# A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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The Most Wanted (1994) Directed by: Wong Gam-Din

Cat (Lau Ching-Wan) is an undercover police officer slipping deeper and deeper into unwanted criminal behaviour such as robbery. Death comes along with it and when his confidante and superior Li (Lee Gwok-Lun) is killed by robber Yip Huan (Robin Shou), Cat's grasp on trying to re-gain his identity as a police officer is slowly slipping. Especially as Super Intendent Cheng (Kent Cheng) is pursuing him intensely...

Opening in an atmospheric manner but showing less than exciting street life in and around Cat and buddy Sap (Bowie Lam), it's an non-distinct life and movie frame. Also very much the point as Cat is harboring a secret from his best buddy, The Most Wanted does fairly well examining the tough trials and breakdown of an officer stuck in undercover hell. With fewer and fewer knowing his real identity and being a victim of police politics, Lau Ching-Wan at center embodying all this makes a rather standard template grow during certain moments in the film. Cat has forged alliances on both sides, is trying to find romance with immigrant Lily (Eileen Tung) but it's the age old downwards spiral being against him. Director Wong Gam-Din provides some edgy atmosphere on a budget and the various scenes of chaotic gunplay has the needed street realism the story requires.

Mother Of A Different Kind (1995) Directed by: David Chiang

Lam's (Fung Bo Bo) son Man goes astray one day during a football match where he injures one of his bullies. Being an underdog with a very protective mom who's also a nurse, his stay at the hospital soon develops into extreme paranoia about possible jail time. He ends murdering one policeman but subsequently is shot and killed by superintendent Cheung (Lau Ching Wan). Not being able to cope or forgive, Lam goes on the path of irrational revenge, targeting those precious to Cheung...

David Chiang's last directed film to date, a thriller echoing Misery but thankfully not reenacting the James Caan/Kathy Bates vehicle completely. Chiang brings nothing new to the portrayal of insanity in the face of tragedy but has a thoroughly dedicated Fung Bo Bo at his disposal, a factor that makes Mother Of A Different Kind a highly chilling tale. Chiang and Fung takes advantage of the familiarity and even when going highly over the top (along with the plot), it not only seems logical but a veteran performer like Fung also makes it bearable. Lau Ching Wan backs up in a solid way as the victim nobody believes and Veronica Yip is annoying in the best of ways. A rare movie where comedic relief is welcome.

Mother Vs. Mother (1988) Directed by: Tommy Leung

Photogenic stars Maggie Cheung, Jacky Cheung and trusted veterans Lydia Shum, Bill Tung and Tang Pik-Gwan completely sink this intolerable piece of 80s fluff that somehow doesn't manage to survive even a little by being 80s and featuring the cast it does. Bill Tung love both Shum and Tang's characters, creating a rivalry and then their respective children fall in love. Complications ensue. Not only seriously unfunny (aside from James Wong in an opening cameo) but Jacky Cheung (and friend played by Liu Wai-Hung) working at a TV station are complete assholes that Maggie Cheung in her right mind as a character wouldn't fall for. But this is illogical entertainment and the female veterans (especially Lydia) get on your nerves easily so there's nothing to latch onto here. Possibly your eyes and ears as you want to tear those from your body.

Mr. BIG (1978) Directed by: Lam Kwok-Cheung

Sorry excuse for a gangster genre vehicle and not a Golden Harvest production Raymond Chow probably touted highly that year. Jason Pai is Piao, a disgruntled ex-worker at a car repair shop who goes into the trade of being a gangster together with low-life, hoodlum friend (Max Lee). Taking command of existing small gangs, forming alliances with newly found pickpocket chums, Piao and company set their sights on joining one of the big bosses. Probably consciously steered away from being overly nasty and dangerous, that's a major strike against Lam Kwok-Cheung's movie as it would've taken that to distract us. Some grit dammit! What we get is endless scenes of scheming and even when confrontations do occur, life is draining OUT of the overlong flick! Friendship prevails in the end and Mr. BIG continues to stick by the fact that it's lighter than expected.

Mr. Boo Meets Pom Pom (1985) Directed by: Wu Ma

Injecting a bit of dream team flavour into the Pom Pom series, for the third outing featuring clumsy, too loud mouthed for their own good cops Chow (Richard Ng) and manchild Beethoven (John Shum), Mr. Boo himself aka Michael Hui joins to make up to complete a comedic trio attack on the senses. Well, it isn't quite that and Hui isn't on top form (by the way Mr. Boo was what Michael's movies with brothers Sam and Ricky were known as in Japan) but director Wu Ma gives us the stronger pieces of comedic celluloid from the series at least for the first half. Hui is Expert Man who is the one who saves the day in the opening reel rather than Chow and Beethoven for once. Something the ill-dressed and barely adult Beethoven admires and he even tries to better his image as a police officer in the light of all this. All while Chow sulks a bit in the background, the mystery of an unbreakable jewelry store glass breaking needs to be solved and Man fighting his demons in the form of his wife who's cheating with jewelry head Yeung (Stuart Ong)...

Although relying heavily on skits yet again and barely contributing a plot, the first half has strong interplay between the three comedic leads that means Hui in particular doesn't need to rely on his usual comedic persona actually. It's refreshing to see him on top of his game when being a civil servant but quite a pathetic character privately. The tangents about certain sound waves only breaking mentioned glass is nicely paid off when it's the duo of Chow and Beethoven making a mess out of that situation in a restaurant. However the remainder of the film focuses almost solely on Man's love troubles with the Pom Pom duo helping out and the movie stops dead largely because of this expansive focus (however Hui faking the presence of his wife in front of Ng and Shum is pretty priceless). The stunt heavier ending mostly featuring Hui has bits of brilliance though, with Hui being able to flex his comedic muscles as well as Sammo Hung's stunt team. Deannie Yip returns briefly as Chow's wife.

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Mr. Coconut (1989) Directed by: Clifton Ko

A box-office success but in reality not a product Michael Hui can and should endorse as intensely as his prior classics such as The Private Eyes. Under Clifton Ko's rather lazy direction, Hui is allowed be lazy too but manages to get in a few solid laughs as a village Mainlander traveling to the big Hong Kong city to live with his sister (Olivia Cheng). On home turf, Hui's Ngan is a crafty fella who can jump between coconut trees and put out cigarette butts from a distance with his spit. When changing locale, he's more of a retarded, fish out of water country bumpkin. Shacking up with the sister, her husband (Raymond Wong) and a rather big family that also has the flower vase-role of the piece unashamedly assigned to Joey Wong, Ngan's innocence will generate annoyance but life affirming lessons about appreciating your loved ones. It's witty to no degree whatsoever as Ngan catches sights of the wonders of modern toilet flushing, find creative ways to not exhale cigarette smoke and accidentally travel to Africa where stupid Africans reside (enter rather poor taste from the filmmakers). Hui, in a role Stephen Chow would adopt at many times to great success, sells the silly gags well during quite few times but is not catering to the audience that liked his clever reason for doing comedy bits in the first place. No satire, no commentary, just a far cry off legendary celluloid and simple fun disappears to a dangerous degree as we move along. Ricky Hui and Mario Cordeo also appear while a host of stars make cameos including Simon Yam, Tony Leung Ka-Fai, Fennie Yuen, Rachel Lee, Lowell Lo and Teddy Yip.

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Mr. Handsome (1987) Directed by: David Chiang

Bill Tung enlists Richard Ng to marry one of his two wives (Lydia Shum and Wong Wan-Si). Since he cannot move to the United States having both, that's where Ng's Dr. Chow and his US citizenship comes in. Marry, divorce, done deal. Meanwhile Dr. Chow's main nurse (Carol Cheng) has a crush on him and the determined bachelor Chow is trying to keep his younger girlfriend May far away from thoughts of marriage. It is a bit busy but ultimately coherent and calmly made by David Chiang. Misunderstandings and some slapstick, a lot hinges on performers that Chiang prefers letting perform and banter is fairly strong across the board (and reactions, which is why it's great to have Richard Ng present). Pleasurable and enjoyable, even if no breakout for the solid Chiang in the director's chair.

Mr. Mumble (1996) Directed by: Yuen Jun-Man

The second Hong Kong made live action adaptation of Tsukasa Hojo's manga City Hunter (the other being Wong Jing's less than faithful take on it, starring Jackie Chan) sees Michael Chow and Eric Kei team up behind the scenes (also on The Spirit Of The Dragon the following year), handling script- and producing duties while also serving up a fun, MUCH cheaper time than said Lunar New Year film from Golden Harvest. Michael Chow is Maang Boh (the Cantonese name for the lead character Ryo Saeba and the pronunciation created the English title of the film), a womanizer, molester and kickass crime fighter. The subtitles sum him up well as "competent but horny" and his adventure prior to setting up his own detective bureau is about protecting Sheron (Pauline Suen), the daughter of a triad boss...

Michael Chow is a fine fit and sinks his teeth pretty deep into this tasteless character but the movie stumbles when dealing ONLY with his attempts at getting laid (even in drag he fails). However the combo of his over the top skills in avoiding bullets, catching bottles, sniffing out and in general climbing every obstacle he's faced with (sometimes helped along by his oversized partner Monster, played by Alex Ng) shows low budget creativity as director Yuen Jun-Man (Nightlife Hero) goes to work with action director Chin Kar-Lok. Appearing less colourful than Wong Jing's adaptation but suitably bringing the audience into a cartoonish Hong Kong world, the likeability is very large despite many flat escapades. Even Maang Boh's sensitive side gets an examination and it basically will never be able to come out as then the perverted one has to go. Can't have that. Also with Francoise Yip, Eric Kei, Ricky Yi and Herman Yau.

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Mr. Possessed (1987) Directed by: Wong Jing

Li Zhi (Kenny Bee) has been inflicted with a curse since birth that means he becomes possessed whenever a woman's touch comes his way. Having a hard time finding a girlfriend therefore, the curse seems to be taking a step back, if only ever so slightly, when he meets Xiao Yu (Carol Cheng). But a little white lie from her jeopardizes the plan to get rid of the curse once and for all...

An idea, a very silly one even, that opens up the gates for any number of tasteless jokes courtesy of Wong Jing, he has no problem having initial fun (in particular when playing out the premise between his willing leads) but maintaining the pace throughout a 90 minute exercise is another matter. Mixing it up structurally with some darker, spiritual matters, Wong doesn't channel any fast energy (be it fun or dark energy... it just needs to be fast) and runs dangerously on mundane comedy-fumes by the end. Even having a mahjong game between humans and a spirit is a desperate concept that expectedly dies quickly but Wong Jing's basic idea very much does too so nothing can be saved. Wong Jing appears in support along with Nat Chan, Chingmy Yau (in her movie debut), Tang Pik-Wan, Francis Ng and Lau Kar-Wing.

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Mr. Sardine (1994) Directed by: Derek Chiu

Bizarreness and odd plotting couldn't save Derek Chiu's debut Pink Bomb but for his second movie Mr. Sardine, an unusual director (whose to date latest film Brothers was very standard) hits a stride. Dayo Wong is the titular Mr. Sardine whose timid, working at a supermarket and being thrust into his future faster than he likes. I.e. a promotion is looming and his girlfriend Yuen plans their future marriage as well. Only future consideration done by Sardine is bringing home cheap merchandise from the store in order to set up his own warehouse in a way. In no way prone to welcome visitors either and being hassled by local police (bullied mainly by Liu Kai-Chi in an amusing performance), he IS the clichéd image of a psychotic killer in the making. And it does sort of come true as his neighbour Mrs. Pei barges in one day, angry that her celebrity daughter Anna (Irene Wan) is dating the wrong man and after she consumes some higher division dosage of alcohol and painkillers, Sardine has a dead body on his hands...

Moody via its soundtrack and dark with hints at comedy and comedic with hints at darkness, Derek Chiu's intentions are tricky to grab hold of. Throwing us off further by using Dayo Wong's acting abilities in a way that does not annoy after one minute, the bizarro twists and turns in this equally bizarro world Chiu paints becomes entertaining, black stuff. Especially so since Chiu opts to strike a realistic chord in his characters Sardine and Anna. The stranger knows the mother more intensely in this case and it's via this death Anna gets to re-examine her life and behaviour. Just like Sardine and if it's sounds conventional, it is not. In fact, it's even poignant to strike such wild, black notes in combination with the mentioned self-examination. Heck, through Dayo Wong's character, matters are even felt and I never thought Wong would be part of such a response. A true tester in many ways, to see if this odd brew tastes good to you, but also an underrated sleeper hit that dabbles VERY little in the expected. Few Hong Kong movies could be actual movies working that in that way. Produced by Jacob Cheung.

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