As politically incorrect and vicious towards the titular snakes the filmmakers are FOR REAL, there is something sort of valid to be said for the sheer intensity of William Cheung's not very plotdriven film. Empty, even more so for those of us who needs subtitles for the more common unsubbed version that's floating around but then again, it's not the kind of movie to be understood. In fact it's not like any type of movie.

Snakes go on the rampage after humans hack them to bits and hit them with a dose of mongoose fury (cruel sequences shown in glorious close-up's and gleefully running several minutes each). Calamity Of Snakes could've mattered if it turned out to be an atmospheric and horror-driven film akin to The Killer Snakes (made at Shaw Brothers and directed by Kuei Chih-Hung) but knowing its limitations, the filmmakers pour all their hopes and dreams into full on snake terror instead (intercut by clownish comedy courtesy of Fist Of Fury player Wei Ping-Ao). Terror is led by a giant, probably supernatural one that never gets a quiet, calm revealing shot as it's such a poorly realized special effect (accompanying it with laser sounds doesn't help either). Director Cheung stages some incredibly elaborate scenes towards the end and puts many of his actors into the thick of it so despite faking elements of the attacks, it's this conscious eagerness to numb our minds that creates the impact Calamity Of Snakes genuinely has. For better or worse. You've been warned.

When the family dog Cala gets taken away by the authorities since the family don't own a dog permit, Lao Er (Ge You - To Live, Eighteen Springs), a lowly factory worker, struggling husband and father, works against a ticking clock to find ways outside of the law to regain his trusted companion...

Lu Xuechang's (The Making Of Steel) excellent little film mixes satire, droll comedy and drama seamlessly, starting out with a very hard white on black opening crawl about the dog permit law. Hard shadows in the defined cinematography suggests we're in a different genre but centering it around the "abduction" of the titular dog, Lu is in a very clever way setting up a ticking clock movie structure. But the setting and our main hero is not going to kill people and set off explosions during the course of the day but instead Lao Er takes a trip through urban Beijing while also having to confront his own family life. Cala is as it turns out something Lao Er can hide behind, his only real companion in a scarred family unit. Staying true to Mainland cinema-esque techniques, very little is shoved in our face and we're asked to grasp ourselves any low-key comedy and character weight. What a joyous task it is to do so! Ge You centers the film marvelously, being a pitch perfect image for the journey of Lao Er. A journey that director Lu isn't interested to fully follow through. There are certain tasks that are solved after 100 minutes but life doesn't get solved in that short amount of time. Despite the cheat that it may sound like, it's highly encouraging and enlightening cinema.

Cala, My Dog! was a 5 time winner at the 4th annual Chinese Media Awards including Best Picture, Best Director and Best Actor (Ge You).

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The call girl or hostess movie was practically its own genre in Hong Kong cinema, offering up relatively little room for riveting stories but here Andy Chin (Changing Partner, Why Wild Girls) takes expected stories and injects character and life into them in an unexpectedly well-honed manner (plus synch sound adds much). Not dealing with whether or not the profession is bad for you but instead the men and issues in their lives proves to be an engaging choice, much more so in Cecilia Yip and Veronica Yip's cases. Carrie Ng and Cheung Man have less interesting beats to work from, even being subjected to a rather undeveloped lesbian subplot that seems to cater more to the exploitation crowd. A decision that doesn't feel at home in what turns out to be a respectful drama but as the Yip's take more center stage, the depth and emotions do as well to a very compelling degree. Definitely a neglected movie and one of Andy Chin's best. Vincent Wan brings excellent supporting acting chops while Kenneth Chan, Ha Ping, Jamie Luk and Jackie Lui also appear.

The movie playing in the cinema scene is Andy Chin's own Sisters In Law.

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The life of a few prostitutes and hostesses through the eyes of Yeung Kuen (Seeding of A Ghost, Bloody Beast). Actually, the downbeat and fairly overwrought nature of this drama can be applied to many directors handling of the subject and while Yeung isn't out to challenge genre notion, interest is maintained in an area or two here. Basically 3 stories in one, primarily Carrie Ng's one where she struggles to maintain a steady family life with a young child left in the dark about her activities and a gambling addict husband (Cheung Kwok-Keung). It's trying to live a daily life that makes Candlelight's Woman, through Carrie Ng's performance, take on a seemingly more real tone. Without any exploitation aspects to boot! Rain Lau (Queen Of Temple Street) as Mei, a heartbroken young lesbian, takes the main spotlight for a while only to be forgotten until the violent climax. A little focus is there, just not sufficient by quite a longshot. You also learn that these films, while boasting haunting endings at times, really pulls their conclusions out of the standard template book. No different here, even though action director Cho Wing's work is notable at times. Also starring Michael Lai, Shing Fui-On, Jay Lau, Wan Chi-Keung and Lee Ga-Sing.

With the parade of stars and recognizable faces appearing in a montage during the opening credits (an unusual move from Hong Kong cinema), Carry On Dancing introduces a light vibe that surely won't demand much from you. Going almost completely impenetrable from this point, our basic plot about twin sisters played by Cora Miao sees them switch places. The one in the asylum goes out into the real world to claim alimony from her husband (James Wong) and the other introvert one finds love with a kind doctor (Richard Ng) within the hospital walls. Then other stuff happens that doesn't fall into place sense-wise. It's fun to see Cora Miao animated and a certain sweetness can be picked up from Richard Ng and Mang Hoi's performances but without any other points coming through, Carry On Dancing isn't even remotely amusing. Not gravely bad to the point that we instead want crass and low-brow akin to a Wong Jing experience but considering the work of Leung Po-Chi (Hong Kong 1941) and Kam Kwok-Leung (actor in Purple Storm), we're tempted. Sandy Lam, Eric Tsang, Meg Lam, Michael Chow, Rachel Lee, Stanley Fung and Charlie Chin also appear.

The stars are all on parade in this episodic comedy set in and around a hotel. Directed by Jeff Lau, you could mistake Carry On Hotel for a Lunar New Year comedy judging by the cast and general lack of effort. No, this puppy was actually released during the height of summer in 1988, an era where it was possible to gather up the likes of Jacky Cheung, Joey Wong, Richard Ng, Pat Ha, Cecilia Yip, Kent Cheng, Eric Tsang, Charlie Chin and Cherie Chung in one movie. Lau's direction for most of these episodes only land on semi-amusing but is carried by that undeniable 80s Hong Kong cinema charm. The odd detour into black comedy for the Eric Tsang, Pat Ha and Cherie Chung segment is welcome and Richard Ng is an absolute riot in a possible nod to his famous shenanigans in Winners And Sinners. Here's he plays a thief who thinks he can hypnotize whoever he wants and his apparently grand ninja tricks are tried out on the hotel staff as well! It's also here Jeff Lau's comedic momentum is at its finest but Carry On Hotel only offers up a glimpse into what he can really do at his best.

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Not frequently mentioned modern action-comedy from Sammo Hung, his first production after the seminal The Prodigal Son. Playing a pickpocket alongside Frankie Chan, there's terrific focus put on making those types of scenes smooth and with the right flow. Some worthwhile comedy from Sammo and Frankie crops up but Richard Ng steals the show and injects the best comedic sparks for Sammo's frame. Also of great caliber is the action by Hung's team with the primary focus being on power despite the light nature of the film. This direction makes the film lose a little bit since the finale goes all out gory at times but overall, Carry On, Pickpocket delivers a fun, entertaining time with the odd, shocking blood spurt and Richard Ng being Richard Ng. Well-rounded in other words. Also with Lau Hak Suen, Deannie Yip, Didi Pang, Peter Chan Lung, Dick Wei, James Tien and Paul Wong. Chin Yuet Sang has a fun little cameo as a disco dancing waiter.

Laughter! Romance! Sex! Murder! Courtroom drama! You get this and more in Terry Tong's (Coolie Killer) wildly crowded (and crowd pleasing) final film. The above is what he spends time jumping in between as he portrays the life of one gigolo (Simon Yam) turned upside down when a client of his (Veronica Yip, back in smut territory after a fine performance in Call Girl 92) goes postal. Longing for love after he's fulfilled the duty of impregnating her, she gets seriously ticked off when Simon is actually in love with lawyer Sandy (Sandra Ng)...

Tong scores points in the low-brow area of the comedy since he has Michael Chow to work with and obviously the bonk-a-thon featuring Veronica and Simon is entirely welcome, if not a little bizarre. There's also a great deal of unconventional casting on display here as it's Sandra Ng who gets the be the actual object of desire, not a common occurrence at this time. Then when Tong takes cues from Fatal Attraction, you realize what an oddly compelling piece of smut this is.

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