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| The Killer (1989) Directed by: John Woo |
One of the foremost classics of the heroic bloodshed genre, one fully ignited by director John Woo, and the film that established his and star Chow Yun-Fat's reputation internationally. The Killer has always been a kind of a struggle for me though. The reason is that I've never really seemed to grow to love it as much as others during my prior viewings. However with the Hong Kong legends dvd that received good remarks about its newly created translation, I finally began seeing what was truly great and what I always seemed to dislike. While the themes of brotherhood, loyalty and the action sequences (beautifully staged by Ching Siu-Tung & Lau Chi Ho, with much input from John) are pretty much nailed, I can't help to feel that it's one nail too many. Certain moments between and those about characters feels overemphasized, even sappy and corny, to me and that may explain why I've always felt a bit distanced to The Killer compared to other movies by John Woo. It's still an excellent film though with Chow Yun-Fat at his charismatic best and while not as impressive, Danny Lee performs admirably in his finest role alongside the performance in City On Fire (his award winning turn in Law With Two Phases, which he also directed, I haven't seen so I can't comment on that currently). Sally Yeh is left a little in the background which is not surprising coming from a filmmaker specializing in portraying male bonding. However I think Sally's character does works nicely as the goal of salvation for Ah Jong while that particular theme and its outcome I think never sat well with every viewer. I certainly respond to it but I think it depends on where your mind can go in terms of light and dark. Sounds cryptic? Watch the damn film! The terrific action finale set in a church took several months to shoot and it's here Chow suffered an eye injury, which is visible in the film. Also starring Chu Kong, Kenneth Tsang and Shing Fui On. The Killer won Best Director and Editing at the Hong Kong Film Awards the following year. Buy the DVD at: |
| The Killer Has No Return (1996) Directed by: Jeffrey Chiang |
Concerning a killer of killers (Wong Hei - The Accident) who slowly begins to break his habits of drinking things other than hot chocolate and displaying empathy for other human beings, such silly notions threatens to be shattered by another assassin (Yu Rong-Guang)... I'm sure Jeffrey Chiang (The Dream Killer) had good intentions when echoing Wong Kar-Wai's stylistic sensibilities (Blur-O-Vision being the one utilized here) and plot points from Fallen Angels and Chungking Express. Here's his problem though, it's a xerox of someone else's voice, not Chiang's own and he even manages to make his art completely muddled and lacking of interest while he's at it. Voiceover musings on the art, the habits and the interaction with people doesn't aid the otherwise solid stylist Chiang. Which is all a shame because he's loaded up the flick with gunpower that isn't out of place But that's it for The Killer Has No Return, an effort that thought it could get away with an homage such as this. Carol Lee and Ng Man-Tat also appear. |
| The Killer Snakes (1974) Directed by: Kuei Chih-Hung |
It's not the flick for the optimists when Chen Zhi Hong (Kam Kwok-Leung from Purple Storm) excises his sadomasochistic demons and lust for revenge with his killer snakes... Ngai Hong's script lacks great characterdepth and subtext (although the theme of Chen's decisionmaking for others becomes an interesting point) but director Kuei Chih-Hung (The Bamboo House Of Dolls) makes it all up by providing high atmospherics. It's surely more of a simple revenge story, one definitely inspired by 1971's Willard, but the stylish cinematography by Yu Chi turns The Killer Snakes into an immersing and even unnerving ride. Despite being set among the lower class, in a decayed urban Hong Kong, the professionalism is suitably in tune with the content. The filmmakers even go to the brave lengths of not relying on much source light, and letting contours and shadows do the work within a beautifully composed Shawscope frame. At times threatening to be a bit goofy, in particular during the snake attacks, this 1974 Shaw Brother's production, nowadays also rated Cat III for very valid reasons, doesn't offer happy solutions and a life affirming sentiment. Its impact and disturbing nature can still be felt today but whether you're the viewer who's willing to go down that route and examine film merits, I can't say. I can however say that animal lovers should really stay away as the various killings are most certainly not special effects. Buy the DVD at: |
| A Killer's Blues (1990) Directed by: Raymond Lee |
Fresh off the chaos that was Swordsman, Raymond Lee helmed this drama with gangster genre aspects up for cliché target practice but he showcases a will to make something that will peek out just a little bit more distinctively than the rest of the output at the time. While Ti Lung's character journey is about leaving the gang life in order to settle down (yea...easy as pie as always), Lee knows that if you put enough sincerity and get actors of dignity and charisma, you can achieve better things than expected of the surroundings. That happens with Ti Lung's strong leading act, embodying a character who realizes he has failed but also that success was never going to be an option in life, knowing what he knows now. Lo Lieh is equally good in a seemingly ordinary supporting act but Lo brings subtlety along the way that speaks well to the veteran nature of the loyal character. It's not the greatest drama tools employed here (some over the top melodramatics comes with it) but it's effective in a modest way. Watchability level also goes up whenever action director Tony Leung steps in, in particular an intense shootout at a funeral parlor has a nice gimmick not seen in too many other films. Also with Olivia Cheng, Fennie Yuen, Mark Cheng, Roy Cheung and Lam Chung. Buy the DVD at: |
| The Killer's Love (1993) Directed by: Jamie Luk |
Professional killer Cheung (Simon Yam) takes refuge in a village community, posing as a former gigolo when renting a room with teacher Lee (Carol Cheng). No sparks fly initially but since this film belongs the to the rom/com genre... Oh, and there's a rival, sadistic killer (Karel Wong) out to get Cheung too. Cheng appears as her otherwise known screen persona, the one possessing little female traits but those traits are this time forced and her chemistry with Simon Yam is poor. Director Jamie Luk (also co-star) takes the characters places but for no plausible or logic reasons and useless asides such as a focus on a school election marks Luk's lack of strength in his core material. Enter Karel Wong at sporadic points to turn the piece bloody and yet another poorly fitted mood takes refuge in The Killer's Love. Buy the VCD at: |
| Killer's Nocturn (1987) Directed by: Nam Nai Choi |
A 1930s gangster tale with Alex Man as Yen, a cruel and nasty crime lord that likes to settle his deadliest deals at the mahjong table. After Lo (Chin Siu Ho) begins laying his eyes on night club singer Chui (Pat Ha), Yen steps in and injects bloodshed... A grand and generally fine looking period piece where writer Manfred Wong has provided zero originality in terms of the storyline at hand or its characters. Alex Man is just called upon to play a variation of a gangster he's done numerous times before, Pat Ha is dreadfully underused and poorly developed, leaving only Chin Siu Ho who does shine on occasion. Much having to do with Nam Nai Choi's (The Cat, Story Of Ricky) direction during certain parts of the film. Nam clearly isn't at ease directing serious drama here but when giving free reigns along with action director Chris Lee (who also is one of the henchmen in the film), they log some exceptionally brutal violence that easily is on par what Nam would bring in Her Vengeance the year after. Despite being played straight, Nam's mad mind still decides to feature a fight scene that will go down into the Hall Of Fame (or Shame depending on how you look at it) when Hong Kong cinema is summed up. That fight ladies and gentlemen is between Chin Siu Ho and...wait for it...a kangaroo! Despite, Killer's Nocturn still continues to be ultra serious which in the end obviously doesn't make for a good , balanced film but that bit of fun combined with nasty violence makes it very much watchable. Also with Patrick Tse, Wong Hap. Alex To, Chui Sau Lai & Shum Wai. Buy the DVD at: |
| Killer's Romance (1990) Directed by: Phillip Ko |
Based loosely on Kazuo Koike's Japanese manga Crying Freeman (as was Clarence Fok's The Dragon From Russia), director of low-budget action Phillip Ko does seem to strive for something greater in terms of echoing sensibilities of Japanese samurai movies. Well, that comes eventually and up till that point, Ko subjects us to standard gangster plotting that despite location work in England doesn't distinguish itself one bit. Japan, Hong Kong or Philippines (where Ko has shot quite a few of his trademark low-fi actioners) would've done just fine. It's only when the gory mayhem, be it gunplay or swordfighting, breaks out that interest is maintained. As for paying tribute to the old style, Ko does ok while also adding the fast moving Hong Kong choreography onto it. Simon Yam puts in notable effort, playing much to the quiethodd that Yam on occasions can bring to good effect. A few moments of his also showcase an admirable execution of fighting technique mixed in with obvious stunt doubling. Joey Wong is pure windowdressing, Luk Chuen's character development can be spotted a mile away, Phillip Ko Fei overacts like a true Hong Kong villain would and Jason Piao appears VERY briefly as a priest. Killer's Romance represents the good old days in a compelling nostalgic way despite huge flaws along the way. Don't expect a lost classic however. |
| Killing In The Nude (1985) Directed by: Lee Tso-Nam |
With only a smattering of kung-fu action offered up, Lee Tso-Nam (Shaolin Vs Lama) attempts story and exploitation instead. Not feeling totally at home then but offering up images for the sex-thirsty crowd to be amused by (like cutaways to a cock after one has been cut off and insects mating), the main character of Shi Shi goes through prostitution with all its outrageous tests and prep it requires, to feeling secure as a concubine of a General. But peace is never maintained and the flick takes a turn into family tragedy instead, rendering all fun absent and useless. When at its best, Killing In The Nude is a poor man's Intimate Confessions Of A Chinese Courtesan as it brings out a revenge side to Shi Shi but all's quickly ticked off in favour of melodrama, unfortunately. |
| King Of Beggars (1992) Directed by: Gordon Chan |
Occasionally very funny period Stephen Chow vehicle. I say occasionally because the structure actually divides it's time a bit equally between Chow's trademark comedy, exciting wire action (choreographed by Yuen Cheung Yan) and even a touch of drama. All of high quality and Gordon Chan's solid direction makes King Of Beggars one of the better looking Stephen Chow movies. He even employs CG at one point, not something that was used extensively in Hong Kong cinema in at the time and the movie was mixed in Dolby Surround as well. (sadly not re-produced for the dvd) Norman Tsui (Duel To The Death) brings veteran prescence to create an intimidating flying fighting villain and Sharla Cheung not only looks gorgeous but handles the action adequately. Also starring Ng Man Tat...of course. Buy the DVD at: |
| King Of Chess (1992) Directed by: Yim Ho |
Yim Ho (director of Kitchen) and Tony Leung Kar-Fai wrote the screenplay about two respective masters of chess and how they're treated by two different eras of Asian history. In flashback, we witness Wong (Leung), the king of chess, and a band of fellow citizens unwillingly caught up in the cultural revolution and having their desires and skills suppressed by the regime. In modern day Taiwan, a psychic young chess master being treated the opposite as his skills are exploited. The connections between the different stories are there but not interest or involvement. Yim Ho gets most power and poignancy out of the flashback story and the sentiment about getting the government to recognize a skill not created through the revolution but held on to by the ordinary man. The modern day segment is more sketchy and frankly barely made to work in connection to the past story so it's half an interesting and well-shot film, half filler. Yim Ho's original version was entirely set in the 60s but reportedly, the end result was not pleasing to producer Tsui Hark who thought Yim Ho was too soft on communism. Tsui stepped in as director and shot all of the modern day footage in Taiwan with John Shum for it to work as a parallel story. As much as I love Tsui, it doesn't really work and it would be interesting to see the full extent of Yim Ho's work instead (who still gets sole directing credit). Thanks to Mark for the above information. Buy the DVD at: |
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