Kong, only to be arrested there, and given a stark choice: help ensnare crime boss King Kong (Kim) or be deported back to China. Unwillingly, she takes the former and goes back over the border with undercover cop Hung (Cheung), who is also having an affair with colleague David (Lai). However, it turns out that David is in cahoots with King Kong, and the pair end up in Canada and in jail. It’s a long way back from there, before the two can take their revenge on the men who betrayed them.

It appears my memories of this were conflated with another “Cat III” (the Hong Kong adults-only film classification) kung-fu film, the considerably more sleazy Escape From Brothel. Aside from some nekkid kung-fu and a couple of scenes of sexual violence, this is mostly mainstream. And it’s kinda hard to take the gang-rape sequence seriously when the perpetrators are set up as being Really Bad People by punting a clearly stuffed dog, as they make their way into the warehouse where our heroines are hiding out. Elements like these deflate entirely apparently serious attempts at drama; see also a flashback to an apparently kinder, gentler era of airport security when you could not just take your stun-gun onto a plane, you could apply it to other passengers without anyone rushing you with a drinks trolley. Ah, those were the days, eh? There are also bad subtitles which translate the line “smoke some weed” in English as, “get some sweet meat,” and a really nasty portrayal of Canadian law-enforcement, that left me wondering if the directors got a traffic ticket in Vancouver or something.

Fortunately, salvaging proceedings are some decent to solid action, as you’d expect from Yuen, who has a long track record of such things. Both Guo and Cheung are more than credible; the former, in particular, to an extent where it’s a surprise that she never appeared in anything of significance again. As a villain, Kim lets his feet in particular do his talking, and he makes for a formidable opponent, particularly at the end. There are a number of solid sequences before that, that let both leads show their skills – though I could perhaps have done without the comedic drug addiction, Liu doing her best kung-fu after a little H. I guess it’s a variant on Jackie Chan’s Drunken Master? All told, this is more or less your typical Cat III film, containing both the good and bad the classification implies. Action, exploitation, comedy, brutality and nonsensical aspects all rub shoulders, with the end product being… Well, while I could point out any number of other flaws, let’s accentuate the positive instead, and just say. this is certainly never dull.

Dir: David Lai and Corey Yuen
Star: Tamara Guo, Farini Cheung, David Lai, Kim Won-Jin

Cyborg 2

  By

★★★
“The film that launched a thousand lips…”

cyborg2Before there was Salt, before there was Mrs. Smith, before there was even Lara Croft, there was Cash Reese. For Angelina Jolie got her start as a grown-up actress in this 1993 sequel to a Jean-Claude Van Damme action film. She plays a cyborg pumped full of liquid explosives by her creators, Pinwheel Robotics, with the aim of being dispatched to assassinate the board of their Japanese rivals, Kobayashi Electronics. However, Cash is busted out from their complex by employee Colton Ricks (Koteas) along with a mysterious virtual guide known as “Mercy” (Palance). Unwilling to let their investment go, Pinwheel unleash psychotic bounty-hunter, Danny Bench (Drago) to track her down, before the pair can escape to Mombasa, a free zone for independent cyborgs.

“After I saw it, I went home and got sick,” said Jolie. Really? Damn, she must have hurled like Regan MacNeil after watching The Cradle of Life then, for this isn’t all that bad. Sure, it’s cheap, and rips off Blade Runner shamelessly in its visual style. However, it benefits immeasurably from an above average cast, who are all good for their roles. While Jolie’s lack of acting experience is certainly apparent, this doesn’t work against her character, an artificial person who is getting to experience the real world for the first time. Koteas is decent as the rugged hero – even though Cash is obviously stronger, quicker and probably smarter than he is. This does make the film’s finale somewhat dumb: in it, Ricks takes on Bench in a fight to the death, in order to win money for their passage to Mombasa, even though the rest of the film strongly suggests it’s Cash who would have a better chance of beating the hunter.

However, we must not forget the supporting cast who certainly help carry this, in particular Palance. His is mostly a voice performance, his lips appearing on video screens along the way to direct and assist Cash and Ricks, and brings an understated gravitas to proceedings they really don’t deserve. At the other end of the performance spectrum, yet equally fun to watch, is Drago, chewing scenery in memorable fashion. And we mustn’t forget Karen Sheperd as Chen, another hunter trailing Cash, leading to some good action there too. The script was originally intended as a standalone film called Glass Shadow [the name of the bio-explosive], which may explain why there’s no apparent connection to the original movie – as the not necessarily entirely accurate sleeve shown suggests, it was released this way in some territories. That isn’t necessarily a bad thing, and purely for opening the door to Jon Voight’s little girl, and the much bigger, (mostly) better things to come, definitely is deserving of a certain regard.

Dir: Michael Schroeder
Star: Elias Koteas, Angelina Jolie, Jack Palance, Billy Drago

The Top Lady Of Sword

  By

★★★½
“The Yung and the VERY restless…”

topswordThis Taiwanese production focuses on a martial arts get-together, organized by the honorable Chi (Tsang), as a way for all the local artists to settle any beefs with each other. Arriving in town are brothers Au Lung and Wong Hu (Wan), who are out for revenge on Lady Yung (Wong), who had killed another of their brothers, though it was actually an honourable battle. Au Lung is content to forget their revenge, until he falls under the spell of a local inn-owner, who has a plan to seduce him, and use Au Lung as a tool to steal Chi’s martial arts manual and become the top fighter. When Chi turns up dead, Yung is blamed,  and after that is sorted out, her husband and daughter as then kidnapped by Au Lung. Yung, her sister Shao Chung (Khan) and Wong Hu set off in a desperate effort to rescue the hostages.

There’s a lot to enjoy here, and about the only thing stopping it from getting a seal of approval is that it’s very wuxia – so if you’re not fully prepared for people flying through the air and severely undercranked action, this will seem laughable. It’s one of those occasions where less could have been more. But, personally, I still found it a great deal of fun, with a well thought-out plot, engaging characters and some nice twists on the usual themes. For instance, there’s a lovely bit of role reversal, where it’s Yung’s husband who is the stay at home one, and she is running around the countryside, fighting battles against, it seems, everyone who crossed her path. Additionally, I liked the brief diversion into almost a kung-fu “whodunnit” in the middle, and on the other end of the emotional spectrum, there’s a body-count which is surprisingly high. If I don’t want to spoiler who lives and who dies, let’s just say there’s more of the latter.

The bottom line, however, is the martial arts, and these sequences are copious and well-staged, under action coordinator Alan Chan. The various performers get to showcase a broad variety of their styles, and they mesh together well. Everyone gets their moments to shine, will all three of the leading ladies looking very impressive. This one is available on Youtube with subtitles, and even if the quality of the print leaves a fair bit to be desired, it still makes for an entertaining 90 minutes, and is a case where a film’s obscurity is no reflection of its merits.

Dir: Wong Hong
Star: Wong Chau-Yin, Deric Wan, Kenneth Tsang, Cynthia Khan
a.k.a. Lady Chrysanthemum Sword