Tag: kung-fu

Lovely But Deadly

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★★★
“No, no! Not the chopped liver!”

After her brother drowns while high on drugs, Mary Ann “Lovely” Lovitt (Dooling) goes undercover at his school, Pacific Coast High, in order to root out the dealers responsible for his death. She discovers that the problem is far larger than is admitted, with those involved, and includes not just some of the most revered pupils e.g. star players on the football team (and, on more than one occasion, their jealous girlfriends!). A number of adults are also culpable, including leading school boosters, all the way up to leading local businessman ‘Honest Charley’ Gilmarten (Herd). Fortunately, Mary Ann is an expert in martial-arts, so proves more than capable of defending herself when attempts are made to dissuade her from investigating further.

The first thirty minutes of this are startlingly entertaining, which was a real shock. Sure, Dooling’s fighting skills leave a little to be desired… okay, a lot to be desired, yet her opponents sell the moves with surprising effectiveness. It feels almost like a parody of high-school films, made in the Philippines as a sly comment on President Duterte’s war on drugs, though the soundtrack appears to have strayed in from a Bond film. That applies especially to the title song, I believe sung by Marcia Woods, with its classic lyrics, such as “So low, so low, so low/How low, how low can they go?” And how could you go wrong with a film where, ten minutes in, the heroine force-feeds a dealer his own supply, while telling him a story about an old possum? Or where Mary Ann and her friend (O’Leary) are chased through the school by a pack of people in fencing uniforms?

Unfortunately, it can’t sustain this loopy energy, and loses its way badly in the middle. At least the scene where Honest Charley hits on our heroine is less creepy than you might imagine: Dooling was 27 at the time this came out, so was not exactly a convincing high-school student. She’s not the only one: school football star ‘Mantis’ Manigian is played by Rick Moser who, far from school, was actually a member of the Pittsburgh Steelers at the time. There are still sporadic moments of interest in the rest of the film. The costume party that turns into a cat-fight, leading to the immortal line at the top of this review. Or the extended climax at the docks, where Lovely is helped out by the rest of her kung-fu class, all fetching clad in their matching, zebra-striped karategi.

However, for every one of these, there are two or more scenes of tedium, such as the subplot involving Mary Ann’s boyfriend and his ambitions to be a singer (the actor involved ended up producing David Hasselhoff albums, which should be penance enough for anyone). In the end, while likely remaining more entertaining than most of its ilk, this (probably inevitably) falls short of its alternative tag-line, “James Bond couldn’t… Bruce Lee wouldn’t… They can’t do what Lovely can!!”

Dir: David Sheldon
Star: Lucinda Dooling, Michael O’Leary, John Randolph, Richard Herd

Revengence Superlady

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★★★
“Sympathy for Lady Revengence.”

Despite a mangled title, what you have here is a straightforward tale of vengeance – and its attempts to diverge from that narrative are when the film is at its least interesting. Evil general Ji Xian Tang kills the parents of Ho Yu Fung (Ding): well, I suppose technically he only kills her father, her mother committing suicide by the corpse. In some remarkably unsubtle foreshadowing, Yu Fung is told, “This broadsword is our family heirloom. Our hope for vengeance is in your hands.” Given this, it’s no surprise she escapes with the help of a brave sacrifice from a servant, and becomes the pupil of a kung-fu master.

After what feels possibly as much as weeks of training, she heads out to get her revenge, though her first attempt succeeds only in killing one of Ji’s body-doubles. The film then drifts off-course, as she overhears the servants of traveling scholar Master An plotting to rob him, and helps him avoid that fate. He’s a supremely uninteresting character: they have absolutely no chemistry together and their relationship serves no purpose.  Meanwhile, the General has realized Yu Fung is after him – perhaps a result of her showing up at his residence, and going on about having been sent by “the souls of your victims.” So he unleashes the Iron Monk, a.k.a. Iron Sand a.k.a. Iron Buddha a.k.a. Lord Wang. The subtitles are kinda vague.

Mind you, if I was called Lord Wang, I’d probably have an a.k.a. too.

Anyway, Mr. Wang tries to force Yu Fung’s teacher to give her up, and Master An spends the night at a Buddhist temple run by cannibalistic monks(!). Yu Fung shows up to rescue him, and to do so, has to go through a spectacular series of traps. These made me strongly suspect this might originally have been shot in 3-D, since they tend to come straight for the camera. It’s certainly the film’s most memorable sequence, even in 2-D. Then she suddenly remembers about the whole familial slaughter vengeance mission thing, and it’s eventually off to battle past Wang, then face Ji around and up a large pagoda. You just know someone is going off the top…

Definitely getting an extra half-star for the Buddhist temple apparently run by people who’d seen Indiana Jones and Cannibal Holocaust, it helps that Ding kinda has a resemblance to a young Michelle Yeoh (at the time this came out in 1986, she was just getting started across the frontier in Hong Kong). She has a nice, acrobatic style; there were a couple of scenes where I thought she was being doubled, only for the camera then to show, no, it was actually her doing the moves. However, the pacing has a lot of room for improvement, grinding to a halt more or less whenever Master An is on screen. Between that and the entry-level nature of the storyline, this doesn’t manage to live up to the “Super” element of its title.

Dir: Tôru Murakawa and Qitian Yang
Star: Ding Lam, Yau Kin Kwok, Wong Jun, Lee Jun Fung
a.k.a. 13th Sister or Lucky 13

Immortal Fist: The Legend of Wing Chun

  By

★★
“So, is there, like, an anime convention in town or something?”

The above quote does suggest that the makers here appreciate how ridiculous the entire thing is. And that self-awareness may be the main thing which saves this from being largely cringeworthy. Just because you can make a fantasy kung-fu film with no budget, and largely filmed in a Californian park, doesn’t mean you should make a fantasy kung-fu film, etc. etc. Kaya (Caminiti) is your normal high-school girl. Except for being adopted, parents unknown. And the recurring dreams about martial arts battles. And the four mystical guardians who follow her around. And, it turns out, that she’s the great-granddaughter of the original Wing Chun (Bennett), and her last surviving descendant. Evil forces are intent on ending the bloodline; the guardians try to stop them, while attempting to convince Kaya to… er, get her arm cut off so she can claim her mystical birth-right and resulting mad skillz.

There are some interesting ideas here, such as the notion we live in some kind of Matrix-styled VR multiverse. But there are just too many mis-steps – and ones which would have been easily avoidable, and are unrelated to the lack of resources. For instance, why the guardians take the form of young, thoroughly non-Asian Americans, could have been explained away with a quick line or two about adopting the best shape to blend in to modern society. Nope. There are way too many loose ends that go nowhere as well, such as Kaya’s school pals. This is all the more irritating, because the film ends with absolutely nothing of significance having been resolved: it’s an attempt at delivering a cliffhanger, which is staggeringly unsatisfying.  I hate that nonsense when books pull it, and it’s no better here. Especially as this runs only 73 minutes, even including all those superfluous loose ends. Tighten it up, and give us a proper, complete story. If we want a sequel, we’ll let you know: don’t tell us.

However, I actually quite liked the performances here: Caminiti is a winning heroine, with a dry reaction to the increasingly bizarre situation in which she finds herself. The guardians, led by Tai Fong (director Beyer), have an amusing mix of personalities, but it’s Bennett as Wing Chun who manages to steal the film, despite only having a few scenes – she’s taking proceedings far more seriously than they probably deserve, and elevates the whole thing as a result. Technically, it’s not bad, with some interesting use of filters and colour in the “other” realm. In the end, this is not much more than a glorified fan film, with aspirations clearly well in excess of its ability to deliver. As an apparent first feature, there’s something to build on, yet I suspect it might have been better released as a web series. This could have helped address some of the more obvious flaws, and perhaps found the cult following to which it seems to aspire.

Dir: Lon Beyer
Star: Silvana Caminiti, Lon Beyer, Josh Fesler, Elle Bennett

Miraculous Flower

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★★★
“Flower power”

Another solid Pearl Chang movie – despite being mis-labelled as Wolf Devil Woman 3, it is in now way related to that super weird entry. This is closer to The Invincible Swordswoman, though is not without its strange aspects. Pearl plays May, who gets an annoyingly cryptic mission from her dying mother – I mean, if I was about to shuffle off, my last words would be considerably less vague than, and I quote, “I’ve put a very important thing in a box… You will find out about a great, great secret. From that, you will see the task that you have to perform.” She then drags said sick parent round the countryside for a bit, not even noticing for a while that she’s now pulling a corpse [like I said: not without its strange aspects].

She befriends a roaming scholar (Tsung), who has a secret identity as a vigilante, and after helping fend off a home invasion, is adopted by his family. The whole “mission given by her dying mother” thing appears largely forgotten by May at this point. Eventually – and it could be weeks, months or years, since time-frames are not this movie’s strong suit – she remembers about it, and heads out on the road again. Suddenly stricken with guilt, she’s about to fling herself into a gorge when she’s stopped by the Happy Fairy (Gua), so named because her grin achieves Joker-like levels of permanence.

She increases May’s stock of skills, adding to those picked up from the vigilante scholar, though her training methods involve literally spit-roasting May, as well as turning her into a living snow-woman [again: strange aspects]. It all makes sense after the Fairy tells her a story about a bloody massacre from which there was only one survivor. May inexplicably fails to grasp the deeply-personal connection this anecdote has, well after the audience has figured it out. But this sets in motion the final act, where she turns into the Miraculous Flower – yeah, I was wondering when that was going to become relevant, too. She sets about obtaining her revenge, leaving a white blossom on the scene as her calling-card. Though it’s not as straightforward as that (let’s face facts: it never is), with the secateurs of May’s justice ending up cutting perilously close to her life before becoming the vengeful flora.

Not much is known about the director of this, but he seems to have had a serious thing for heights. The movie certainly makes the most out of Taiwan’s mountainous scenery: as well as the gorge mentioned above, we get battles on the sides of mountains and a particularly memorable one on a waterfall. The story isn’t more than a series of cliches, and definitely tries to stuff too much into its 86 minutes, while the lifting of the theme from The Twilight Zone is particularly blatant. Yet, I’d rather have a movie with too much imagination, rather than not enough: and you’d certainly be hard pushed to claim this fell into the latter category. I was more than adequately entertained.

Dir: Fong Ho
Star: Pearl Ling Chang, Tsung Hua, Gua Ah Leh, Wang Hsieh
a.k.a. Phoenix the Ninja

Furie

  By

★★★
“Hell hath no furie…”

We’ve seen Ngo, the star here, previously on this site in Clash and The Rebel, though in both of those, she was the film’s co-star, along with Johnny Nguyen. [What I hadn’t realised, is she was also in The Last Jedi, albeit briefly, playing the sister of Rose Tico, as well as Netflix movie Bright] Here, she’s the focus of the film, which makes for an improvement from the action-heroine point of view, even if the story is rather generic.

She plays Hai Phuong, a former gangster, who had to leave Saigon after an unfortunate arson incident, and is now working as a debt-collector for a rural loan-shark. Her little daughter, Mai (Vy), dreams of them going legit, running a fish-farm, and Hai is about to pawn her precious ear-rings to realize this ambition, when Mai is snatched from a local market and taken back to Saigon. Hai naturally follows, and discovers her daughter was taken by an organ-trafficking ring. The cops have been investigating, but lead officer Luong (Nhien) hasn’t been able to get enough evidence to act against them. He’s more than happy to let Hai bust the gang wide open, along with its brutal female leader, Thanh Soi (Hoa).

It’s probably a little slicker than her previous Vietnamese vehicles, and I’m not sure that’s necessarily a good thing. The fight choreography, cinematography and editing teeter dangerously near to the Hollywood style, rather than the more “old-school” approach taken before. I prefer the latter, being more amazed by physical talent, than cinematic sleight of hand. Not that Ngo is entirely deficient in skills, it’s just a lot harder to be sure here. To be honest, Hoa probably comes over as more impressive in that area, though we don’t really see enough in terms of performance to be able to assess her skills in the acting department. But it’s interesting to see a martial arts film where the both the protagonist and lead antagonist are both women: you don’t see that often.

Despite the familiarity of the plot – virtually every review compares it to Taken, except with a mother instead of a father – the movie keeps things moving at a brisk pace, although the cop character is almost entirely superfluous, at least until the end. That’s an aspect which I felt could have been handled better, with the heroine suddenly getting a bit white-knighted, after surviving through everything to that point on her own abilities. However, it’s overall a good character arc, with Hai simply trying to do the best for her daughter, only to find that life is reluctant to allow that, and keeps putting obstacles in her way. A solid and effective enough slice of action, I just wish it had possessed more local flavour; if there was ever a case where a film can perhaps be said to be too polished, this might be it.

Dir: Lê Văn Kiệt
Star: Veronica Ngo, Cát Vy, Phan Thanh Nhiên, Trần Thanh Hoa

Chase Step By Step

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★★★
“Chase what matters.”

A solid if unremarkable Taiwanese kung-fu film, it’s set in 1887 and focuses on a mission to deliver a thousand taels of gold, which are intended for use in drought relief by another province. (Presumably) To avoid attracting unwanted attention, the delivery is kept very low-key. In fact, only two people are assigned as security for the gold: circus acrobats Lin Ying (Hsu) and Sao Wu (Chow). However, word apparently leaks out, and on their journey, they’re almost perpetually under attack.

These attempts range from the straightforward – two guys they meet at a rest-stop try and run off with their cart – to the more subtle. The wife of an inn-keeper attempts to seduce Sao, for example. Or in the most complex, an incident is staged in which our hero and heroine rescue a young girl. She then invites him to dinner, gets him drunk and… Step 2. ? Step 3. PROFIT. Yeah, it’s a bit vague, since it’s not as if Sao is carrying the thousand taels of cold on him. Anyway, even when they reach their destination, the relief aid isn’t safe, since there are greedy local eyes, intent on diverting it into private hands.

It’s very much a two-hander, with Lin and Sao portrayed as equals, though the poster would indicate Hsu is the star (she’d go on to become a successful producer, including on the Oscar-nominated Farewell My Concubine). Less clear is quite what the relationship is between the pair: Sao seems to take the lead, but Lin is the smarter, and has to rescue her colleague more than once, in part due to his eye for the ladies. Fight-wise, Chow is the better: he gets the final battle against the man bad guy, while Hsu is battling the two minions who are absconding with the gold.

It’s a bit of a shame they don’t make more of the pair’s supposed circus and acrobatic background. This is the focus of the scene behind the opening credits (though quite what the dog tricks have to do with it, I’m uncertain!), then only intermittently references these skills thereafter. There’s a scene where the two have to escape by crossing a chasm on a tightrope, pushing a hand-cart, and a rather cool scene where Sao fights the bad guys while on a pair of impromptu stilts. That’s about it.

Lin does get the movie’s most memorable moment, however. Her opponent hurls a knife as she’s on the ground, which pins down her pigtail. With one flick of her head, she returns it to him, burying it in his chest. [Here’s the animated GIF] They say there’s nothing new under the sun: that kind of lethal hair-fu shows they’re wrong. In comparison, the rest of the film is not as memorable, and offers hardly much in the way of an inventive story-line. Yet it proceeds at a decent enough pace to sustain interest, and Hsu’s facial expressions sell her talents well – perhaps better than her talents do.

Dir: Yu Min Sheong
Star: Hsu Feng, Chow Chung-lim, Ma Cheung, Nam Wan

Yoga and the Kungfu Girl

  By

★★½
“Your flexible friend.”

I’m trying to figure out if the “the” in the IMDb title used here is superfluous. “Yoga and Kung-fu Girl,” as on the DVD sleeve would make more sense, given the heroine’s martial arts are a combination of traditional skills with extreme flexibility. In some ways, it’s a slightly less exploitative version of things like The Crippled Masters, with its amputee-fu. The heroine here, Phoenix, could similarly make a living as a carnival exhibit, given her contortionist abilities, which are here shoe-horned into use to provide a style of fighting. To say this works with variable success would be an understatement. There are moments when her talents and flexibility are genuinely impressive. However, there are others where her limitations and lack of training are painfully apparent.

The story has Phoenix (Chan) as an orphan, taken in by the formidable Madame Kao, who brings Phoenix up as part of her troupe of martial artists, while providing herbal remedies to the local people [I must say, the transition that had her foster kids flipping across the meadow, to become adults at the far side, was kinda neat] Phoenix’s best friend is Ho Fei (Chi), but he has a bit of a gambling problem, stealing from Madame Kao to fund his habit. Trouble ensues, not helped by a jealous rival trying to frame Kao for bad medicine, and additionally, Ho ends up accused of a murder he didn’t commit. It’s up to Phoenix to lead the charge against the villains responsible.

This appears to have been made as a vehicle for Chen, but it doesn’t seem she ever appeared in anything else after this – whether due to commercial failure or a lack of personal interest. Perhaps wisely, the script makes her character mute, limiting the need for actual acting: she communicates in sign language instead. Her skill-set provides the movie with its sole gimmick, and apart from that, this is largely indistinguishable from any other genre entries of the time. The only area where it makes an impression is the final fight, where Phoenix, Ho Fei and another of Madame Kao’s orphans face off against the big boss.

That it requires three of them to take him down is quite understandable, and it’s about the only moment where Phoenix’s unusual and acrobatic style of kung-fu works, because it’s one ingredient in the recipe for the resulting fight, not the entire dish. When it (or she) tries to stand on its own merits, there just isn’t enough to sustain the interest for more than a few minutes of “Ooh: I didn’t realize spines could bend to such a shape”. It’s possible, had she persevered, that the rather homely leading lady might have eventually managed to go on to develop into someone capable of carrying a feature. However, you would be hard pushed to feel that the world of martial arts movies is a poorer place, because the sub-genre of contortionist-fu never apparently managed to establish a foothold past this singular entry.

Dir: Sun Yung
Star: Phoenix Chen, Chi Kuan Chun, Pai Ying

Ameera

  By

★★
“Explanations. They’re VASTLY over-rated…”

I should probably have learned from my first experience with Ms. Hu: the thoroughly mediocre jungle ensemble piece which was Angel Warriors. For her latest film, she moves from being merely one of a number of interchangeable pieces into the lead, and proves singularly underwhelming for that role. Though in her defense, this could have starred someone with far more charisma, martial arts ability and acting talent, and it would still not have been very good. For all its flaws, Warriors did at least have a fairly coherent plot. This, not so much. For example, it’s a full hour and ten minutes in before we discover what the villain’s Big Plan actually entails. To that point, we know it’s called Operation Hurricane, and little else. Why, pray tell, should we care about the bad guys achieving their goal, when we have no idea what it is?

Things aren’t much better on the heroine’s side. We first meet Ameera (Hu) as she takes part in a gun-battle against ill-defined opponents for ill-defined reason, on behalf of the ill-defined organization for whom she works. This goes wrong, she gets suspended, and the organization subsequently vanishes for the great bulk of the movie, so who cares? However, it turns out her mother has been kidnapped by the villains, in order to get their hands on the products of some research which was being carried out by her dad. It’s up to Ameera and her boyfriend, Jason (Hsu), to ensure they don’t get it, and stop Operation Hurricane – whatever it may be. Though before you can care, you will first have to stop snorting derisively at pseudo-science babble like a virus being “enabled with an isotope nanometers.”

I do have to say, it looks nice, with some very crisp cinematography, and was not a cheap production in terms of locations, sets and cast. This, in no way, excuses the shockingly ropey CGI effects, or the way the action is staged, so you get to see little more than the participants waving their limbs at each other. There is quite a nice car-chase round some winding mountain roads, with Jason on a motorbike chasing after the truck insude which Ameera is dangling. Again, the photography is lovely, until it’s spoiled, first by Jason’s Magazine of Infinite Ammunition, and then the MS Paint-like explosion after a car goes over the edge.

Any technical shortcomings, however, pale in comparison to a script that is spectacularly reluctant to give the viewer any meaningful information, short of having its fingernails pulled out. Both characters and plot elements show up without explanation, and you’re left trying to figure out who or what they are, and why you should give a damn. Long before the climax, where Ameera is suddenly and inexplicably re-united with the organization that suspended her, an indeterminate amount of time ago, you’ll have abandoned any hope of this being any more than incoherent if well-shot nonsense.

Dir: Xiao Xu
Star: Melrose Hu, Ambrose Hsu, Andrew Lin, Bryan Leung

Vengeance of a Snowgirl

  By

★★★½
“Revenge, truly served cold.”

The elevator pitch version of this sounds like a million other kung-fu films: Shen Ping Hong (Li) seeks revenge on the people who killed her parents and left her crippled. But there’s rather more going on beneath the surface, and shades of grey on both sides. One of her targets, Lord Kao Hung, regrets what happened and wants to help Shen regain the use of her legs. But Shen only agrees to let his son Tien-Ying (Yueh) help, in the belief that it will make her mission of vengeance easier. It feels almost like she’s a mad dog, lashing out at anyone who tries to help; keeping the severed heads of her victims in jars is a clue there. Meanwhile, Kao’s associates – and Tien-Ying’s ex-girlfriend (Chiao) – think he’s helping because he wants to get Shen’s jade sword for his own ends, and are intent on getting their revenge in on her first.

Let the record show, Chris wandered in half-way through this, glanced at the screen and said, “Is that Sammo Hung?” Knock me down with a feather if it wasn’t Sammo, in a minor supporting role as a villainous henchmen. This is why I love my wife: her ability to spot martial arts legends in 1971 cameos. Er, well… Not just that. Anyway, this would be massively overshadowed by the release, just two days later, of another Lo Wei film, his first for fledgling studio Golden Harvest. The Big Boss would put both studio and its star, one Bruce Lee, on the map, and Snowgirl would be all but forgotten.

In particular, the way it twists the usual “You killed my _____ and must die!” tropes are what makes this stand out, along with a second half which turns into something resembling a series of video-game side quests. Because the spring where Shen can heal her legs is so frigid, you need a magic pearl to survive near it for more than a few seconds… The pearl is in the belly of a volcano, reaching which requires a suit of flame-resistant armour (looking remarkably like a fireman’s uniform)… This is held in the treasure house of a remote prince, who will only agree to lend it out, if Shen can beat his champion… And there’s not a save point in sight.

The fights are decent, rather than spectacular, and we never get the hoped-for face-off between Shen and the disgruntled ex-girlfriend, who has skills of her own. On the other hand, Li does a good job of working round her character’s disability – though her ability to fly, makes me wonder why she bothers walking anywhere! Lo, who also makes a brief appearance as the heroine’s father, shoots good, long takes which help enhance his lead actress’s talents, and if nothing else, the ending will likely stick in your mind for its unexpectedly downbeat example of altruism and self-sacrifice. It mostly looks very nice, except for a thoroughly unconvincing “volcano”, and all told, it’s a shame this isn’t more well-known.

Dir: Lo Wei
Star: Li Ching, Yueh Hua, Ku Feng, Lisa Chiao

Angel Warriors

  By

★★½
“Jungle boogie.”

After reading some particularly scathing reviews of this, e.g. “stunningly atrocious”, I was braced for something truly terrible, and I guess was therefore pleasantly surprised. Oh, don’t get your hopes up: this is still not very good. It’s just closer to mediocre than dreadful. A group of five “extreme backpacker” young women, go to Thailand for a trip into the unexplored jungle, alongside a video crew. However, it turns out the video crew thing, is just a cover for a mission sent by an evil industrialist to separate the local tribespeople from their precious natural resources. After they witness a massacre, the girls become part of the problem, and team up with the natives to fight back against the corporate raiders.

Let’s start with the positives, which include crisp photography, making good use of the South-East Asian locations. Some of the action isn’t bad either, especially when Andy On, leader of the bad guys, and Chou get involved. The latter plays a soldier who used to be a comrade of the brother of Bai Xue (Yu Nan, who was in The Expendables 2), the leader of our backpacker babes – when not running some global multinational company, apparently. That last sentence more or less exemplifies the problems with the script, which manages both to be needlessly complex, and painfully underwritten. I mean, do we really care that Bai Xue’s cousin Dingdang sells outdoor clothing on the internet? We probably have to, because that’s about the limit of the development we get for her. Having one heroine, or at most two, would certainly have helped.

Certainly, the less we saw of most of their model-wannabe performances, the better, and the skimpy costumes seem designed mostly to provide an all-you-can-eat buffet for the local insect life. Yu is about the only one to do anything approaching actual acting, rather than the shrill shrieking which is the only “extreme” thing about their characters. Not making things any better are the additional subplots tacked on to the story, such as the one involving a tiger, mixing an actual cat with unimpressive CGI, or the remarkable plant capable of curing any poison which the subtitles call, I kid you not, “blah blah” grass. I don’t think I’ve seen such lazy, “We’ll come up with something later” writing since (the not dissimilar in overall plot, now I think about it) Avatar named its mineral “Unobtainium”.

The narration in poorly-written pidgin English is another cause for complaint, being so over-used it goes from quirkily endearing to actively annoying.  And those who care about such things (which does not include me), might object to having a Chinese actress playing the Thai jungle princess. Yes, there’s no shortage of things to complain about, and re-reading the above, can see why this was critically eviscerated. However, it’s mostly low-key irritants: the unquestionably slick production values help elevate it from cinematic crap to merely cinematic fast-food, being largely forgettable and thoroughly disposable.

Dir: Fu Huayang
Star: Yu Nan, Mavis Pan, Collin Chou, Shi Yanneng