Bearing no story connection to Angel Terminators, we're not really allowed to ponder that fact as we're thrown right into the action. No useless exposition or excuses to lead smoothly into the robbery scenario, directors Wong Jan-Yeung (Dreaming The Reality) and Chan Lau shows early where their focus will be at. Frequent and dependable fisticuffs interspersed with dependable, gory gunplay follows so Angel Terminators II has a slight edge over the average girls with guns-flick. However there is slightly interesting family- and relationship drama going on also, leading to some actual minor acting so the final package deal becomes a decent, little standout in the crowded genre. Starring Sibelle Hu, Moon Lee, Yukari Oshima, Jason Pai, Lo Lieh and Karel Wong.

One of the first ever released movies from the legendary Golden Harvest studios, on board from the getgo were cast & crew that came to create and participate in signature efforts from the studio. Director Wong Fung eventually got Hap Ki Do, Lady Whirlwind and When Taekwondo Strikes under his belt and leading lady Angela Mao continued to ignite the screen with ferocity in those efforts. With The Angry River, the sharp direction (and also writing) from Wong Fung creates an unexpected romp through conventions. Having Mao's character hunt for the black herb that is needed to cure her father, also looking for it are several swordsmen that more often than not won't conceal their shady behaviour. The titular river is one of many obstacles, a river literally on fire and it's this trek through hurdles that even brings in a creepy atmosphere to this particular world of martial arts. When monsters attack, we as a viewer feel surprised that it's THIS Golden Harvest churned out early on but we're on board. Maybe not for valid reasons but the way Wong Fung conducts himself later helps take The Angry River into classic status.

Injecting a true danger as many hunt for the herb in Mao's possession, a heroine drained of her powers and to boot a vulnerable heroine up for potentially being torn apart by the uncertainty of the world she's in, it's not high drama or too far from a genre vehicle but these features and tweaks of expectations are compelling aspects to the film. Not forgetting to spice things up with action, the latter third becomes a non-stop sword and gore exercise from action directors Sammo Hung and Han Ying-Chieh (both also appear in fighting roles). While prior duels have had the aura of actual danger and darkness, The Angry River isn't wrong in its judgment to travel a bit away from this atmosphere and even features forest duels not too distanced from A Touch Of Zen. Combination of danger and ride is pretty magical. Also with King Hu regular Pai Ying.

Although it has a 1979 copyright as well, that's presumably the date it was dubbed and released as Spirits Of Bruce Lee. Disappointingly though, little Bruceploitation-madness occur and the only spirits of Bruce Lee that gets evoked is via the Thailand setting from The Big Boss plus the often used half Jade-amulet plot. They don't even add Lee's war cries for Michael Chan in the dub. Instead, the film is an ordinary martial arts revenge story with no qualities to speak of. Partly, the aggravating dubbing of a consistently laughing character amuses.

David Chiang and Ti Lung plays a pair of robbers who teams up with a revolutionary (Ku Feng) to bring down the ruling warlord of 1930s China.

The usual fine production values found at Shaw's (outside of some poor miniature work) is firmly in place as is the great charisma and interplay of stars David Chiang and Ti Lung, flanked by a stunning Ching Li in a thankless role. Chang Cheh's pet themes of brotherly loyalty and a climax of expected bloody mayhem also turn up but in terms of audience sympathy and participation in the character's cause, The Anonymous Heroes comes up short. With the mentioned technical- and acting talent in their prime, it certainly comes easily recommended despite.

Lau Kar Leung and Tong Gaai's action choreography obviously stays away from traditional forms due to the era the film is set in but they provide solid brawls along the way, with their work peeking during the violent final sections of the film. Tong Gaai's weapons knowledge gets put to fun use as characters both shoot their rifles and fights with them. Chen Sing and Cheng Lei turn up in supporting roles plus many recognizable bit players.

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Mainland Chinese production that attempts to echo much that have been said in martial arts cinema before, including in Shaolin Temple (Jet Li's breakthrough film). What we get here are generally finely lensed landscapes, buddhism vs. violence rationales and what I assume is a bunch of genuine Wushu performers adding authentic skill to the film. Director Wong Sing-Lui manages with a heavy hand examine the theme of the film in a slightly above average way but what's missing in the equation is a constant quality showcase for the action performers. The first real fight stands as the best in the film, combining fast, clear and acrobatic traits but the time subsequently offers up more messy and large scenarios than anything else. There's an art in making an epic immersing. That art isn't fully practiced here but Arhats In Fury earns a minor recommendation for the serious nature it does possess.

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With this sci-fi/romance combo, Gordon Chan goes deep on us with train of thoughts concerning mankind and adds a little of the good old X-Files feeling for his successful 1997 movie. Maybe we should give credit to the minds of the paying audience but star power was probably more recognized than intelligence during the cinema run. Fact of the matter is, Gordon's written and directed template barely edges into interesting territory but that's only on the very edge of the surface. The actual filmmaking is dangerously stale, despite the competently put together production. Armageddon lacks a razor sharp edge and more importantly, a logic that is needed to bring all facets of the story to the audiences different mind sets and while some twists surrounding the Michelle Reis character wakes us up, the film puts us mostly to sleep (location work in Prague does not enhance matters). Andy Lau looks seriously disinterested as well but kudos to Anthony Wong for brining a relaxed persona to immersing effect. Usually a bumbling cop act but the character reveals heart as we move along. It's effort largely wasted sadly. Wayne Lai rocks in a role no one will understand while co-writer Vincent Kok, Michael Lui, Claudia Lau and Kim Yip also appear.

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One of those times where Hong Kong cinema's unique mix doesn't charm but registers on the silly and dumb-scale instead. Carrie Ng is a timid policewoman about to go into training in order to patrol with a gun. Her and younger partner played by Valerie Chow bust a huge arms smuggling ring led by Ng Man-Tat (and his huge steel mallet) and with this loss, the gangster boss goes after the family of Carrie's...

Making its points about the role of a woman in this particular household via comedy-dialogue spoken in choir and doing a little wacky Police Academy style (or The Inspectors Wears Skirts) montage, The Armed Policewoman bores when employing this structure as we pretty much know no effort will be made to beef up this scenario. When later making quite a terrible, morbid joke about the horrific death of a lost one, intentions to stay light in almost all areas (including violence) are horrifically off. Admittedly tweaking Carrie Ng's glamorous image to that of a housewoman that then goes undercover as a sexy lawyer generates the sole chuckle of the film but that and some small excursions into worthwhile action (where Valerie Chow and doubles do admirably well) doesn't save anything. Plus, a seriously deranged sub plot about Roy Cheung needing to smell a 20 year old, never washed rag in order to function is just gross. Also with Lau Siu-Ming.

Irrational Hong Kong cops (Danny Lee and Michael Chow) mess up and as punishment are sent to Taiwan to retrieve information. They of course get into the thick of things, trying to nail gangster Chan Gin Shui (Blacky Ko) while they also manage to annoy the hell out of their Taiwan superiors (main one played by Chan Chung-Yung from Her Fatal Ways III). However in David Lam and Yuen Tak's corporation, Asian Connection takes a step back to have cop characters in need for so called irrational behaviour and those following the book, meet to develop a constructive way of working. Undoubtedly this tangent of the film works and is a credit to Danny Lee's track record of featuring sincere, sometimes cheesy ultimate messages.

David Lam and Yuen Tak's direction is quite sharp, getting a fairly fun dual act out of Danny Lee and Michael Chow (the latter is particularly great when being forced to go undercover) while also in a heartbeat giving us shocking and finely paced action. Character driven and competent effort shot in synch sound Cantonese and Mandarin. Also with Jean Wang, Jack Kao, Ricky Yi and Nick Cheung.

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Released just after the influential and immortal classic One-Armed Swordsman, Chang Cheh turned to same personnel again (Jimmy Wang Yu, Chiao, Chiao and Tien Feng mainly) and more than adequately lived up the reputation set by the prior effort. The Assassin therefore operates for the majority of the time in dialogue and melodrama with only select few action set pieces, all of the high quality Chang Cheh infused into his works during this period.

Jimmy Wang Yu plays historical figure Nie Zheng, a swordsman with dreams of bringing the finer aspects of life into his and Xia Ying's (Chiao Chiao) relationship. When his master is assassinated by a disgruntled student, he loses all faith and takes on a lowly life as a butcher to support his family. The opportunity to achieve something great arises when he's approached by Yen (Tien Feng) to carry out an assassination mission of a rival official...

Featuring several strongly layered themes, The Assassin is not for the impatient as long stretches are about meticulous dialogue exchanges. Chang Cheh's script isn't exactly subtle as character speak out all the themes and messages of the story but it goes deeper places despite. Self sacrifice for the greater good, bonding between brothers are once again staples in Chang's work here but it doesn't feel repetitive and The Assassin is largely a very affecting story, both concerning patriotism and love. Further enhancement comes via the Shaw Brother's stages, especially the outdoor set where Wang Yu and Chiao Chiao share their most intimate scenes.

Action directors Lau Kar Leung and Tong Gaai has less to do but offers up some excellent, fast moving swordplay and a requisite gory climax that should come with a Chang Cheh movie of this type. Huang Tsung-Shun, Li Hsiang-Chun and Cheng Lei co-stars.

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