Tag: Taiwan

Fight for Survival

  By

★★
“Suffering from a bit of an identity crisis.”

This Taiwanese kung-fu potboiler just about manages to sustain interest for an hour, before losing the plot (literally, and such as it was to begin with) down the stretch. It begins with ten martial arts masters stealing an omnibus edition of fighting manuals from the local Shaolin temple. Trying to get entry, and failing, because they won’t admit women, is Shi Fu Chun (Kwan). With the help of former head priest Lin Chiu (Chan), who still lives nearby, she is taught a slew of skills, and ends up assigned the task of recovering the purloined books, and restoring the temple’s honour. Oh, except the “positive kung-fu” learned is causing Shi Fu to transition into a man. So she/he (inexplicably, the 1977 film does not provide us with preferred pronouns…) needs to find and learn some “negative kung-fu” stat, to counter the process. 

This is mostly standard stuff, with the novice being trained by the master, before going out into the world and putting her skills to the test. Except it feels like the movie was edited down from a four-hour version, as the story jumps from Shi having about three of the ten parts, to her heading back to the temple with them all. The heads of the ten clans then show up, and it all becomes almost incomprehensible. About the only part that I am certain about, had them forming what looked disturbingly like a kung-fu version of the Human Centipede [now, that’s a movie I would… if not perhaps pay to see, certainly consider downloading from a dodgy website]. I think one of the clan leaders tries to fight his way into the temple, defeating various occupants in different styles, leading up to a fight again Lin. He faked his own death to get Shi accepted, and since then, has apparently been sitting around the temple, covered in gold paint, because that’s what they do to dead ex-leaders.

There are a couple of bits which are kinda cool, such as Shi having to accept the branding of the temple, carried out through her carrying the red-hot cauldron depicted on the poster. One of her skills involves the ability to extend her arms and legs to remarkable length, which leads to some interesting fights. However, the old gender re-assignment plot may well reach new depths of implausibility. Somehow, this is repeatedly mistaken for a man. Another weirdness (at least, to contemporary Western viewers) is the good luck symbol on the clothing worn by the heroine and her allies. Yep, it’s the ol’ Buddhist swastika. Beyond such trivial concerns, the main problem though, is that most of the fights are pedestrian and uninteresting. The makers even bring Judy Lee in, and don’t allow her to get into action. This shows a severe misunderstanding of how things should be done, and if you pass on this, you’ll not be missing much.

Dir: Cheng Hou
Star: Polly Shang Kwan, Chan Wai-Lau, Che Chi-Sang, Judy Lee
a.k.a. Lady Wu Tang or Shaolin Tamo Systique

Eight Strikes of the Wildcat

  By

★★★
“Pussy Riot.”

I guess this is, at its heart, about the quest for a treasure map that has been torn into two pieces. Though you could be forgiven for not really noticing, as most of the cast seem to forget about it for the bulk of the running time. The heroine is Shao Wa (Chi), whose father is killed by the Three Rats in their quest for the map. She ends up being punted off a cliff and presumed dead by them. Naturally – it’d be a short movie otherwise – she’s not as dead as they think. She’s rescued by the inevitable kung-fu master and his annoying sidekick, Lee Ta Fa (Hung), who nurse her back to health, and give her the skills necessary to beat the Three Rats.

The clue there is in their name, for their martial arts are all rodent-inspired. This being a seventies Taiwanese flick,  means all their movies are accompanied by a dubbed-in soundtrack of squeaking. Literally, every move they make, sounds as if they are breaking in a new pair of loafers. Their big move involves all three of them forming a mouse, with one the head, the next the body and the third the hindquarters and tail. It’s every bit as loony as it sounds. You should probably have worked out from the title how Shao Wa is going to counter them: and, yes, this means her moves are accompanied by caterwauling. For variety, she also does “beauty kung-fu,” which seems to involve a lot of pouting.

There are a lot of training montages in this one, though I minded less than I generally would, because they’re quite entertaining in their own right. Chi, who doesn’t appear to have made any other movies, is clearly flexible and gymnastic, and some of the stuff she pulls off is genuinely impressive [I mean, I regard getting out of bed in the morning as an achievement], such as the splits onto a trapeze. I suspect there could have been wire-assistance involved there, yet enough of the other stuff she does clearly was her, to make it plausible. It’s hard to tell under the dubbing whether her acting is any good, though that’s more a bonus than a requirement.

Eventually, the Three Rats kill her master, and Shao Wa goes after them, accompanied by the almost entirely useless Lee, whose contribution to that point is roughly split 50/50 between unhelpful remarks and sexual harassment. When it comes to the final fight between Shao Wa and the Three Rats, he’s more of a colour commentator than anything effective. It’s one of the few cases I can think of where the last battle is a one vs. many, with the heroine being the one. Like the rest of Shao Wa’s fights, it is a little too obviously staged, yet is a decent effort. It would probably have been at least 25% better without the sound effects, however. It’s definitely an area where less would have been more.

Dir: Yi-Hsiu Lin
Star: Dan Dan Chi, Li Tao Hung, Hung Tsai, Tao-Hung Lee

Matching Escort

  By

★★
“No sense nonsense.”

I was pleasantly surprised when this random kung-fu film found Tubi (under the Silver Fox title) turned out to be by the creator of Wolf Devil Woman. which was batshit crazy, but at least quite entertaining. This is, unfortunately, only half of that – and worse, it’s the insanity which is delivered, with the entertainment being only sporadic in nature. I will say, in the film’s defense, the presentation is likely not helping. There’s no subbed version I’ve been able to find, and the English language one is badly dubbed, cropped visually and is likely also cut (either that, or the editing is worse than terrible).

All that said, I didn’t feel this was up to the same level of quality as WDW, which at least had a novel story. This, is just your basis revenge item, no matter how much the trappings insist otherwise. Pearl – I’ve no clue about her character’s name, I’m not sure it’s ever used in the entire film – is brought up as part of a martial arts family, whose training methods consist of strapping heavy shoes to her feet. Just as she reaches adulthood, the other 73 (!) members of her clan are killed by a rival, in search of a jade amulet that’s the source of their power. But, naturally, Pearl escapes with the amulet, and goes into hiding.

She’s taken under the wing of the rather weird Silver Fox (Ying), who teaches her his advanced kung-fu techniques, up until he is also brutally killed. This triggers Pearl, who goes after both his killers, and those responsible for slaughtering her family. There may be a connection. There is also a roaming nobleman (Meng) and his comic relief sidekick (Seng), but up until the end, they are largely irrelevant and so can safely be ignored. The main issue is, the film sits around in Silver Fox’s underground lair for far too long: it feels as if the movie spends twice as long on the training for the revenge, as the actual revenge. While it’s a somewhat loopy environment, it gets old quickly and my interest largely died during this middle section.

Things do perk up down the stretch, with some insane battles, not least the bit where Pearl stabs a guy in the top of his head with her sword, and he then turns into a geyser of blood for a bit. This is is the kind of insanity for which I am here. Unfortunately, I didn’t feel there was enough of this, and I found the herky-jerky editing approach close to inducing a migraine: the stabs at comedy have much the same effect. The IMDb says it was written by Godfrey Ho, and I’ve seen enough of his dreck to make it seem plausible he was involved here. It’s an underwhelming kind of revenge for Pearl too, and leaves the ending falling painfully flat. Closure, it would appear, is for other people.

Dir: Sze Ma Peng, Pearl Chang
Star: Pearl Chang, Fei Meng, Shih Ying, Sek Fung
a.k.a. Fury of the Silver Fox or Venus the Cavalier or Wolf Devil Woman 2

Kung Fu Girl Fighter

  By

★★½
“Could have been a contender.”

Yeah, I think if I’d seen this under the alternate title of On the Waterfront, I might well have passed it by. Though that is probably a slightly more accurate description of the contents here, even allowing for the complete absence of Marlon Brando. [At least we didn’t have to deal with the expectations set by the Italian title, which translates as “The merciless hand of Bruce Lee strikes again”!] It takes place around the Whampoa wharves in Shanghai, where various crime families are jostling for position and control, with varying degrees of morality e.g. whether or not they approve of drugs and/or sex trafficking as a means to make money. Particularly of note here are Red Rose (Tang) and Zhou (Chang), who eventually end up allies against their common enemy (Chen).

Key word: eventually, as we take a meandering route to that final 15-20 minutes, where things seriously kick off. Up until then, it has been fairly low-impact. During the first half, there’s only about one good fight, Rose (or Red? I’m not sure what to call her) fending off a slew of attackers seeking to return Zhou’s gambling winnings to the casino. At the half-way point, there’s also a restaging of a scene from the same year’s Fist of Fury, where Bruce took exception to a “No Chinese or dogs” sign in a park. Rose goes berserk on seeing park guards beating up Chinese kids. Otherwise though, it’s mostly plot-based shenanigans, before the admittedly somewhat impressive finale.

However, the print circling YouTube, Tubi and Amazon Prime is flat out wretched. While it’s okay in terms of cropping, it’s so badly faded that it looks more like a pastel watercolour than a portrait of a vibrant port. There are also appears to have been some censorship issues in this English dubbed version. Another review refers to “a superbly sensual bath-house murder scene,” which is entirely missing. The last fight may also have suffered, the villain’s dozen or so henchmen apparently evaporating into bodies on the dockside without any visible action from Rose and Zhou. I suspect a decent, uncut (and, ideally, subtitled) edition might well get at least a half-star more.

Tang’s approach is relatively static in comparison to her co-star. She seems to have been more a dramatic actress, who while still a teenager, won the Best Supporting Actress award at the first ever Golden Horse awards, Taiwan’s top film honour. This straightforward plateful of chop-socky would therefore appear a bit of an aberration, yet Hou shoots her moves well enough they pass muster. It may also explain why the dramatic elements are perhaps a little better than normal for the “straightforward chop-socky” genre, though of course are also impacted by the dubbing. Still, her passionate rage during the park scene does still come through, and it’s a bit of a shame she apparently did not pursue further endeavours in the same line as this.

Dir: Cheng Hou
Star: Bao-Yun Tang, Yi Chang, Hung-Lieh Chen, Tien Yueh
a.k.a. On the Waterfront

The Supergirl of Kung Fu

  By

★★
“For some very loose definition of super.”

This is another one of an apparently infinite series of kung-fu films, set during the Japanese occupation of China that took place just before World War II. The heroine is Little Flower (Lee), who gets given a death-bed mission by her martial arts master father: return to Shanghai, and lead his students at the Ching Wu Men school against the occupying Japanese forces. Except, on arriving, Flower finds the school disbanded by force, and its disciples scattered to the winds. She begins to hunt the top students, Rock (Yang) and Mercury – the latter has gone particularly deep into hiding after having killed twenty Japanese soldiers in one night. But Flower’s own activities, protecting the poor, bring her to the attention of the Japanese authorities, because they think she’s part of the rebels, as well as a local Chinese cop (Heung).

Sadly, it’s almost entirely dull, though in the film’s defense, the particularly poor presentation does not do it many favours. The dubbing is terrible, and the slightest movement by any of the characters is accompanied by the same, loud, whooshing noise. To say this gets old quickly, is putting it mildly. It might be forgiven were the action any great shakes: it’s not. While there are a reasonable number of fights, they are generally slow and unimaginative. The final boss is armed with a stick that must be fifteen foot long if it’s an inch. This is an impressive looking weapon, yet in order to render it effective, everyone he faces has to avoid using the obvious tactics against such an oversized monstrosity, which hardly lends itself to swift action. Still, I did genuinely laugh out loud at one point, where he catches Little Flower on the end of it, and whirls her around in the air for a bit, like an act combining plate-spinning and acrobatics from the Chinese State Circus.

On the other hand, the most woeful moment is probably when an arriving shipload of arms is blown up by the rebels. This takes place entirely off-screen, with the authorities simply hearing the sound of its massive explosion. There’s no particular sense of closure at the end, with the film going from the fight against the final boss, to “The End” credit in such an abrupt way, it feels like everyone involved must have had a very pressing engagement elsewhere. Again, however, this may be due to the lack of care in the presentation. Or perhaps not, given how lacking in particular energy or talent most elements of this appears to be. While you can’t entirely extinguish the talent of somebody like Lee, this certainly does a good job of diminishing it. The story spins off a number of threads that never seem to go anywhere, and even as someone entirely unfamiliar with 1930’s Shanghai, I wasn’t exactly convinced by its depiction here. One for Judy Lee completists only.

Dir: Min-Hsiung Wu
Star: Judy Lee, Charles Heung, Yang Lun, Cliff Ching Ching

Scorching Sun, Fierce Wind, Wild Fire

  By

★★
“May the fierce be with you.”

The first thing which will hit you about this 1979 Taiwanese co-production is the utterly shameless way it hijacks John Williams’s soundtrack to Star Wars. 93 minutes later, as the end credits roll, accompanied by more unauthorized liftage… That’s probably still going to be the main element of this you will remember. For the rest is largely a confusingly-plotted and not very well executed bit of chop socky. Despite Angela Mao’s presence, second on the list of participants, she is a long way behind the main character, in terms of both screen time and action.

It’s supposed to be set in the 1920’s, though at least one of the vehicles on display looks extremely post-war. At the time, it appears China was divided into a lot of territories, ruled over in a feudal fashion by warlords. One such man is having a problem with a rebel who goes by the nomme de guerre of “Violet”, and he is desperate to find out who is disrupting his operations. In particular, his plan to acquire some heavy weaponry from Japan, that will end all rebellions. Seems Violet had stolen the guns’ firing-pins, rendering them useless. The cause of his angst is a great deal closer to home than he things, because Violent is actually his daughter (Mao), in a hat and veil. Other plot elements include a pair of escaped convicts, a treasure map which has been split into two halves, and the warlord’s right-hand man, Second Master (Yi), who is plotting a coup.

Unfortunately, it’s much more  the movie of Pai Tien Hsing  (Peng), whose character has an ambivalence a little like Clint Eastwood’s Man With No Name. He initially appears to be on the side of the warlord, and insists on Violet putting her skills to the test against him. However, the further into proceedings we get, the more aligned he is with her, until the final battle, where they both go up against Second Master and his poisoned knives. I must say, they have a very gnarly effect on the victim, though it’s likely no spoiler to say, the film operates in line with the kung-fu version of the old pro wrestling adage: “He who sets the table, gets the table…”

The fights are only occasionally up to much, and mostly feel like they date from a picture made a decade or more previously. Mao is her usual, reliable self, and shines in the moments she has; there just are not enough of them, and they don’t last for long. There’s a horribly cropped and dubbed version on Amazon Prime, as Dragon Connection, which I got three minutes into before discovering the letterboxed, subbed version on YouTube. Mind you, that had its issues too, not least referring to a mute character on multiple occasions as “a dump.” One for the Mao completists only. Having checked it off the list, let us never speak of it again.

Dir: Sheng-Yuan Sun
Star: Peng Tien, Angela Mao, Yi Chang, Tao-Liang Tan
a.k.a. Dragon Connection or Any Which Way You Punch

Girl with a Gun

  By

★★★
“Taiwanese knock-off, unsurprisingly, proves not as good as the original”

Make no mistake, Ms. 45 is one of the absolute classics of the girls-with-guns genre. So, if you’re going to remake it – officially or, as in this case, not – you had better bring your A-game. It’s possible that Chen did indeed bring his A-game, as did Yin in the role of Liang Pi-Ho, the mute garment worker assaulted twice in one day, who kills her second attacker and begins an escalating spree of misandrist revenge. I haven’t seen enough of their work to be able to judge. But Chen is not Abel Ferrara, and Yin is definitely not Zoe Tamerlis. All of which renders this largely pointless. Although it still gets to ride the power of the original, and is sometimes interesting, when going its own route rather than being a shot-for-shot copy of its inspiration.

Mostly, it’s the latter, with the same nosy land-lady (Wong), and the victims including a guy who picks up Liang’s bag on the street, a sleazy photographer, and a gang of street thugs. The middle of these, for example, crashes back onto the backdrop in his studio in an almost identical way to the Ferrara version. Despite this Xerox approach, there just isn’t the same level of intensity in the central performance, and nor do you get the scuzzy, unwashed depiction of New York. It is worth noting that this Taiwanese production is set in Hong Kong – it has been suggested for censorship reasons? That would explain why the shots of Liang dismembering her first victim are shot in solarized negative. This version does also include a nightclub scene while an instrumental version of The Human League’s Love Action plays in the background, which was… unexpected.

Let’s discuss the other differences. It opens with news stories about attacks by the mentally ill, and there are wraparound segments which have our heroine receiving treatment in an asylum. This, along with her muteness being explained as a psychological reaction to the death of her parents in an accident, provides more “justification” for her actions in comparison to Ferrara’s version. The film includes coverage from the police side too, of the investigation into the trail of bodies she has left around the city. Interestingly, we don’t see the heroine dress up as a nun for the party at the end [perhaps because it’s not a Halloween event]. However, the female cop who is on the case does go undercover as a nun for one sequence.

Many of the changes are relatively small – tweaks, rather than significant changes. For instance, rather than the landlady having a dog, Liang herself has a cat. Though in a morbid twist, she feeds her kitty some of the remnants of her victim. The gang attack is preceded by a battle between two different groups, both of whom have tracked Liang to a deserted Hong Kong park: the winners get… Well, gunned down by her. There is, apparently, a more radical reworking “that spliced in new scenes featuring Caucasian actors and an inexplicable satanic cult,” and was sold in the West, for no good reason, as American Commando 5: Fury in Red, a.k.a. Crackdown Mission. Iconic exploito-schlock master Godfrey Ho allegedly had a hand in that cut-up, and it sounds loopy enough to make me want to see it.

There is one scene which is both genuinely new, and memorable. In her wanderings, Liang stumbles into a group doing a rendition of He’s Got the Whole World in his Hands, partially in sign-language, and is deeply affected by the mournful performance. [Really, it’s an upbeat tune, but this version sounds like it was done by Joy Division, such is the gloomy nature] I’m not sure quite why it’s there. Perhaps to demonstrate that Liang still possesses her humanity, and just needs it to be touched somehow? It’s a weird little scene, yet one that works, and shows that the film-makers here are not devoid of their own imagination. It’s a shame they didn’t choose to employ a bit more of it, taking their unauthorized remake down some other original directions.

Dir: Yao-Chi Chen
Star: Hsia Yin, Pauline Yuk-Wan Wong, Alan Tam, Lun Hua
a.k.a. Fury in Red

Miraculous Flower

  By

★★★
“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

Chase Step By Step

  By

★★★
“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

Pink Thief

  By

★★½
“Pink only on the outside”

Lan Hsiao-Tieh (Lu) is one of four illegal immigrants to Hong Kong, who manage to escape from the human traffickers bringing them to the colony – albeit after Lan has been raped by one. She and her friends just about manage to eke out a living on the edge of society, which treats them very unkindly in comparison to legal residents: for example, working as a coolie, they get only a fraction of the wages. As a result, they’re forced into criminal activity. One of the victims of the resultant pick-pocketing is the feared Chief Detective Lu (Lui), who tracks down the gang and makes them an offer: go undercover and help in his investigation of a Triad gang called the Eagles, in exchange for legal status. Lan is doubtful – until she realizes that one of the targets is the man who raped her. With the assistance of training from a retired thief, Lan is inserted as the moll of the gang’s leader, Hao (Tien Feng).

The film leaves a lot of potential on the table. The retired thief angle, for example, is nicely set up: the immigrants initially think he’s a doddering old fool, except that’s just his cover. However, the training through which they go through is never particularly useful once Lan goes on her mission. There’s also an unevenness of tone. It wants to be a sympathetic and serious portrayal of the plight of illegal immigrants in Hong Kong. But the impact of this is rather undone by, for example, the scene where the wife of Lan’s squeeze confronts her. For the pair end up rolling around in a hot-tub, stripped down to their lingerie. While I’m not complaining, it does appear to have strayed in from another film. The same can be said for the soundtrack: I read that it borrows liberally from Planet of the Apes, and I could swear I heard some Rick Wakeman in there as well.

It all rolls along without anything in the way of surprises, until Lan finds out the time and date when a big deal is going down. This sets up Detective Lu with the chance to bust them in the act – and, naturally, gives our lead the change for revenge on her rapist. This is remarkably formulaic, and there’s hardly anything that makes it stand out from the competition. It’s neither serious enough to merit actual consideration as art, nor trashy enough to be a Cat III classic. Despite the promise of the cover, it’s more tacky than sleazy, in its shots of the heroine’s cleavage, never rising past PG-13 level, with even the sexual assault done “tastefully”. I only watched this three days ago, yet it made so little impression, I had to put it on again for the purposes of this review. And I am still struggling to reach our standard five hundred words.

Dir: Yueh Chien-Feng
Star: Lu Hsiao-Fen, Richard Cui Shou-Ping, Lui Ming