Barely a blimp made locally and barely making a blimp as a movie, Angel Terminators main attraction, the action, takes a while to fully get going but by the end you'll have an image in your head of who the female equivalent of Jackie Chan would be. Namely Sharon Yeung. Clinging to cars while shooting guns, sliding down poles, performing a finale stunt worthy of the rewind button and in general kicking ass, surrounding her is some story strands about the take down of gangster Ken (a thoroughly evil Kenneth Tsang). Connecting Carrie Ng, her husband, cops Sharon Yeung and Kara Hui to all of this, add a key gambling debt, Tsang urinating on Carrie Ng, forced drug addiction and you indeed get a sense the dark detours the flick takes... thankfully. It's thoroughly compelling, adds an edge to the subsequent action and while the female duo's fight with Dick Wei is disappointingly a big nothing, mentioned finale is breathtaking and the film is another fine example of Hong Kong cinema not needing perfect pieces to add to a fine whole.

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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.

Thoroughly lacking in inspiration and ambition, this Taiwanese kung-fu film slowy crawls towards its way too epic 90 minute running time. It actually does have ambition in the sense that it's a way too involved revenge story infested with an overabundance of characters. Despite attempts at making gritty fight scenes (one is set in rain) and Taiwanese favourites Lee I-Min and Lung Fei appearing, it's only the inevitable (it's signaled way beforehand) old man in a wheelchair fight at the end that sparks any feeling of creativity. The filmmakers may have only had that and decided to gamble all on that. It's a losing venture but at least it was a cool attempt.

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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Usually gathering a cast like this for Category III material, Lam Yee-Hung (Erotic Ghost Story - Perfect Match, The Story Of Lady Sue) can't inspire Anthony Wong, Diana Pang Dan or Elvis Tsui and therefore can't ignite this thriller. Ironically enough then, some of the explosions are well captured which is connected to Pang Dan and Billy Chow luring in men via her and then blackmailing them. Armed with explosives too, the cop duo (Wong and Tsui) banter in supposedly comedic ways while trying to crack the blackmail operation. Stakes are personal too as Tsui and Billy Chow's characters are friends (shown in flashback with Tsui sporting a baaaaaad wig). Suspense and comedy is pure flatline all throughout Another Chinese Cop, with high annoyance coming in the form of the duo trying to compose a love song at one point. Lam Yee-Hung shows his true colours during Pang Dan's long dance sequence and also shows a comfort the rest of the movie clearly doesn't allow for as this isn't adult material. Lam may not have been perfect working with the III but more assured than in Another Chinese Cop.

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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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