Acclaimed Taiwanese director of indie kung-fu, Lee Tso Nam (The Hot, The Cool and The Vicious) certainly does only a little to deviate from set formulas but the attempts are notable. Eagle's Claw actually does attempt a surprising narrative with somewhat proper character depth and it's that desire that has made Lee's film a little bit more long lasting than others. Kung-fu historians will tell you that Chi Kuan-Chun (Shaolin Martial Arts) broke new ground here in a more darker role and Chi does portray his character descent into evil quite admirably well considering this really is very close to run of the mill genre filmmaking. Don Wong also displays good power as a fighter and decent chops to lead, in an independent kind of way.

Tommy Lee's action definitely benefits from Wong's presence and while fairly intricate, it also comes off as a bit stale and sluggish. No doubt, Tommy gets the job done but you won't find the polish and flair that someone like Lau Kar Leung could bring. But perhaps we shouldn't expect that either. Nonetheless, Eagle's Claw may look and sound like everything else but possesses enough depth to stand out. Something not all cheap martial arts productions were bothered with trying to achieve. Chang Yi co-stars as our white haired villain while Leung Kar Yan and Phillip Ko add fighting support.

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A cop (Hu Jun - Lan Yu, Everlasting Regret) and a homosexual writer (Han Si - who now lives in Gothenburg, Sweden!) duke it emotionally out during a nightly interrogation.

Zhang Yuan (Green Tea) doesn't abandon the stage roots of East Palace, West Palace and rightly so. He does superbly expand on the premise via several flashbacks and fantasy sequences though, mainly from the perspective of Han Si's character. A young man who gladly lusts for the definition of love the extreme way (him being gay doesn't matter), being viewed upon as actually sick by the cop. But through what seems like endless and even pointless conversations going round and round, director Zhang reaches the desired boiling point where especially the Hu Jun character displays more bottled up conflicted emotions. How and if they will manifest themselves in front of his "prisoner" becomes a strong driving force for East Palace, West Palace and Zhang Yuan delivers a strikingly, poignant ending. Be prepared to be jerked around a little because this reserved cinematic landscape holds keys to substance of the greater kind. Vicky Zhao (Shaolin Soccer) appears briefly.

The Chinese government didn't approve of the taboo ridden film and revoked director Zhang Yuan's passport as well as putting him under house arrest. Friends smuggled out a print of the film out of the country in order for the film to be screened at Cannes.

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An undercover cop (Chin Siu-Ho) gets driven towards that darn edge of darkness slowly but surely. Forced to leave both his family and best friend (John Shum) in the dark about his mission, all threatens to be revealed much thanks to his desperate, in-debt superior (Alex Man)....

Fung Hak-On may have cast John Shum but makes his character weak and goofy to the best degree possible, therefore maintaining a thoroughness when it comes to the grim mood of Edge Of Darkness. Giving the undercover angle little surprising facets outside of the dog symbolism (the recurring English dialogue "Good Boy" by Alex Man makes sure we don't miss this), pace and tension ranks as solid as well as the action directing. Dropping in some insane stunt imagery and gunplay, Fung's focus to be brutal pays off as well (even if two particular effects involving dummies can be spotted via obvious jumpcuts). Alex Man for once makes his usual over the top antics absorbing, playing well to the dangerous and desperate traits of his character. The climax that actually takes place after the final large action bits have done their thing is familiar but doesn't disrupt an even surprisingly solid, gritty effort. Known rather than famed director Lo Wei appears in support as the big boss of the piece while Lo Lieh, William Ho, Fung Hak-On, Wilson Tong, Ronald Wong and Tanny Tien also put in appearances.

An extreme tragedy as played out on the screen but also behind it as star Alexander Fu Sheng died in a car accident during production. Having already shot footage with him, director Lau Kar Leung and crew gathered up all their sorrow and channeled creativity instead, giving Shaw Brother's another genuine classic in the form of The Eight Diagram Pole Fighter.

Darker and bloodier than anything Lau ever directed on his own, Fu Sheng's largely overacted role (a direction that works) was presumably supposed to be part of a double star act with Gordon Lau but even though Fu's character is locked away for the latter half of the film, there's enough cinematic power in the plight of Gordon's character's revenge path. Preaching the buddhist way isn't a fresh template for any film but with such a master at the helm, it's no surprise that the content registers as valid cinema, with iconic scenes to prove it (one involving Gordon's desire to enter the buddhist temple is very powerful). The pole work of the film then goes hand in hand with the bloody revenge plot and buddhist preaching's, with Lau bringing intense and creative action work from an intense period. Cited rightfully as highlights is the Gordon Lau/Phillip Ko pole fight and the amazing finale with the coffins of the lost brothers at center stage gets the emotions flowing. Also starring Kara Hui, Yuen Tak, Lily Li, Lin Ke Ming, Johnny Wang with fighting cameos by Lau Kar Leung, Wong Yue, Hsiao Hou, Robert Mak and Lau Kar Wing.

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TROY'S REVIEW: Straight off the bat, I feel I must award top marks to the script writer of this somewhat glorious trash-fest. Here we have the story of Captain Scott who is said to be and I quote, "A CIA action man" and "A tame ninja". Anyway, moving swiftly on, the 'plot' details that Scott is hired by his superiors to bring down the Spiritual Ninjas of the the title who are led by a bearded fellow who adheres to Nazi philosophy, as indicated by the large swastika he bears upon his head. Alongside this we also have a Filipino crime tale featuring lots of scenes set in a seedy looking disco, filled to the brim with all of about five people who dance as though afflicted with severe pelvic and spinal injuries. Oh, did I happen to mention that this also features a female cop who has a curious propensity to hurl spiked knuckle-dusters into suspects throats at any and every given opportunity? No? Oh well... Yes indeed, yet another cinematic triumph for lovers of crappy cinema from Filmark International.

One of the better Jade Leung (Black Cat) movies as it turns out although it's not without pretentiousness and therefore is problematic. Heading out of the gate full steam ahead with shaky cam action, there's definite spark and energy created through this weapons mayhem. After smoke is cleared, the story is personal as newly examined cop Jade (yes, Jade Leung) loses her man and faith in the ability to perform in her profession. Narrating the film as well, there's the psychology put forth about our inner shadows, something that rings very true as Jade crosses over to the world of decadence and thieves, in particular evident in the relationship she has with Panther (James Pax - Remains Of A Woman). Having corrupt cops (headed by Kenneth Chan) after the duo and Jade recognizing something bad AND good in Panther, the stage is set for an actual exploration too. The problem with most of these philosophical turns the flick takes is that director Chan is way too infatuated with the style of Wong Kar-Wai. Even to the silly point where every motion, every event is in blurry slow-motion. You can be deep about matters, am not arguing against that but since Chan isn't trying to create something of his own, most of Enemy Shadow loses depth in areas it wanted it to be there. Thankfully many latter parts of the film lays off the WKW style and sees Chan creating multiple scenarios of bloody death and action, culminating in Jade's final realization that her uncertainty of the world is also due to the world fooling her at every turn. It erases some of the memories of the cheap knock-off Enemy Shadow at times is. Moses Chan, Ben Ng (as a gay triad), Shing Fui-On and Peter Chan Lung also appear.

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Somehow you would naturally assume that being "confined" to the martial arts genre, Johnnie To's directing debut The Enigmatic Case would come off as a cheap, quick, generic kung-fu fest. Truly wrong, TRULY! Instead, it's the starting point of one of Hong Kong cinemas current driving forces, showing there was something wonderful brewing well before Milkyway was formed.

A slow, atmospheric story about restoring honour in a bleak world where that goal likely will come with a price, To puts forth nods to Westerners in this easily followed, affecting journey for Damian Lau's character. Within the enchanting cinematic tapestry, To genuinely affects and surprises, handing out chores for the action directors only at select times. Far from stylized, emphasis is on the struggle and the violence, some of which is rather tough on the senses. The film also marked the debut for Cherie Chung who divides her time between being a flower vase and eventually getting a valid role in the structure of the story. Also with Lau Kong, Chiang Han and Leung Gam-San.