Tony Leung Ka-Fai is Japanese writer Okagawa who meets and marries young prostitute and christian devotee Jin-Hua (Yasuko Tomita - Kitchen). When she finds out he already has a family in Japan, she detaches herself from Okagawa and devotes herself only to her God, a decision that in her mind strengthens but in fact leads her onto a road towards insanity...

Tony Au bid farewell to directing Hong Kong cinema with this his 8th feature, a dark, depressing and complex drama where he and writer Joyce Chan subjects poor Jin-Hua to grave punishment. It's an interesting portrayal in the way they put a blurred line between belief, need and love and you'd better be prepared for pessimism of the highest order. If so, The Christ Of Nanjing offers up fine production values, style and acting, in particular the intense and daring role for Japanese actress Yasuko Tomita.

Despite the Chinese title suggesting we're watching a sequel to Danny Lee's acclaimed Law With Two Phases, City Cop holds mere one connection and if you can't figure that out, you're still new to Hong Kong cinema...

Herman Yau made Cop Image the year before, the film where the ordinary cop tried to adopt the characteristics of the unrealistic movie cop. City Cop, written by infrequent but obviously talented Anna Lee, toys with us a little as it's first established we're into buddy cop movie territory. That's the template and via the very small means, Herman crafts a very exciting and affecting film. His talent in this particular production is not just keeping an even pace and getting the action to register as effective but highlighting the little, humane things that make up the lives of cops Jackson (Parkman Wong) and Rambo (Michael Chow). Of course an odd couple to begin with, Yau plants incredibly simplistic notions of the validity of being the cop type you are, valuing family and relationships as well as keeping count of your hour quota. Rarely interrupted by silliness, whenever the generic plot of the invincible Mainland Chinese villains kick in, even here where the script calls for brief commentary on the weaponry possessed by the criminal underworld Yau gets his point across very efficiently. Employing focus when working with action directors Chin Kar-Lok and Yee Tin-Hung as well, the film never strays and offers suitable mayhem (including some very fine stunt work and a terrific finale at a cinema). The downfalls of City Cop, albeit briefly concerns predictability and melodrama played out under Canto-pop. Perhaps it's also too minor to register with the masses but it's a fine film underneath that familiarity despite. Danny Lee appears in support, handing out friendly advice but a lot of credit sure belongs to him as a producer for allowing those mentioned little things to take center stage. Also with a relentless Ben Ng, Peter Yung and Tam Suk-Mooi.

With Dennis Yu (The Beasts, The Imp) mellowed out a bit, Cinema City took him on board, City Hero being the second production he made for the studio. Still, the antics of Dean Shek takes center stage, playing an arguably deranged instructor of special police unit cadets and even though he takes his role seriously at points, he knows no other gear but maximum. He can't win. As for Yu's work, he shows great disinterest when echoing this Police Academy formula (only slight more darkness enters) and offers up no points of interest along the way. When killing off a main character, it's simple attention seeking that works against him greatly.

Even when subsequently ejecting most of the guys from this premise in favour of women, The Inspectors Wears Skirts by Wellson Chin didn't exactly intend to improve on the lame formula. Heck, one might even think the idea for that series came through the casting of Billy Lau in City Hero. A scary thought. Mark Cheng, Michael Wong, Pat Ha and Ku Feng also stars.

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Despite not having a whole lot of originality going for it with its plot content being personal revenge, vigilante acts, choices equaling a journey towards hell and cops in commanding posts being as usual pretty tough to deal with, Sun Chung's (Human Lanterns) re-teaming of Chow Yun-Fat and Ti Lung (both in A Better Tomorrow) is hellish cinema so it's therefore for those who can take it. Sun Chung lights a fuse early on that slowly burns towards ignition, symbolized via Chow's steamy relationship with gangster Ted's (Norman Tsui) girlfriend (a character inflicting doom, played by Tien Niu who shares some quite smoking scenes with lead Chow, especially one on a dance floor) or when just about every innocent soul gets it! It's not John Woo weight to the proceedings and some light detours obviously make a dent in the otherwise excellent, dark impact the film has. Lo Lieh, Michael Chow (as a gay henchman) and Ricky Yi also appear.

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Dick Wei is Lok Han, a Mainlander arriving Hong Kong to look up his sister who's rebelled against him and left with boyfriend Tsai (Ken Lo). She's been forced into prostitution however and Lok Han quickly makes enemies with the underworld in his attempts to get her out...

Johnny Wang, a familiar face from Lau Kar Leung's films but also a director of brutal fare such as Angry Ranger and Escape From Brothel. While there is probably some true commentary about the different train of thoughts between Mainland Chinese people and Hong Kong people, City Warriors first and foremost relies on the action (also directed by Wang). Very few are spared, including women, but it's well-executed gory and intense brutality. It ain't pretty but Wang never set out to make it that and City Warriors succeeds where it aims. Also with Carina Lau, O Chun Hung, Chor Yuen and Phillip Chan.

Lo Lieh directs this sequel/remake of Lau Kar Leung's Executioners From Shaolin, the movie that gave us one of Lo's standout roles of the white haired priest Pai Mei (later portrayed by Gordon Lau in Kill Bill: Volume 2). Well, Pai Mei is dead and Lo instead takes on the very similar role of The White Lotus that's is constantly being challenged by anti-Ching fighter Man Ting (Gordon Lau). What it takes to defeat The White Lotus is perhaps a little female contribution. That's where Kara Hui comes in...

Director Lo takes certain beats of Lau Kar Leung's original but mostly ejects any notion of a serious narrative to make room for comedic strokes instead. Both broad ones as seen through Lam Fai Fong's endearing and funny performance but several doses of welcome quirkiness rears its head, which is a style of comedy not usually associated with martial arts, at least not on my experience. Clan Of The White Lotus could've taken all its cues from the established kung fu comedy staples of the time but feels very much its own thanks to Lo Lieh's clever direction and the marvelous contribution by none other than Lau Kar Leung, this time acting "only" as action director.

Don't think for a second that he's going in half-assed though. No, Lau's set pieces are as fast and furious as ever with constant high quality and complicated bouts, making Clan Of The White Lotus very much resemble a Lau Kar Leung movie after all, but with a twist, which is Lo Lieh's great compliment as head of this Shaw Brother's production. Johnny Wang, Hsaio Huo and Yeung Jing Jing also appear.

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