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.

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.

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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.

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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.

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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.

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.

Lau Siu-Ming opens the film with some nifty gambling skills, a trait that soon sets up one of the cooler character to come out of this genre in combination with the heroic bloodshed one. Namely Lam Wai (Long Arm Of The Law), who plays a number crunching invincible one who puts his particular skill to use in various creative, acrobatic ways. Too bad King Of Gambler can't shine a better light on this character emphasis and the film ends up playing out more like a stock genre picture, with the typical exaggerated gangster types all too visible (including the usually growling Alex Man). There is some slight positives to take away from the film though, especially the last 30 minutes or so that is an almost constant assault of gunplay. The biggest joy here comes from the extensive weaponry used and hordes upon hordes of robot-like henchmen up for slaughter (somewhat reminiscent of the various Agent Smith's of The Matrix movies). Lam Wai continues to shine in these scenes and the momentum sees director Johnnie Kong's (Madam City Hunter) minor quirky skills come to life. But with this comes the price of the quite extensive action being devoid of style and even good technical execution largely so what could've been an eventual classic merely ends up as being noticeable. Also with Kathy Chow, Jimmy Lung (in the villain role as always), Tommy Wong and a confused looking Roy Chiao.