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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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.

Blacky Ko and Casanova Wong play re-united brothers who must execute revenge on the ruling overlord (Phillip Ko) of the town as he killed their father. Generics and baring not just a little resemblance to Snake In The Eagle's Shadow and Drunken Master, what Master Killer doesn't have in its favour is the amount of annoying comedy-style present for one. Pratfalls, sound effects to accompany them and Chan Lau being aggravating to the max as the slimey assistant to Phillip Ko, not even the intricate comedy routines that echoes mentioned classic vehicles gets any acceptance. Plus, Blacky Ko as our Jacky Chan-esque lead doesn't exactly make himself fit but with the such a physical cast, sometime the film must deliver something you would think. And oh yes it does. After Blacky has been educated by the beggar/sifu in different ways of fighting Empress-style (Drunken Empress-technique is taught for instance), the intricacy in several fighting scenes is very much spot on. The mammoth finale with Blacky, Casanova and Phillip seals the deal perfectly and generics certainly made themselves look great here eventually.

In this solid Shaw Brothers outing, the character of Wong Fei-Hung gets taken to places veteran Ku Feng can and his character's torment about a fatal usage of the famed Invisible Kick handles well. As he is framed by forces from within, his fellow Chinese and forces from outside, the Westerners, we see a dark tale evolving from director Ho Meng-Hua (The Mighty Peking Man). It holds interest in combination with a basher-like nature to the action, where even a three section staff is rife with power thanks to Yuen Woo-Ping and Yuen Cheung-Yan's contributions as action directors. While the final fight extends nicely on this, the story has run its course earlier and we begin to direct annoyance at technical goofs and exaggerated acting from the main Westerner in the cast. Also with Wang Hsieh, Chan Shen and Johnnie To regular Hui Siu-Hung in support.

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Not what you would expect from anyone out of the Yuen clan, Brandy actually tackles a fragmented story of how the Bodhidharma went from being an Indian prince to becoming a Buddhist monk preaching Zen Buddhism. Why it makes sense to have a Yuen onboard is due to the fact that Bodhidharma did know martial arts as well. Noble thoughts but a scattered narrative doesn't do justice to those intentions though. Starring Derek Yee during a year where he was unusually active as an actor rather than director, this quite quickly told journey (meaning it's done in a few beats... basically making the movie a cliff notes version of the story/legend dealt with here) suffers from the fact that we rarely are given an easy ticket into the content. The character of Bodhidharma isn't particularly engaging, later on Yee is barely visible under some very crude facial hair and bald cap, making only various philosophical statements ring true of any poignancy. That's pretty much as much drive that can be found in Brandy's direction and the subplot with Fan Siu-Wong's young buddhist being haunted by visions of killing doesn't even come with even any sporadic dips into well honed philosophy. The scenery and production values manages to strike a chord though and the supporting cast of Chan Chung-Yung and Wu Ma adds assured prescence.

10 year old May (May Xu) and her little sister August (Qiu Lier) loses their parents (Cecilia Yip and Lin Quan) to the occupying Japanese forces and are forced to flee Nanjing. They get taken in by their uncle (Zhang Yijun) and his family but scars are now forever etched into the children...

As we enter the initial moments of Raymond To's May & August, one can't help to think of familiarity as it's a story of the ordinary people struggling in a war torn reality. It's been done masterfully before (Hong Kong 1941) as well as not so masterfully (1941 Hong Kong On Fire). But by settling on a children's perspective, To gets more out of this story.

He plants fine, poignant train of thoughts about the role of children during this time, doubting their worth and despite having shelter of some sort, they truly feel alone amongst adults not their own. The uplifting spirit of the film takes its rightful place and the titular characters May and August have to adopt their mindsets to a different, higher form of life learning. Whether or not politics and war will rob them of that, remains to be seen. There's some odd, brushed over so called poignancy planted by To in some quite grisly ways early on but he keeps afloat mostly throughout, dishing out emotions in more subtle manner. It may never be truly affecting but Raymond To deserves a slight pad on the back for a job well done despite. Mark Lee's cinematography is an asset, capturing the Chinese landscapes quite dependently.

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After two animated features and one short for the 1:99 collection, Brian Tse's and Alice Mak's comic book pig SORT OF took a leap into live action. For the Lunar New Year of 2006, Samson Chiu (Golden Chicken, When I Fall In Love... With Both) helmed the blend of the simplistic 2D/extravagant 3D and live segments featuring the Hong Kong movie entertainment elite. The end result again scripted by Brian Tse rings true to the wonderful, honest and intelligent questions hovering in little McDull's head as he tries to conjure up thoughts of how to be a pillar in society (owning no pants but only swim trunks, he sets his sights on being a lifeguard or an office lady). Whenever blending in live action however, the often puzzling, weird, off-beat yet oddly accessible nature to the animation gets muddled in a barrage of attempts at possibly in-jokey, puzzling, weird, off-beat cameo-heavy skits. It's a stream of random consciousness in the eyes of this viewer and perhaps requires a Hong Kong mind but various episodes of Ronald Cheng as a braindead marketing head stuck in the legs of Cheung Siu-Fai's marketing head, Christopher Doyle teaching his new butcher's apprentice the ropes, Anthony Wong (who returns to do voice work again naturally) as a sea captain stranded with hungry passengers, and the centre piece hostage situation led by the members of Alive (Daniel Wu, Terence Yin, Andrew Lin and Convoy Chan) is dumb silliness not transcending that tag. The animated touches are McDull-lite but still fairly top notch stuff that just tells us how good of a puzzling, philosophical time we've had with the two features previously. The long cast list includes the likes of Sandra Ng (also a returning voice cast member), Kelly Chan, Gigi Leung, Eric Tsang, Josie Ho, Shawn Yue, Jaycee Chan, Jan Lam, Francis Ng, Nicholas Tse, Miu Kiu-Wai, Cheung Tat-Ming, Alex Fong, Jim Chim (in a patented oddball performance), Wayne Lai and John Shum.

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