A sedated revenge story considering it's from the mind of Jimmy Wang Yu post-Shaw Brother's. He does let his imagination run fairly wild eventually but it's a slightly tedious wait for fans who took to heart The Chinese Boxer and The One Armed Boxer. Jimmy's action directing overall leans more towards the trend of its time with the swinging arms and legs combat but he does amp the weapons tactics during the long climax. The Brave And The Evil here takes on a very watchable ferocious aura but it's not thoroughly easy to forget that the film is not as distinguishable as one has come to expect coming from Jimmy. Fans certainly should tune in and you always easily see why Jimmy turned into such a big star prior to Bruce Lee's entrance onto the scene. Also with Polly Shan Kwan.

Although low-budget, during the opening credits we see evidence of jungle action complete with machete killings and necks being snapped so hard heads turn backwards. A flashback, precursor or something desperate done to catch audiences attention? Latter is very correct as it's basically the best bits from the final, violent reel of Braveful Police, on display first! Soon the Japanese setting reveals a variety of Taiwan women being hurt emotionally, being stuck in prostitution or kicking butt from time to time (enter Kara Hui). It's enough of a bore but it wasn't enough content apparently for director Hon Bo-Cheung who adds gangster asides that really can't be viewed upon as comprehensible. The flirts the movie has with violence and even exploitation (including girl-wrestling) remains the sole worthwhile elements but sometimes, that's a sad thing. Pai Ying also appear.

Gong Li received the Taiwan Golden Horse Award for Best Actress via her performance in Sun Zhou's touching drama. She plays divorcee Sun Liying, a poor mother struggling financially and more importantly, to get her deaf son Zheng Da (Gao Xin, who actually is hearing impaired) into school. When he does not clear his admittance test, Liying has to quit her factory job to find one where she can be beside Zhang Da all the time in order to further his hearing and speech. Determined like few are, with the father mostly out of the way, help may lurk on the horizon in the form of kind teacher Fang (Shi Jing-Ming)...

Anchored beautifully by Gong Li's pitch perfect performance that no doubt is helped along by the innocence of Gao Xin's Zhang Da, director Sun Zhou (Zhou Yu's Train) knows that by mostly sitting back, you can translate real concerns into real cinema. Then again that's one of the hardest directing choices to pull off but he clinches subtlety (Shi Jing-Ming's performance as Mr. Fang representing this notion superbly), emotional beats and deservedly pushes with a melodramatic score by Zhao Jiping. It's an often tough watch to see Liying's devotion frequently not bearing fruit but she's a character that's convinced her son IS normal and her determination sometimes equals forceful too. Director Sun Zhou therefore have us slightly on the edge of our seats concerning the fates of the characters, not giving us final answers by the end but needed answers for Liying to move on. It's a beautiful solution.

Lung (Tony Poon), a rookie bodyguard falls in love with the first subject he's overseeing, May (May Cheung). She has come to Hong Kong with false hopes of being a singer but she's unwillingly set to enter the world of prostitution instead. Into this equation comes a model agency head (Margaret Lee - We're Going To Eat You) who's determined to conquer the love of Lung. Can a noble hitman (Eddy Ko) also fit into this film? Answer is yes.

Frequent erotica director Ho Fan makes no secret about his style of filmmaking. Gangster violence, soap opera drama and steamy sex are the pillars of his constructed narrative which is of course very promising on paper. Ho Fan does have a sexy lead in May Cheung and Margaret Lee proves to be a feisty one with the gun. However Tony Poon, one of the most unnatural "actors" I've seen in a long time plus a sluggish pace does Brief Encounter no favours. Fast forward material. Ho Pak-Kwong, Shum Wai, James Ha and Chan Ging (Long Arm Of The Law) also appear.

Gordon Chan brings back Leung Foon (Lawrence Cheng) and Ann (Carol Cheng) for a second go at trying to maintain a workable relationship. Now embarking on new careers in the yuppie world and their respective friends attempting to stick to one woman only, it's Leung Foon who's drawn into love for dual women. During a business trip to Shinjuku, it's the close working relationship with slightly loopy Wendy (Rosamund Kwan) that begins the emotional rollercoaster...

A sequel to The Yuppie Fantasia, on the surface more of a farce but director Gordon Chan still wants to portray the conflicts in a serious manner. Without as much of a through examination of characters this time, Brief Encounter in Shinjuku feels slighter yet very welcome since it's told with a straight face. Supporting characters played by Peter Lai, Manfred Wong and Chow Mei Fung returns in addition to Kenneth Tsang and Allen Fung (himself a director of films such as In Between Loves).

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The wife (Ho Mei) of a betrayed general gets sentenced to prison where she gives birth to her daughter Jie Lian. In need of revenge on the people that killed her husband, she asks her daughter to be taken care of and taken to Shaolin Temple. When grown up (and played by Angela Mao), soon pure buddhist thoughts are indeed ejected in favour of revenge and with her scorpions, Jie Lian attempt to start her killing spree...

Although melodramatic, the atmosphere echoing feelings of gloom and issues of the downbeat kind is actually well above average martial arts cinema from Jeng Cheong-Woh (King Boxer) that doesn't quite provide the same atmosphere once his revenge-tale is in full motion. The impulse of hatred is an interesting dissection taking place briefly in the film and there's nothing wrong with the movie being basic in its structure as Angela Mao tries to take out her opponent either via scorpion poison, kicks or fists. The movie eventually does get quite clogged up by characters and loses sight of a simplicity it needed. Broken Oath does have in its favour, hugely, the pure embodiment of female fury in 70s martial arts cinema in the form of Angela Mao and action-directors Yuen Woo-Ping and Hsu Hsia make sure the movements on-screen (especially when emphasizing the action with weapons) are very fluid, crisp and clear as well. Made at Golden Harvest and featuring the likes of Michael Chan, Dean Shek and Sammo Hung.

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Heavyset Master An (Got Siu-Bo) receives a message from a dying imperial messenger and finds himself to be the hunted due to the defining, powerful nature of the message. A reluctant hero and not a fighting swordsman at heart (his sword is bent and worn), he's defended by mainly a duo of females and a sneaky swordsman played by O Chun-Hung. The animated opening credits promises something different, something light but once the novelty of having a hero like An at center wears off (and it does so quickly), Broken Sword moves at the pace of a snail and has no exciting action to offer up as a distraction.

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Less of a Bruceploitation package but nevertheless close to generic. I say close to because Bruce And Shaolin Kung Fu passes time adequately thanks to a few minor positives in James Nam's frame. The stock Chinese vs. Japanese plot takes place mostly in the cold, harsh Korean landscapes, which makes for some cinematic flair. Also adding Bolo Yeung as a gorilla style fighter (hence the German title being Der Gelbe Gorilla) helps a certain excessiveness a generic exercise like this almost MUST achieve, at least in my untrained kung fu mind. An over the top villain, exploitation elements and an almost out of place visual style at times are also pro's for those looking for elements outside of the action to fall for.

Starring Bruce Le, an obviously talented martial artist, he's got the stock Bruce mannerisms down but he has to rely on the fighting scenarios being wild in order to stand out. Thankfully through his bout with Bolo and the fun finale with twin brothers equipped with nifty weaponry makes him end up in the middle of the road critically. As does Bruce And Shaolin Kung Fu as a film when measured out against the crowded genre. Something that should tell you it's simply a little bit more entertaining than most. Co-starring Chan Sing.

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Another one of countless vehicles exploiting the legend of Bruce Lee (hence the term Bruceploitation). While it's shameless for even doing so, thankfully Bruce Lee Against Supermen has no cinematic qualities that can rival the few but classic works that Lee managed to put out. The film sees Bruce Li in Green Hornet mode (but also doning some truly heinous alternate super hero wear late in the film) trying to save his girlfriend and father from thugs on the hunt for a secret formula.

Independent and totally low-budget, one thing director Chia Chun clearly hasn't grasped is the tool of tightening up a film. Instead he stretches the most common things such as walking and driving to ludicrous lengths just to get his film up to 80 minutes and to top it all off, the only potentially saving grace, the fight action, is sluggish and generally sloppy. However, Bruce Lee Against Supermen is a whole lot of fun as it's ripe for tearing apart Mystery Science Theater 3000 style-style. Among the hokey highlights is a female cat fight and the supermen of the piece that are a bunch of lethal, laughing circus clowns. Priceless. Leung Fei (now widely knows as Master Betty from Kung Pow: Enter The Fist) co-stars.

When the filmmakers behind what was reportedly during production called The Stranger realized that they had an inept film and a genuine turkey of a martial arts actioner on their hands, they decided to capitalize on the wave of films featuring Bruce Lee copies (aptly named Bruceploitation). A completely unrelated and illogical opening was shot, featuring Bruce Lee (or a white guy in jeans rather) being resurrected during a thunderstorm and then The Stranger opens, a film not in any way whatsoever related to the shameful phenomenon known as Bruceploitation (the English dubbers now and again reminds us of the fact that we're supposed to think it's a Bruce Lee movie by dubbing in the famous war cries).

Featuring a Korean actor credited as Bruce K. L. Lea, he admittedly got a few nice moves and the movie is hokey fun at certain points. The fun lasts very briefly though and Bruce Lee Fights Back From The Grave becomes more and more a chore to get through. It still remains entertaining when examining the behind the scenes information alone and that opening is something else in terms of low points.

Trivia note: sources claim Umberto Lenzi (director of Cannibal Ferox and Eaten Alive) directed this, something that probably is difficult to believe yet it hasn't been confirmed either. Even the name Bert Lenzi occasionally appear when researching the film.

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