Tag: cop

Taken Heart

  By

★★½
“Taken, out of context”

There seems to have been a sudden surge of gynocentric takes on Taken (as it were), with first Never Let Go, and now this. Both concern single mothers with a very particular set of skills, venturing into treacherous foreign territory after their daughters are abducted. In this case, the setting is Belize, where Nina Johnson (Calis) has gone to spend the summer with her boyfriend, volunteering at a local orphanage. When the promised daily contacts stop, single mom and Miami detective Kate (Holden) gets not much in the way of immediate help from the local authorities, and makes a bee-line to Belize so she can investigate on the ground. She’s helped, after some initial doubts, by friendly embassy employee Francisco Orizaga (Degruttola), who has particular skills of his own, being ex-special forces.

They discover Nina has been kidnapped by local cartel, La Muerte Roja (The Red Death), who have branched out from traditional cartel business like drugs, into black market organ transplants. A bar in Punta Dia, visited by Nina, has become ground zero for them, from where they kidnap tourists and turn them into spare parts for their rich clients. It’s up to Nina and her sidekick to track down the base of operations, and free Kate before she becomes a selection box of replacement organs. But that won’t be easy, given how deeply embedded LMR are in the town, and how feared they are by the residents.

There’s a huge plot-hole here, in that the last thing any cartel will ever do is target tourists, for nothing brings down federal heat faster. It’s been that way ever since the murder of Mark Kilroy in the seventies (by a satanist cult who had previously killed and dismembered more than a dozen locals with impunity) and remains the case now. Gangs would far rather sell visitors weed, than do anything which might interfere with a valuable and vital cash cow like tourism. But why let that get in the way of a slice of something which teeters between naked xenophobia and being really guilty about its naked xenophobia. Dammit, pick a side and commit to it, why can’t you.

That aside, this falls squarely into the realm of bland competence. Holden has the desperate mother thing down, yet isn’t as convincing when it comes to playing the tough-nosed detective. I sense that Francisco’s purpose in the script is to handle that heavy lifting, and the resulting dilution is perhaps why this doesn’t work as well as Never Let Go. It’s inoffensive enough: I watched the movie on a plane, and it beat browsing the in-flight magazine for a couple of hours. However, if you’re going for that Taken vibe, it isn’t enough to lift the premise, since the story was likely the least interesting thing there. You need someone who can deliver intensity somewhere in the same ballpark as Liam Neeson, and Holden comes up emphatically short in that department.

Dir: Steven R. Monroe
Star: Gina Holden, Natasha Calis, Raffaello Degruttola, Matthew Ziff

Never Let Go

  By

★★★
“Takenette.”

Based on the title and synopsis, I was expecting something like a Lifetime TV Movie. A mother frantically searching for her abducted child in a foreign location, before they can be sold off to some rich Arab, would seem right up their alley. [Though of course, this kind of thing has long been a popular subject for exploitation, to the point where the Hays Code of the thirties had explicitly to ban movies about “white slavery”] It’s a good deal grittier and harder hitting than that, though could have done with much better explanation of why this momma bear is so ferocious – among a number of other aspects.

The heroine is Lisa Brennan (Dixon), who is enjoying a vacation in Morocco with her child, the product of her affair with an up-and-coming politician, Clark Anderson (Whitney). A moment’s inattention sees the child snatched, and Brennan begins her hunt. She has to do it almost entirely on her own, and indeed, in the face of significant interference; because, after her involvement in the death of one of the kidnappers, Lisa is the target of a woman-hunt by the local authorities. Fortunately, what she does have are a very particular set of skills. Skills she has acquired over a very long career. Skills that make her a nightmare for people like the kidnappers. Skills that that poster tag-line references in a shameless way, which I can only applaud. Well played, marketers. Well played….

These would have probably come as less of a surprise had there been some content establishing Lisa’s credentials as a bad-ass. It’s only well after she has gone full Liam Neeson, that it’s even suggested the heroine is an FBI agent, rather than some random Mom on a beach. You just have to take her hand-t0-hand skills on trust. We also discover that the inhabitants of Marrakech leave their doors conveniently open, greet home invaders with little more than moderate confusion, and can be convinced to assist foreign fugitives on the run from the police, with little more than forcefully-spoken English and enthusiastic hand gestures. Meanwhile, the local armed cops will let said fugitive beat them all up, without so much as firing a single shot.

Fortunately, Ford is a much better director than a script-writer, keeping the pace brisk as he gallops towards a “surprise” ending that will come as a surprise to absolutely nobody (an additional black mark on Ford the author). Dixon is also very good in her role, projecting the right degree of focus and intensity, and the pounding, percussive driven score as she’s rushing around the narrow streets and across the rooftops, enhances proceedings significantly, in a way that echoes Run Lola Run. The problems are more whenever the film slows down from that frenetic and breathless pace. For it’s during these quieter moments, where the flaws in the story become most apparent, and you’ll probably find yourself going, “Hang on…”, to a degree that considerably weakens the overall impact.

Dir: Howard J. Ford
Star: Angela Dixon, Nigel Whitmey. Heather Peace, Velibor Topic

Stoner

  By

★★½
“On Her Mao-jesty’s Secret Service”

This production had a long, convoluted and quite interesting path to the screen. While Lazenby was always on board, the original plan was for him to be a Western bad guy, going up against Bruce Lee and Sonny Chiba. But Lee’s death – oddly, he was supposed to have had dinner with Lazenby that night – resulted in Chiba quitting, and Warner Bros then also backed out of their worldwide distribution deal. It was reworked as a much smaller film, at less than one-tenth the original budget (although at around $850,000, was still very expensive for the time, location and genre), with Lazenby now teaming up with Angela Mao.

He plays rough, tough Australian cop, Joseph Stoner, who heads for Hong Kong after his sister gets hooked on the new, super-powerful aphrodisiac “happy pills” created in the laboratory of evil drug kingpin, Mr Big (Hwang). She’s Taiwanese cop Angela Li, sent undercover to bring him down. Eventually, they join forces, but this isn’t until well over an hour into the film. To that point, they are each investigating in their own way Mr Big’s activities. Stoner’s approach appears to involve doing an impression of a bull in a china shop, while Li uses a smarter approach, to infiltrate the temple which is the distribution hub, posing as an innocent vendor of soft drinks. Both eventually end up in the same place – a cage in Mr Big’s lair – leading to a creepy scene where she has to fend off a happy pill-crazed Stoner.

It’s interesting that, in both the dubbed and subbed versions, Mao gets top billing ahead of Lazenby, despite the latter’s fame for having played 007 a few years previously. It is very much a two-hander, with each getting their own share of screen time. Lazenby does a surprisingly impressive job with the more physical aspects, and apparently put in a great deal of training. The problem is – as with his portrayal of James Bond – the actor’s inability to convey any emotions with the slightest degree of conviction. Even when talking about his sister, he might as well be reciting sports scores. Still, there’s plenty of funky seventies style to appreciate, such as the rotating desk apparently bought by Mr. Big from a yard sale at a local TV news-room.

Mao is, for our purposes, the true star, and I’d be hard pushed to say this would have been improved by the presence of Sonny Chiba. You have to wait quite a while for any significant action from her though, coming when she sneaks into Mr. Big’s headquarters. This unfolds in a way which suggests Bruce Lee’s foray from Enter the Dragon, and you wonder if this was part of the original script, intended for him before his untimely demise. On the whole though, I’d rather have dispensed entirely with Lazenby, and given the entire film to Mao, for this demonstrates that brains is often more interesting to watch than brawn.

Dir: Huang Feng
Star: Angela Mao, George Lazenby, Betty Ting, Hwang In-shik
a.k.a. The Shrine of Ultimate Bliss

Operações Especiais

  By

★★★½
“Brazilian whacks.”

The Brazilian special police unit, known as BOPE (Batalhão de Operações Policiais Especiais) have a ferocious reputation for a hard-edged approach to its work. This is, likely, necessary for surviving the favelas (slums) of Rio in which they operate, going up against heavily-armed drug dealers. But with this also comes a “by any means necessary” approach, which has come in for criticism. They’ve been the topic of films before, most notably the incredible Elite Squad, which is an all-time classic of action cinema (and removed any chance of us attending the 2016 Olympics). It’s into this obviously macho environment, that rookie policewoman Francis (Pires) is dropped, and has to make her way.

Early on, this is a heroine who is seriously out of her depth, being a former hotel administrator, who opted to join the police after a robbery at her place of work. Quite how she ends up on the squad is a bit vague: quotas may have been involved. Anyway, they’ve just succeeded in flushing the bad guys out of Rio, but the perps have taken root in a suburb instead, so for their next mission, BOPE are sent there to supplement/replace the local cops. Initially, both residents and city government are delighted to have someone there, following an incident in which local kids were shot. But after the gang members are defeated, the squad decide to turn their attention to the resident corrupt politicians. All of a sudden, they aren’t quite so welcome any more…

I loved Francis’s character arc: far from initally being any kind of bad-ass, her reactions during the first raid and subsequent gun-battle are much closer to the “cowering in a corner” which would likely be my personal approach to coming under attack. Her courage is latent, and somewhat misdirected – early on, she’s chewed out by her commanding officer, after risking herself to drag a wounded suspect out of the line of fire, something which clearly demonstrates the attitudes of BOPE. But she gets a tip from a prisoner, which pays off, giving her the self-confidence to come out of her shell. She blossoms from there, to the point that, by the end, she has become almost indistinguishable from her colleagues in terms of that attitude.

It does share a certain, alluring crypto-fascist attitude to Elite Squad: it seems to suggest that the cops deserve greater slack, since they never have anything but the best interests of the population at heart. At least Squad was willing to admit the potential for corruption – something this largely skirts, with the main villain carefully portrayed as a former cop. It also ends abruptly, feeling more like a pilot than a fully rounded feature, with too many loose ends. It’s still a sharp piece of social observation, with some good characters; her commanding officer is a particularly delight, someone who clearly gives not a damn for the niceties of convention. However, I’m still not likely to book any holidays to Rio for a while.

Dir: Tomas Portella
Star: Cleo Pires, Fabrício Boliveira, Thiago Martins, Marcos Caruso

Angel Force

  By

★★★
“In the jungle, the Lee-on sleeps tonight…”

This is confusing. For the IMDb lists a completely different film by the same title – also made in 1991 and starring Moon Lee. That one stars Simon Yam: this one doesn’t. Meanwhile, Amazon has Yukari Oshima in the cast – I may have blinked and missed her, but more likely she was in the other one. It is also, despite the title, entirely unrelated to the Angel series, though did remind me I’ve not yet got round to reviewing parts two and three of that. If you see it referred to as Mission Kill and Mission of Condor too, I think that’s the “other” Angel Force as well; one site even refers to this movie as Lethal Blood 2, although it bears no relation to the first movie there either. I hope this helps…

Regardless, I wondered early on if this would even qualify, as May (Lee) takes a back seat, playing second banana to her boss, Peter (Lam). He has been tasked with rescuing kidnapped Westerner Harrison, stashed away after his capture, deep in the Burmese jungle by local drug lord, Khun Sa [who appears to have been a real person]. After putting together a team, on virtually the eve of the recovery mission, Peter is gunned down in an attempted hit, and it’s up to May to lead things. There are problems both outside and inside the team. A mole is leaking information on the mission to the people they are after, and the first guy Peter recruits, Benny (Ng), turns out to be a borderline psycho, who gets a bit rapey with a captured enemy. It’s up to May to complete the mission, get out alive, and then figure out who is the informant.

Right from the start here, there’s no shortage of action. Though a bit too much of it consists of two group spraying automatic gunfire at each other, through thick jungle foliage and with all the accuracy of Imperial Stormtroopers. While I am never averse to seeing a guard-tower explode in a good, giant fireball, there is a limit to the appeal of such things, and it is certainly reached here, well before the arrival of what may be the first deus ex helicopter in cinema history. I was also amused by the painfully early nineties approach to both mobile phones the size of bricks,  and high-tech searches represented by a computer screen where the text largely consists of word-processor installation instructions. No wonder the team ended up with Psycho Benny.

Fortunately, the guns here jam or run out of ammo with regularity which could be concerning if I were a weapons manufacturer. As a viewer though, the film is on far more solid ground when dealing with the hand-to-hand action. Lee leads from the front with some fights that showcase her speed and agility to good effect. The most notable of these is a battle against Fujimi Nadeki after the near-assassination of Peter, in which May chases the killer through the streets on a motorcycle, to a half-demolished building. A savage gun-battle follows, notable not least for May’s point-blank execution of one man, ending with her going up against Nadeki. While it forms the high point, more or less any time Lee puts the gun down is a good indication you should start paying greater attention here.

Dir: Shan Hua
Star: Moon Lee, Wilson Lam, Hugo Ng, Fong Lung
a.k.a. Tian shi te jing

Ghost in the Shell (1995)

  By

★★★½
“The ghostess with the mostest.”

ghostintheshell1985Renowned for its influence on just about every subsequent cyberpunk entity, from The Matrix to Westworld, this also remains one of the classic anime movies, more than two decades after its release. The main problem though, is the translation of a densely-packed and heavily notated manga series by Masamune Shirow, into an 82-minute action feature. You’re left with something forced to cram the philosophical aspects into a couple of indigestible lumps – an approach certainly also adopted by the Wachowski Brothers.

It’s set in a future Japan where cyborg enhancements have become the norm, to the point where some people are beginning to question what’s left of their own humanity (the “ghosts” in the hardened artificial “shells”). Among them is Major Motoko Kusanagi (Tanaka), an assault-team leader in Section 9, a federal public security agency. They are attempting to track down the Puppet Master, a notorious hacker, who uses an automated facility to create an entirely artificial body. Section 9 discover that the truth about the Puppet Master’s origins is closer than is comfortable, stemming from the actions of another government department and “Project 2501”. But what, if anything, does this say about the Puppet Master’s goals?

It’s a rather uneven mix of high-paced action sequences and more leisurely scenes. Each work well on their own (helped immeasurably by Kenji Kawai’s score), yet fall short of combining into a thoroughly cohesive whole. The Major might be rather over-fond of waxing philosophical, as shown in the following monologue, during a down-time conversation with her less-enhanced colleague, Batou (Ōtsuka), which feels more like the sort of thing I heard out of my fellow students – typically, the damn philosophy ones – at university, late on Saturday nights after the bar had closed.

Just as there are many parts needed to make a human a human, there’s a remarkable number of things needed to make an individual what they are. A face to distinguish yourself from others. A voice you aren’t aware of yourself. The hand you see when you awaken. The memories of childhood, the feelings for the future. That’s not all. There’s the expanse of the data net my cyberbrain can access. All of that goes into making me what I am. Giving rise to a consciousness that I call ‘me’. And simultaneously confining “me” within set limits.

While certainly a good summary of the movie’s main theme, it’s the kind of thing best explored in a longer, more leisurely format such as the TV series which were to follow. Here, this kind of rumination seems a bit forced. More effective than the chat is the action. Kusanagi’s talents and ability to take damage make for some glorious set pieces, such as her fight with one of the Puppet Master’s host bodies, and a battle against a tank, possessing vastly superior fire-power. The look of the film is just glorious as well, combing traditional cel animation and computer graphics to an effect rarely, if ever, matched. There was an “enhanced” version which came out in 2008, with upgraded CGI; yet after two minutes, I switched back to the original, where the combination feels more seamless. It’s certainly preferable to much modern anime – I’d rather have something try too hard to be smart, as here, than not try hard enough.

Dir: Mamoru Oshii
Star (voice): Atsuko Tanaka, Akio Ōtsuka, Iemasa Kayumi, Kōichi Yamadera

PMS Cop

  By

★★
“A not-so fair cop”

pmscopBeginning with a jokey caption stating “The producers of this movie are in no way admitting to the existence of PMS,” this is a rather uneven B-movie, which has a potentially interesting premise. Unfortunately, it then does not do enough with the concept.

Mary (Hall) is a police officer with anger management issues. After beating up a rapist dressed as a clown. she’s ordered to undergo counseling. Her therapist puts her in contact with a pharmaceutical company testing a new drug, Corybantic, aimed at reducing the impact of PMS. After consulting with the leader of the project, Dr. Sokolov (Skinner), Mary starts taking the drug, and is injected with a chip to track her body’s response. But after witnessing her partner being gunned down during a convenience store robbery, it triggers a violent psychotic reaction. The drug company re-capture their test subject, only for her to break out of their restraints and go on a brutal rampage through the facility. Turns out the chip wasn’t just for telemetry either; it came from an abandoned Soviet project into mind-control.

There are a number of ways this could have gone. Social satire, as hinted at in the opening caption, or perhaps a modern version of the Frankenstein story. Instead… Well, there’s not much more than Mary, or her “PMS Cop” alter-ego (played by a different actress, Means), roaming the drug company’s building, banging heads together. The gore is enthusiastic and nicely practical; I particularly enjoyed the silicone implants ripped out of one poor victim’s chest, then used as the means of death for another. You don’t see that every day. However, there simply isn’t enough going on with the story-line to sustain audience interest.

It also shifts notably in tone. Early, it’s almost jokey – for instance, the clown rapist ties up his victim with balloons. Yet the humour is abruptly switched off as soon as Mary begins the drug trial; you’re left feeling like the rest of the film is a comedy without jokes. You can certainly check off the movies director Blakey is inspired by. Robocop, The Terminator and possibly Lady Terminator. Not that there’s anything wrong with influences. It’s just that those are all significantly better movies, and Blakey doesn’t bring sufficient new or interesting to offset this disadvantage. In technical terms, the lighting could certainly also have been better, with too many scenes painfully under-lit, in what may have been a misguided attempt as “atmosphere.”

While I’ve seen and enjoyed B-movies which have skated by on even thinner premises, they’ve been able to take their concepts and do more with them. This instead feels like a 15-minute short, stretched into a feature. I suspect it’s one which would have been more effective at the shorter length.

Dir: Bryon Blakey
Star: Cindy Means, Heather Hall, Elaine Jenkins, Megan Dehart

Forget and Forgive

  By

★★
“Largely forgettable.”

forgetAmnesia as a plot device is something which almost inevitably triggers heavy eye-rolling in me, because the results nearly all involve the subject regaining their memory in the precise way required by the plot. It’s so incredibly contrived. About the only films to have used amnesia that I like, are Memento, which was utterly consistent in its depiction, and The Long Kiss Goodnight, which was not about the effects of losing your memory, but much more about what happens when it comes back. This Canadian TVM will not become the third in the series, squandering some potentially interesting ideas.

Anna Walker (Röhm) is the subject of a vicious interrogation and beating, then nearly drowns. She wakes up in the hospital with no memory of her life or her family, and is surprised to discover she is actually a vice detective, with a husband, Tate (Napier) and extremely bratty teenage daughter, Emily (Douglas). Turns out her new personality is also radically different from the old one; a good deal stricter, as Emily finds to her distaste. That’s true at work as well; turns out that Anna was not entirely a straight arrow as a cop, as she discovers after finding a box in her closet containing a cellphone and a lease agreement to an apartment where, in turn, she finds large wads of cash. Her partner (Runyan) seems to be equally crooked Is this tied to the incident which caused her amnesia?

Röhm herself is okay, and the opening sequence is surprisingly brutal, given the medium and origins. However, the rest of the cast range from the thoroughly bland (Runyan) to the immensely irritating (Douglas), though in the latter’s case at least, this seems deliberate. This would be forgivable if the script managed to live up to the toughness with which it begins. In other hands, the general scenario might have made for an interesting study: how a sudden, externally triggered change in someone’s character affects them and those around them.

However, the film instead chooses to wander off in a number of far less successful directions. Turns out there’s a young prostitute that Anna was protecting, and whose existence poses a threat to those at the top of the vice food-chain. Throw in a pointless subplot involving her relationship with her estranged father – because, this is a Lifetime TVM, after all – plus some meaningless flashbacks of her wandering in the woods, wearing her police uniform, and you’ll probably find your interest waning well before the climax. It’s likely too much for all save the most undemanding of viewers to forgive, and everyone else will have no problems at all forgetting this one.

Dir: Tristan Dubois
Star: Elisabeth Röhm, Tygh Runyan, Neil Napier, Vivien Endicott Douglas

L.A. Bounty

  By

★★★
“Deeds, not words.”

labountyI’ve been doing this site for 13 years, and it’s amazing that this is the first “real” Sybil Danning movie I’ve covered (save her appearances in Malibu Express and Grindhouse), For she was one of the first action heroines I ever noticed, back in the golden era of VHS which was the eighties, when I was at college. Battle Beyond the Stars, Phantom Empire, Reform School Girls…. While I’d be hard pushed to call many of them cinematic classics – or even good, by normal standards – Danning, whose picture can be found in the dictionary beside the word “statuesque”, made an impact in them all. She seemed to be on the verge of a breakthrough, when an accident during rehearsal effectively ended her action career, leaving her with severely herniated discs in her back, and LA Bounty as her swansong.

She plays bounty hunter of few words, Ruger, an ex-cop who has been holding a grudge against those who killed her partner and got away with it. In particular,. that’s Cavanaugh (Hauser), an import-export businessman who has a number of other, shadier sidelines. His latest involves kidnapping a candidate for mayor of LA, only for Ruger to interrupt the process. As a result, the victim’s wife could identify the perps, so must be disposed of, only for Ruger to come to the rescue once again, intent on being the heavily-armed fly in the ointment, as she works her way up the chain of lowlife scum, towards Cavanaugh.

It is a bog-standard actioner from the period, with eighties hair, eighties fashion, an eighties soundtrack, and lots of bloodless gunplay. But two things salvage it from absolutely forgettability. And, no, that isn’t a set-up for a reference to Sybil’s breasts [impressive though they are; as a teenager, I must have worn out my copy of The Howling II…], for I mean Danning and Hauser, who are nicely constructed as polar opposites. Ruger is a women of very few words; the IMDb says it’s a a total of 31 during the entire film, but that doesn’t diminish much from the badassery of her character. At the other extreme, Cavanaugh runs his mouth at hypersonic velocity, and you get the sense he is capable of going from playful puppiness to psychotic rage in the blink of an eye. The contrast is well-conceived and nicely-executed, building to an extended finale around the villain’s warehouse where Ruger has to fend off everything from clockwork explosive birds to a giant, stuffed polar-bear.

As mentioned, while you’d be hard pushed to argue this was unjustly overlooked at the Oscars or whatever, it’s workmanlike enough. If the material has seen better days and the budget seems to be missing a zero, it’s improved enough by the two leads to leave you wondering where Danning’s career might have gone, if fate hadn’t dealt her such a crappy hand.

Dir: Worth Keeter
Star: Sybil Danning, Wings Hauser, Blackie Dammett, Henry Darrow

Fox Hunter

  By

★★★½
“For Fox’s sake…”

foxhunterGrittily disturbing, only some misplaced and failed stabs at comedy prevent this from likely being Leung’s best work ever. She plays rookie Hong Kong cop Jenny, following in the footsteps of her late father, who takes on an undercover mission aimed at trapping gangster Tung (Fung). While it succeeds, Tung escapes, and takes vengeance on Jenny, killing her uncle in brutal fashion. This, in turn, pushes her over the edge, and she teams up with his pimp-turned-informant (Chan), who is feeling aggrieved after having not received his promised reward from the authorities. The pair head to China, where Tung is hiding out, only for Jenny to rapidly wear out her welcome with the local cops and their commander (Guang). Worse is to follow, when Tung finds out they are on his tail, he begins a campaign of terrorism, culminating in wiring an entire shopping mall with explosives. He’s very fond of explosives…

The cover (right) is surely among the least accurate I’ve seen, depicting a frothy concoction mercifully not present – and the movie contains absolutely no pineapples at all, in case you were wondering. In particular, they really shouldn’t have tried to make Chan’s character any kind of comedic foil, because it just doesn’t work. During the early going, I was praying for his rapid, painful demise, though he does become more sympathetic in the second half. Fortunately, the other aspects outweigh the ill-considered negatives. Though this is one of only four films directed by Tung Wai (including an all time HK favorite, Magic Cop), he has a long pedigree as an action director – among his works previously covered here are Mulan, Reign of Assassins and The Assassin – and that’s when this movie shines. Particular standouts are a sequence in which Tung shows up at the apartment complex where our pair are hiding out, and the final battle up and down the insides of the mall.

It’s clear throughout that Leung is doing most, if not all, her own stunts; the sequence where she uses a sofa to escape a grenade blast is so realistic, you can virtually smell her singed eyebrows. It also helps that she isn’t portrayed as all at some kind of superwoman. Indeed, Tung is depicted as stronger, and far more brutal than the heroine, resulting in a genuine sense of peril for her – Jenny has to dig deep into her reservoir of tenacity simply in order to survive his onslaught, never mind prevailing over her nemesis. As well as the cover, the English-language title doesn’t do this justice, conjuring up a rather different set of images. While I get the sense of her going after a predator, something like Wolf Hunter might have been more appropriate, in terms of getting the hard-edged tone for which this aims.

Dir: Stephen Tung Wai
Star: Jade Leung, Jordan Chan, Ching Fung, Yu Rong Guang