Tag: hong kong

Dragon Chronicles – The Maidens of Heavenly Mountain

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★★★½
“Cool!” battles “Eh?”, and comes out ahead – albeit only after a lengthy struggle.

Going in, I knew this had a reputation for incoherent plotting, but after 10+ years watching HK movies, I figured I’d cope. Wrong: I sank within two minutes. An incomprehensible opening voiceover makes this feel like part 17 of an ongoing series; from there on, characters, sects, and magical kung-fu abilities (such as Shifting Stance, which lets you blink in and out of reality, or the self-explanatory Melting Stance) arrive with rush-hour frequency. Basic principle: various factions struggle for martial arts supremacy. Central to these battles are four women, who initally fight among themselves, before realising they must band together to face the ultimate enemy. If I said more, I’d be engaging in wild speculation.

The fact that you don’t really know who is good, evil or any point in between does hurt the film, and every scene with dialogue seems to make things worse. Just to confuse things even more, Brigitte Lin plays two of the women, though Cheung Man perhaps does best as the feisty, light-hearted Purple, whose ambitions exceed her actual skills. Lose any desire to understand what’s happening: the sets and costumes are spectacular, and the fights are imaginative, despite cheesy visuals, and sound effects that appear to have been lifted from Return of the Jedi. Instead of following the plot, try to copy the cool magical gestures of the characters. We did. :-) Maybe some day, we too will be able to regenerate a torso from the severed stumps of our legs…

Dir: Chin Wing Keung
Star: Gong Li, Brigitte Lin, Cheung Man
a.k.a. Semi-Gods and Semi-Devils

Her Name is Cat

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★★★
“A mix of the horribly effective, and the plain horrible.”

Clarence Ford seems to be after a PG-13 rated version of his hit, Naked Killer, reining in the sex while keeping the action. That it doesn’t succeed is more due to staggering ineptness in the superfluous attempts to give it emotional depth. Any movie is in trouble when someone says, “Love means never having to say you’re sorry,” never mind a kick-ass action flick. Fortunately, that side is luscious, well-staged and shot, and it’s this that saves the film from being a disaster. The above rating is thus a composite: 4.5 for action, 1.0 for drama, divide by two, and round up for the wildly gratuitous, wholly inaccurate, very non-PC poster.

Wong plays Yin Ying (a.k.a. Cat, I guess), an assassin from China who falls in love with the cop hunting her (Michael Wong), and wants out of the murder business. But he wants her employer too, who thus sends other killers after the policeman. She defends him, and battle is joined. The Cat/cop relationship is awful, impeded by a portentous voiceover and an apparent ignorance that this has been done a million times before. You may also find yourself wondering whether a full wedding dress is standard gear aboard Hong Kong yachts.

It doesn’t help that Michael Wong is wooden as ever, though even Anthony Wong would be hard pressed in scenes requiring him to mope over home videos of his ex-wife and kid, as mournful easy-listening music plays. When Cat goes to war, however, the results are excellent: particularly outstanding are a brawl in a burning building, and a death nicked from The Omen. Could have done without the workout footage, but given the amount of noodles Cat eats (a nice touch, since her family died of starvation), it’s probably necessary.

Dir: Clarence Ford
Star: Almen Wong, Michael Wong, Kenix Kwok, Ben Lam

Velvet Gloves

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★½

This film is a 90-minute explanation of why Jade Leung’s star never took off. While some decisions Michelle Yeoh made might have been questionable, at least her films were rarely boring, and never down to the level of this piece of tedious dreck. It depicts the struggles of a class of policewomen (including Jade), to become part of the elite. The idea certainly has potential – the Inspector Wears Skirts series has a similar premise – but here, there is almost no character given to any of the girls; they all blur into each other, like a dozen GI Jane-wannabes.

The director – whoever they may be, since the credits were all in Chinese, and the Internet offers limited assistance either – also seems to believe that if two minutes of the ladies taking on an assault course is good, ten minutes must be better. Another example is the seven-day forced march, which feels like it was filmed in real time, and screws up the most obvious opportunity for tension. It does lead to a somewhat interesting sequence, where three of the women have to last two minutes fighting martial-arts instructors, to avoid getting kicked out. But there is no flow to the plot at all – it lurches from set-piece to set-piece without cohesion or progression. All of which would be tolerable if the action elements weren’t handled in such a lacklustre fashion, but there’s nothing here to write home about, except in a “PS. Obvious stunt doubling” kind of way.

For some strange reason, this film appears to be unavailable on DVD – should you want to see it (and if you do, I’ve clearly failed in my mission here), you’ll have to see the VCD, with its illegible subtitles and a plot synopsis which shakes hands and parts company with the truth after the first sentence. It opts to visit the land of Wild Fabrication instead, continuing: “Before graduation, the team is called to handle a hostage situation in a jewelry expo. Afterwards the girls are assigned to as the bodyguard of the first lady of a small country. But the first lady’s own rebellious guard kidnaps her and executes one of the girls…” There’s not a single word of truth there: the movie finishes – abruptly – on graduation day, after yet another training mission.

But if you know what film that synopsis actually describes, do let me know, because it’s almost certainly far more interesting and entertaining than this one. It may not be the worst action heroine film I’ve ever seen, but it’s probably the worst ever to come out of Hong Kong, which usually does such things with a certain degree of invention, enthusiasm and energy. None of these are visible here, in any amount.

Dir: Billy Chan Wui-Ngai
Stars: Jade Leung, Bobby Au, Farini Cheung, Zhang Fengyi

Satin Steel

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★★★½

This fast, furious, largely daft movie was Jade’s immediate follow up to the two Black Cat films. If they were based on Nikita, the inspiration here is clearly Lethal Weapon, with Leung as a headstrong cop (also named Jade Leung!) who believes in shooting first and asking questions…oh, somewhere between eventually and never. With her sensible partner (Lee), she chases evil weapons broker Mr. Fowler and his gang from Singapore to Indonesia. It eventually ends above a volcano, with Jade clinging desperately to a helicopter.

The elements here are hugely variable: Leung and Lee have great chemistry, but Lee’s boyfriend Paul (Chan) may be the most irritating bastard in cinema history – his every appearance provoked a strong desire to throw things at the TV, and we cheered loudly when he was gunned down, particularly since it shut him up for a bit. In contrast Russell Wong is more sympathetic as Fowler’s naive lawyer, though since we know what happened to Jade’s first husband, this relationship might as well be wearing a sweatshirt marked ‘Doomed’. One also wonders why an international arms dealer would employ a troupe of native dancers as henchmen.

While the plot and characterisation leaves a little to be desired in originality and execution, the action is plentiful and energetic. Of particular note is the previously-mentioned helicopter sequence – at first, we suspected heavy stunt doubling, but later on, there are a couple of shots which give pause for thought, and Jade deserves greater credit. It’s just a shame it ends so abruptly. Jade’s battle against the dancers is also pretty cool, and Lee has a good fight at a train station, culminating with a leap in front of an oncoming engine that merited an immediate rewind and rewatch.

There is, however, something obviously cheap and apparently rushed about the whole endeavour, and it feels like one of the later entries in Cynthia Khan’s filmography – particularly, Angel on Fire, which also had two policewomen from different lands, travelling to a third (and presumably, cheaper to film in!) country to find the villains. One suspects Jade was under pressure to make another movie while her star was still rising, regardless of the end product’s quality.

Dir: Tony Leung Siu-Hung
Stars: Jade Leung, Anita Lee, Russell Wong, Kenneth Chan

Black Cat 2: The Assassination of President Yeltsin

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★★★

blackcat2While neither Nikita nor The Assassin ever resulted in a sequel, the success of Black Cat lead, immediately to a follow-up. This is both good, in that it forced D&B Films into coming up with some new concepts, and bad, because what they came up with is a barely coherent mess. They take Leung – who had won the ‘Best Newcomer’ award – and give her a role where she gets to speak twice. The real star is Robin Shou, well before his Mortal Kombat days, and with a much better haircut too.

He plays a CIA operative – the laserdisk subs say this stands for Central Intelligent Agency, clearly dating this before 9/11 – who is investigating a group out to assassinate President Yeltsin. Their chosen hitman has been beefed up with some kind of ill-explained technological wizardry, but luckily, one person can detect the radiation he gives off: Black Cat, who now has a chip in her head (to match the one on her shoulder, hohoho). This leads to an amusing sequence where Black Cat heads off on her own, charges into a mall, and shoots an old lady because – wouldn’t you know it? – the senior citizen just happens to be giving off the same kind of radiation, courtesy of her medical treatment. Well, I found it amusing, anyway; there’s something about a head-shot which spatters the face of a nearby clown with copious amounts of blood. Er, just me, then? :-)

 Okay, the movie may never be dull, and is certainly not short on action. Yet it doesn’t make any sense. Why would the CIA send operatives into Russia to save their president? And what are they doing operating in America? Isn’t that illegal? Oh, I forgot – it’s the CIA we’re talking about here. Leung’s robotic performance – even though entirely appropriate, since she now comes with an remote-control off switch – also feels like a terrible waste of her talents. There’s a lot of wire-work in the action sequences, but it’s not badly done; the highlight is probably a fight in a steel-works where both Robin and Jade have to take on large numbers of adversaries. The final battle, when Black Cat fights the assassin around the wreckage of a crashed plane, is cool too, with the two antagonists bouncing off the debris.

However, the overall impact is bitty and sporadic. While there are some nice ideas, they are poorly thought-out and developed, and the script doesn’t meld them into any kind of satisfactory structure. The action sequences feel equally bolted-on, though I did like the use of a President Yeltsin lookalike (at least, one presumes it was a lookalike, though I recall the real ex-President Gorbachev did appear in a Wim Wenders film). After the critical acclaim that greeted her debut, Jade Leung could have turned her skills in any direction; unfortunately, this disappointing follow-up is largely symptomatic of the poor choices that seem to have dogged her subsequent career.

Dir: Stephen Shin
Stars: Robin Shou, Jade Leung, Zoltan Buday, Patrick Stark

Naked Killer

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★★★★

Take a large helping of Basic Instinct, toss in some Nikita, and just a pinch of obscurer works such as Intimate Confessions of a Chinese Courtesan. Toss into the blender, and crank up to 11. The story concerns Kitty (Yau); when she goes to take revenge on the gangsters who killed her family, she crosses paths with Sister Cindy (Yao), a hitwoman who only takes out male scum. She saves Kitty and trains her as a new apprentice, despite the close attentions of cop Tinam (Yam), besotted with Kitty. He has a murky past, and throws up every time he holds a gun, since he accidentally shot his brother. Which isn’t good, especially when Cindy’s last apprentice, Princess (Ng) and her sidekick Baby (Svenvara Madoka) come back for tea and revenge…

It’s a script by Wong Jing, about whom opinion is sharply split. Some HK cinema fans regard him as a talentless hack, leaping on trends and churning out dreck purely for the money – the IMDB currently gives him 85 directorial credits. However, he’s had a hand in more of my favourites than any other film-maker: God of Gamblers, City Hunter, The Magic Crystal, Tricky Brains, New Legend of Shaolin, so I’m a big fan. Here, though not officially in the chair, I sense his hand was not limited to a writing role, not least because, at the time he was, ah, “seeing” Chingmy Yau.

Whoever the auteur, the result is one of the more delirious and mad entries in the girls-with-guns genre: much as Suspiria nails a dreamlike quality in the horror field, so does Killer for action heroines. It’s a nightmarish version of the war between the sexes: murder isn’t enough for our assassinettes, castration also seems to be required, while Cindy keeps a basement full of drooling rapists for training purposes and, I sense, doesn’t really feel the rest of mankind are much better. Much the same depth (or lack thereof) applies to all the characters: the women are largely man-hating lesbians; the men, bumbling idiots.

It all looks superbly stylish, thanks in part to cinematography by Peter Pau (Crouching Tiger) – though no-one seems certain whether he shot the movie, or just the supercool trailer, which has a whole bunch of stuff that never appears in the actual film. But regardless, the action (even though the starlets lacked much of a martial arts background, they’re pretty impressive), costumes, dialogue, characters and storyline all mesh elegantly into a whole that is undeniably exploitation cinema at its finest.

Ng, in particular, nails her part with a relish that’s just fabulous, but Kelly Yao also does surprisingly well – her role is perhaps the most pivotal in the plot, and she’s required to do more than look pretty, which she does with a maturity and confident poise that borders on the balletic. Yau is about the closest to a sympathetic character the film has, being largely the victim of unfortunate circumstances, while Yam has pretty much made a career out of playing the troubled cop, and could do this kind of job with his eyes shut. Indeed, given the vomiting required, he largely does.

But in this film, there’s no doubt: this is a women’s world, and any men in it are barely tolerated, as long as they behave themselves and cause no trouble. You could debate the gender politics on view here almost endlessly, but one seriously doubts Wong Jing had the slightest interest in this angle, any more than the late Russ Meyer viewed Faster Pussycat as a stirring tale of female empowerment. The viewer is, naturally, free to take whatever party favours away they want; just don’t seek to impose such high moral thoughts on those of us who are simply after a head-spinning dose of dubious entertainment.

This one is best enjoyed – indeed, perhaps only truly enjoyable – after a 16-oz steak and several alcoholic drinks of choice. Sprawl on the couch with your head gently spinning, and enjoy the heady excesses as they unspool. The term “Cat. III cinema” (the HK version of an R-rating) means many things, and covers much territory, both good and bad; this is firmly at the upper end of the spectrum, and combines sex and violence in a giddy way rarely seen in Western cinema.

[A couple of caveats: be careful of the version you buy: the Fortune Star version released in the US through Fox is heavily cut, both for sex and violence. Oddly though, some parts that have been removed (such as bits from Baby’s pool assassination) turn up as background in the interviews. Go figure. It’s hard to work out why they were removed, especially when they left in the “hilarious” scene in which a severed penis is mistaken for an undercooked sausage. The Region 2 DVD from Hong Kong Legends is probably the best way to go, if you have a multi-region DVD player. Also avoid any dubbed version; even by the usual low standards of such things, the English track is awful.

And don’t get reeled in by the sequels in name only, which redefine suck to almost unexplored depths. You’d think that with a title like Naked Killer 2: Raped by an Angel and a cover like this, you could hardly go wrong. You will learn, very quickly, exactly how it’s possible: in my other incarnation, I wrote, “I can forgive many things in a Cat. III film; but boredom is not one of them,” which should be sufficient warning to stay well clear.]

Dir: Clarence Fok
Stars: Chingmy Yau, Simon Yam, Kelly Yao (Wai Yiu), Carrie Ng

Black Cat

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★★★½

blackcatBefore the official remake of Nikita came out, Hong Kong had already delivered its take on the matter. The film starts in New York, and a large part of this is in English, though the acting there is so woeful as to make you lean towards the Chinese dubbed version. The heroine, Erica, is made more sympathetic: while she still kills a cop, she’s not a junkie, and is “shot” while trying to escape. She wakes up under the watchful eye of Simon Yam, in the “Uncle Bob” role (though here, he’s a ‘cousin’).

From here, the plot is similar to Nikita – missions, qualms, romance, escape attempt, etc – and interestingly, her boyfriend (Thomas Lam) is a photographer, an idea also used in the later Point. There are, however, significant differences in the details. For example, Erica has a chip implanted in her brain, supposedly, to help her achieve her full potential, but all it seems to do is give her raging headaches [admittedly, a potentially useful control mechanism]. They also skip the etiquette lessons, which seemed irrelevant to me anyway – how do good table manners help, when your mission solely involves the use of a sniper rifle?

The specifics of her missions are also altered. The final test, rather than an assassination in a restaurant, is to kill the bride at a Jewish wedding, for reasons left unexplained – but given the heavy weaponry carried by a lot of guests, it’s perhaps no bad thing! Others involve shooting an executive of the WWF (the nature group, not the wrestling federation!), a throat-slitting at a Japanese hot spring resort, and, in the best-staged sequence, dropping a lot of metal from a great height onto the roof of her target.

However, the movie’s main strength is Jade Leung, who fully deserved the Best Newcomer award she won at the 11th Hong Kong Film Awards. Every facet of her character is consistent and believable, certainly more so than Bridget Fonda – it’s at least the equal of Anne Parillaud, and arguably may be even better. Yam is perhaps a kinder, gentler handler: he doesn’t shoot his protege in the leg, for example, yet the relationship between them is missing the romantic spark which lurked in the original. As for Thomas Lam, he’s not Dermot Mulroney, and that alone is an improvement.

The film is undeniably flawed, not least in a soundtrack that is often wildly inappropriate, and seems to have been pulled at random from easy-listening CDs. But its core is solid, and in a lot of ways, this is a more justifiable movie than Point of No Return. While the story remains the same, Black Cat does at least bring a bottle to the party, adding enough new twists to make it interesting (and avoid a lawsuit). Leung’s fine performance is an unexpected bonus.

Dir: Stephen Shin
Star: Jade Leung, Simon Yam, Thomas Lam

Mission of Justice

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★★
“Ten minutes of good action, and a lot of zzzzzz.”

I hoped for more from a pairing of Lee and Oshima, each having done fine work individually, but as is often the case, the return declines, the more action heroines are crammed in. There’s no less than five here: two special agents (Lee and Oshima), their commander (Ng), plus the smuggler they’re after (Sharon Yeung, at a guess?) and her sidekick. Oh, Sophia Crawford turns up briefly too. Never mind the quality, feel the width…

I think it’s drugs that are involved here, but weapons, forged money and white slavery are also thrown in at various points. There’s also no honour among the thieves, as the middle part of the film proves, during an immensely tedious trek through the jungle. Lee and Oshima vanish without a trace, after a couple of good fights early on; the pacing then collapses entirely, until a ludicrous, excessive gun-battle at the end. Fortunately, the baddies have attended the Imperial Stormtrooper accuracy course – though since our heroines are supposed to be capturing their target alive, would have thought hurling an apparently infinite supply of hand-grenades might not be the best tactic…

Could really have done without the tone-deaf music and the lurid costumes, but I suppose it’s nice to see the disabled getting work. Sure there’s an excellent trailer to be made here, and when the ladies get to do more than wave guns around, this is pretty good – unfortunately, there isn’t enough of that, and the rest of the movie is almost embarrassingly weak.

Dir: Chun-Yeung Wong
Star: Moon Lee, Yukari Oshima, Tommy Wong, Carrie Ng

The Avenging Quartet

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★★
“Enormous potential, largely wasted thanks to dreadful script.”

Add supporting roles for Michiko Nishiwaki and Yukari Oshima to Khan and Lee, and you should have a winner, all four being in perhaps the top half-dozen or so action heroines from Hong Kong. Yet while the fights here are grand, the film wastes far too much effort elsewhere. Khan is a Chinese cop who comes to Hong Kong and bumps into gangstress Lee while looking for former lover Waise Lee, who is a) also Lee’s love, and b) now involved with a painting that hides documentation on Japanese wartime human experiments, which Nishiwaki is trying to sell to Oshima. Like I said, far too much effort (if you want to know about those experiments, track down the grim but jaw-dropping Men Behind the Sun).

The opening act is particularly dire, consisting largely of Cynthia Khan wandering round looking pouty, while “If he only loved meeeee…” music plays, followed by female bonding with Moon – Chris started complaining of cramps around this time. We can hardly blame the actresses, who do what they can; a decent writer would have dealt with this in five minutes, and could then have spent time on Oshima, who has absolutely no character development. The good thing is, you soon learn that when she appears, a fight will shortly follow.

Things do perk up later on; after all the oestrogen, Chin Kar Lok is welcome light relief as an amusing dumb cop, and the finale is excellent, with echoes of Thelma and Louise. However, it’s too little, too late. It’s worth pointing out that while the title and artwork imply some kind of team-up, as in The Heroic Trio, the reality is unfortunately totally different, and nowhere near as interesting.

Dir: Stanley Siu Wing
Stars: Cynthia Khan, Moon Lee, Waise Lee, Chin Kar Lok
a.k.a. Tomb Raiders

Yes, Madam

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★★★★
“Early HK girls-with-guns flick sets high standard.”

Purely on a historical level, this 1985 film merits attention since it started the whole action-heroine genre in Hong Kong cinema, which thrived for the next decade, producing some of the finest entries ever made. It also was, effectively, the start of the careers of Michelle Yeoh and Cynthia Rothrock. Interesting to see how they’ve since headed in opposite directions: Rothrock to low-budget erotic thrillers, Yeoh to the Academy Awards.

But even on its own terms, and despite a few mis-steps (forgivable in any pioneer), this is still greatly entertaining. It’s classic good-cop/bad-cop material, with Rothrock playing Carrie Morris, a Scotland Yard officer send to help Yeoh find a microfilm which incriminates the manically laughing chief villain (James Tien), and is in the unwitting possession of three shysters.

For some reason these are named, in the subbed version, Strepsil, Panadol and Aspirin – one is played by famous HK director Tsui Hark. The subbed version also includes some very goofy comedy (including a cameo by Sammo Hung) that, frankly, I could have done without; score one for the dubbed version which excises this, and also treats you to a dubbed Rothrock, sounding more like the Princess of Wales. On the other hand, her nickname in the subtitles is – and I wrote this down – “nasty foreign chick”. Something lost in translation there, I reckon.

It all builds to a fabulous, extended brawl in which our heroines take on the bad guys in a plate-glass showroom (er…perhaps it just seems that way). This remains one of the finest showcases of female martial arts on the screen. Up until then, it’s been solidly entertaining, pacey and with some thought apparently having gone into the plot and characters. It’s a classic, in more ways than one.

Dir: (Corey) Yuen Kwei
Star: Michelle Yeoh (as Michelle Khan), Cynthia Rothrock, John Sham, Man Hoi