Ray Lui stepped into the shoes of Limpy Ho for To Be Number One and the acclaim garnered from that real life dramatization lead to a number of bigger vehicles, always with at least Stephen Shiu lurking in the background. In Man Of The Times, I'm not certain Lui's character Chan Chi Chiu's rise from cadet to corrupt prick of the police force gets its truths from real life but it certainly tries to present a political view of issues of reality. Now that doesn't sound totally uninteresting but in the hands of director Taylor Wong, it all sinks like a rock. Trying to portray our man and his times in broad, comedic (Ng Man-Tat is a whirlwind of annoyance in this once) and to an extent, straight faced ways while looking at corruption of the times, neither mood gels and rather shows a large degree of hack behaviour from a hack director. But the feeling is definitely that of had Wong gone with making one movie, he still would've bored us to tears. Now the contrasts are just there to annoy us to the extent that we happen to finish the flick in the process. Kent Cheng, Veronica Yip (largely wasted despite being a dramatic element), Ben Ng, Bowie Lam, Deannie Yip, Kelvin Wong, Louis Roth and Kwan Hoi-San also appear.

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Alex Cheung followed up his terrific debut Cops And Robbers with yet another gritty drama, focusing on the turmoil rookie cop Chiu (Eddie Chan) goes through when he takes on the task of infiltrating a triad gang...

Writing, directing and photographing Man On The Brink, Cheung can't possibly have been the first kid on the block to attempt this story that later cropped up to great effect in City On Fire. But watching Chiu's descent shaped by the seedy world around him is quite engaging, much more so during the latter stages of the film when Cheung easily plants that sinking feeling in viewer's stomachs. Meaning that the proceedings are heading towards a sad end statement as Cheung takes us on a continuation of the social commentary from his debut. His view on the Hong Kong citizens first may be seen as unified but as it turns out, it's a unified, lawless group. Finely tuned is also his portrayal of triads that clearly have a tough shell that's easily cracked in the face of blood and violence. Cheung shoots mostly gritty, documentary style but has an eye for whenever to use slow motion to exhilarating effect. Some misplaced comedy and a really sappy montage disrupts his social commentary for a bit however. Nevertheless, Man On The Brink rises well-above any familiar goals this particular story possesses, complemented by an immersing performance by Eddie Chan who would go on to make an impact in He Lives By Night and Law With Two Phases.

Lok Man Hwa (Simon Yam) is an undercover cop in Brother Feng's (Yu Rong-Guang) gang and is on the verge of getting a promotion within it. Managing to get Feng at gunpoint, Feng gets away and goes up in a ball of flames... seemingly. Cut to a year later and Lok is enjoying a higher rank, a good relationship with girlfriend June (Eileen Tung) but the re-connection with Feng's girlfriend Yung (Christy Chung) sparks feelings. Various crimes around the city also smells of Feng returning for revenge...

It's City On Fire-lite (very lite) with little to no drama about the torment of the undercover hell and the consequences of being heavily loyal towards two sides. An interesting template not explored enough and Man Wanted certainly shows so much cheap filmmaking tricks for drama (Canto-pop and montages, those are the tools of Benny Chan) that it's hard to see any artistic intentions being attempted. But combine the big efforts of Simon Yam when later being fooled to quite a grave and bloody degree by Feng and Ma Yuk-Sing constantly delivering hard action and you have a fast food product that doesn't bore nor offend. In and out, despite the fireworks on display. Also with Law Kar-Ying, Kenneth Chan, Parkman Wong and Cherie Chan as the closest sister to Feng and often being dressed in the most ridiculous ways.

One of Sally Yeh's very first roles and one she probably has long since forgotten. It can't be erased from any resume though and in some shape or form, Marianna is still in circulation.

Trying to combine a triangle drama with nods to The Texas Chainsaw Massacre and any other cannibal flick from the 70s, the movie surely is an entertaining brew due to it being so utterly incompetent but you'll have to be a good mood switcher to get through it. With not only dreadful acting from Sally (there's not a whole lot to work with here though) but from the Filipino cast as well, entertaining, although I hesitate to call them redemptions, come through the use of some wicked, psychedelic sound design and the needed excess in jungle climax. It's bad enough to be fun and short enough to be bearable.

Han Pei-Yin (Brigitte Lin) applies for a job as a tutor of lawyer Chao Tzu-Keng's (Chin Han) daughter Hsien-Hsien (Jue Hoi-Ling). Getting the gig and soon realizing the daughter is merely following the demands of her father, the outspoken Pei-Yin roars back and eventually gets the parent/daughter unit to realize what's best for the family. In this case, Hsien-Hsien's love for flowers will be put as priority one. This willingness to change people for the better makes Chao fall for Pei-Yin but her insecurity will lead to a lack of trust as he has the rumour of being a player. At the same time, Pei-Yin's friend Yu Sing-Chao (Ma Yung-Lin) acquaints Hsien-Hsien but a past event will threaten to derail this sweet romance as well...

As much of yet another Taiwanese soap opera as this sounds, at least The Marigolds floats along the standard quite efficiently. Brigitte Lin is as lovely as ever and within the old template there's emotional response. Director Lau Lap-Lap got a good pace going as well, injecting a valid message in regards to what Chao the father decides for his daughter. While the darker sub plot about Pei-Yin's insane mother never gets developed fully nor take the harrowing turns it threatens to, The Marigolds is pleasant (for once) stuff from the veterans of this kind of Taiwan cinema.

The export trailer tried to sell The Mars Villa as a "kung fu picture with a difference" and with an "unexpected plot". Which is funny because already at that point, the story staples presented surely was getting old. Regardless, The Mars Villa stands the test of time thanks to John Liu whose kicking abilities lives up to the reputation. In between all that, director Ting Chung does nothing out of the ordinary but admittedly, for an independent martial arts production, the scenes of Liu having fallen from grace and into insanity are unexpectedly affecting. Also with Phillip Ko Fei, Tong Bo Wan, Chan Chia Kai & Suen Yuet.

Crash Cinema's release offers up the original Mandarin language version with English subtitles on a separate dvd.

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Martial Arts Of Shaolin (aka Shaolin Temple 3) marked the first and only collaboration between former Wushu champion turned martial arts star Jet Li and legendary martial arts director Lau Kar Leung. Released at the end of the Shaw Brother's era as we know it, it was also Lau's last contribution to the studio until until 2002's Drunken Monkey. Martial Arts Of Shaolin does feature most of the same cast that first was beautifully showcased in Shaolin Temple (1982) but it's merely a sequel in name only so there's no catching up to do via the prior Mainland China productions.

Shaw's teamed up with Pearl River Film for this one and one of the finest assets of the production is the marvelous location work. Not only was the actual Shaolin Temple once more used but excursions to the Forbidden City, The Great Wall and a climax at the Yangtze river makes this stand out from all the efforts at the Shaw's stages that Lau previously had filmed on.

While the plot is no great shakes and basically utilizes the first movie and most others revenge storyline, it's a genuine treat to see all these actual Wushu performers perform under the direction of Lau. They're not the best screen fighters Lau ever directed but they're clearly not in need of aid in terms of wires or doubling either, especially not young Jet Li in his absolute prime. Lau Kar Leung bid farewell to Shaw Brother's in fine and grand style, firmly sealing his status as the greatest martial arts filmmaker in the world.

Romeo Diaz and James Wong also provide a score that lingers, in a very welcome way, long after the final frame.

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More terrific martial arts action from Lau Kar Leung that has something to say (also see Lau's first stint at portraying the Wong Fei Hung legend in Challenge Of The Masters). Gordon Lau reprises his role as Wong Fei Hung who has to let go of his mischievous ways and firmly adopt the different facets of morals and virtues in the martial arts world. Although his transition is all too quick to be accepted on a proper filmmaking level.

You have broad comedy, rivalry between schools but it's clear as we move along that the emphasis on proper manners is going to be an important part of Lau's narrative. He succeeds greatly despite flaws, combining that with terrific hand to hand- and weapons action. Most important to note is that the choreography speaks to the set themes, which is not all out usual for the genre. Along with a fun intro explaining the rules of lion dancing, Martial Club displays a fine merging of the superior production values at Shaw Brother's, martial arts action from an ever so versatile mind and a thematic mindset that seemed to shine very little in martial arts cinema. Martial Club is the kind of effort that gets copied, only then it lacks the heart, mind and soul. Ku Feng, an outstanding Johnny Wang, Wilson Tong and Robert Mak also appear. Although barely used, the few forays into acrobatics courtesy of Hsiao Hou is memorable. Kara Hui deserves to be mentioned just because her character is another one of the few disappointing aspects of the film. It's the sheer ignorance and impulsive nature to her that doesn't ring true to Hui's persona (especially compared to the performance in My Young Auntie). Then again, one form of counterpart to Wong Fei Hung was needed but Lau's choice of Hui for that becomes a detraction sadly.

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You could call Martial Hero a cheap Bruce Lee rip off but fear not, it's not an early Bruceploitation (despite lead Yeung Wai credited as Bruce Kong) offering but rather a template being re-used to fine effect. Yeung Wai is Canton boy who runs a noodle stand and decides to TAKE a stand against the injustices forced upon the working people by the oppressing local thugs. High quality power in the bashing-esque choreography follows where little seems unnaturally cranked and a lot seems like a rare breed of quality for a low budget early 70s production. French VHS print also runs 69 minutes which is in reality probably shorter than original but also suitably perfect for a basic, violent and at times stylish piece of genre offering that in reality probably also honor the impact of a certain Bruce Lee by making an equal picture. Also with Tina Chin Fei.

Rejecting an offer to assassin a royal and overthrow the dynasty, Kao Jo-Hsueh's (Shih Szu) father and men are massacred and the only survivor is the daughter. Swearing to take revenge, she is put through rigorous training and along the way encounters the Prince of the Eastern Palace (Chung Wa) who becomes an important alley. Dung Gam-Woo's formulaic story is spiced up with intensity and a darkness that is welcome. Rain plays a part and revenge is played up to a very emotional level to the point where Jo Hsueh trusts nothing and noone but her own blood thirsty instincts. A stance that isn't bulletproof. Much of this drama is rather slight though and would've worked better with more of a charismatic star lead. Shih Szu has the fury and beauty in place but not ALL of it. Yuen Cheung-Yan's and Corey Yuen's action delivers expectedly though with multiple, intricate bouts that are at their peak the more outrageous the weaponry becomes. Highlight still remains the always fun genre staple in the form of the training sequences. Also with Lung Fei, Wong Chung, Yuen Cheung-Yan, Corey Yuen and Yuen Yat-Choh.