Wilson Yip's (SPL) first foray into directing came via the handling of two of the three ghost stories present in 01:00 A.M. First gig, disposable and mild to the point of sedation, only solid point scored is the use of synch sound. So let's quickly running through these so we can all move on. Veronica Yip stars in the first as a nurse seeing the ghost of a comatose pop star... and his deadly, devoted fan. The concept of fans following their idols into death is fun for a minute to think about. Things take a turn for the worse in the second story where Anita Yuen at her most irritating plays a psychology student with a newly bought car and an assignment to interview a ghost. Basically a prank turned real, there's a scene where Yuen basically records her last testimony as she fears death. Again, a concept that could've been made creepy and was... kind of... in The Blair Witch Project. Finally Elvis Tsui and Jordan Chan stars as two traffic cops who sees an old granny haunting their particular assigned part of the road. In fact, in this one you know next to nothing of what goes on but thankfully it and 01:00 A.M. ends soon so we are given no time to WASTE time pondering.

Someone apparently liked the chemistry between Jordan Chan and Elvis Tsui in Wilson Yip's debut 01:00 A.M. and the horror anthology format could possibly sell tickets too. So why not utilize more hours of the night? Hence 02:00 A.M. being born (and a subsequent 03:00 A.M.). Andy Chin (Call Girl 92) handles all stories, getting at best fair dread out of one and extreme dreadfulness out of the remaining. All take place within the entertainment circle, starting with the story of a pair of make-up artists (Wyman Wong and Hilary Tsui) in charge of prepping a head bust. They choose one made by diseased Eva and in come the spookiness. Admittedly a few minutes are akin to a decent build up but Chin combining irritating acting from his leads, the usual assortment of shots that are only lazy scare tactics and an abrupt ending that won't have audiences using their imagination to create inner horror, turns in forgettable work. Even more so as a trio of female singers surrounded by gossip mostly relating to their male colleague (Michael Chow) starts spying on him in order to find out his love affairs. Bad move and the half hour of the girls humming the Mission: Impossible theme and being the most annoying scream queens of our time is painful. Then comes the supposedly bright spots in Jordan Chan and Elvis Tsui, scouting village locations for a commercial shoot. One of the creepy kids hired for the gig likes to hang out with a creepy apparently dead kid, as seen by the colourblind character Chan plays. There was no chemistry between the guys in 01:00 A.M. and the trend continues here... unless you count screaming and acting like bumbling idiots as comedic chemistry. Also with May Law, Pauline Chan and Helena Law.

Joseph Kuo's independent kung-fu classic got a respectful upswing thanks to Tokyo Shock's dvd release in 2004. Not only due to the technical presentation but also due to the late Linn Haynes' liner notes on the film. Rarely has a mainstream release of an independent production received the time to breathe, time to be respected but that's what Linn did with his essay on the film. From an era where a lot of Kuo's status amongst the fans has been formed, The 7 Grandmasters actually does take some cues from reality.

Cheung Lai-Chun was a real figure who learned the style of Pak Mei. Originated by the Shaolin monk of the same name, according to legend he betrayed the Shaolin Temple which led in itself to it being burned down. That character with long hair and white eye brows has since been a staple of kung fu-cinema, most notably as played by Lo Lieh in Executioners From Shaolin. The legend of Cheung Lai Chun however connects more to righteousness. Having his school and martial arts challenged by other province champions, the film by Joseph Kuo depicts the reportedly undefeated master (here named Sang Kuan Chun, played with a majestic flavour by Jack Long) taking on a variety of performers on neutral ground. The latter aspect is a piece of genius because the film is mainly shot outdoors. An excuse for being cheap? Maybe, but it works.

Early on showcasing the standout aspect of the production, the Corey Yuen/Yuen Cheung-Yan action choreography (Corey takes part in an epic weapons-fight against Long, arguably the best scene in the film), The 7 Grandmasters is filled with and explodes repeatedly with intricate, acrobatic Opera style fight scenes. Cementing Jack Long's marvelous skills therefore, Kuo's Jackie Chan-esque character played by Lee I-Min has one of his finest, acrobatic showcases on film as well. Story-wise, Kuo's script scores points because the various tournament fights aren't meant to be death matches. If meeting a master with an equal frame of mind, it's a matter of respecting skills once defeated. Eventually playing into this is some standard story elements that makes Kuo's classic a little tough going at points. Lee I-Min's character is both a comedic element as well as an abused character and it's often grating, unnecessary padding we're witnessing. Story strand of revenge is handled with above average grace though and overall The 7 Grandmasters doesn't annoy because it has a more clever streak than most. Ultra-cheap kung-fu cinema rarely felt this accomplished. Also with Mark Long, Lung Fei and Chin Yuet-Sang (as Monkey Liu).

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The titular eagles are part of a group of killers in the name of justice but doubts are slowly being created in characters such as Yinmin (Lau Ji-Wai) about how just it is what they are executing. Their leader and foster father Yu Shihung (Yen Shi-Kwan) is indeed only after dominance, something that will be achieved after killing a particular rival who possesses the Star Bleed Skill Book...

90s Wuxia being connected with traits of low budget and that "yet another"-stamp certainly tries to speak of lines of justice being blurred, manipulated brothers clashing etc but there's too little prominent skill behind all other areas of the film that this unusually well-honed train of thought is quickly stomped out. The key selling point, the wire enhanced action, does take the admirable stance at times of being grounded but these flashes are outweighed by the ropey wirework, tightly framed and quickly edited shots of the flying feats. No A-team behind this one even though concepts of fights amidst moving statues and kid combatants look good for the few moments they last. Also with Waise Lee, Cynthia Khan and Chung Fat.

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A chess master turns up to counter another and the impact of the game is so great that the latter master dies in the process. Being in command of the titular 13 worms (a gang of fairly crafty heroes), the new chess master of the scene is allowed to utilize their talents to free a princess. The master is also accompanied by a sneaky beggar boy (female actress Pan Ying-Zi) while the 13 worms put on a show in order to free the princess by dressing up as ghosts among other things...

A more lighthearted romp through the Wuxia world, there are elements to the film that are refreshing for its time but comedy is not a thing it masters. The shenanigans on paper are more fun than the execution and often 13 Worms is an unintelligible mess with little to no plot. A skit structure rather with a fair amount of singing, some of the action later in the film is noteworthy coming from early 70s Taiwan cinema though. Especially the end fight with quite the invincible villain that has to stabbed in the ass to break his concentration that gets to him to that almost invincible stage.

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Shaw Brother's pulls out all the stops with epic battles, lavish costumes, immortal themes of heroism, patriotism, all with a dedicated Ching Gong (The Twelve Gold Medallions) and Charles Tung (also one of the many cinematographers on the production) at the helm. The Yang family is wiped out in battle, all except the women left behind who now sets out to take revenge and settle old scores...

After a lengthy opening designed purely to identify actors and their characters (actually quite helpful), the directors never let up and relentlessly pushes the band of women through various battling scenarios and obstacles. Extensively violent and epic on a scale reminiscent of Chang Cheh's movies, it's not a throwback to the era where female heroes dominated but rather a usage of set style, substituting male for females. The switch if you will is terrific to have and despite the vast character gallery, Ching Gong (also writer) and Charles Tung inject life into certain characters which in itself aids the stock themes to mesmerizing effect. Destined to become everyone's favourite, The 14 Amazons is among the finest of its sort.

Talking action, Ching Gong's son, the trendsetter Ching Siu-Tung (Duel To The Death, A Chinese Ghost Story) debuted as action director on the film, working alongside Leung Siu-Chung. The style is definitely of the Tong Gaai weapons and battlefield kind but never feels like a xerox of said action director's work with Chang Cheh. It's in your face and extensive, one of the primary reasons The 14 Amazons have achieved (and will achieve) such a well-deserved reputation. The mammoth cast includes Lisa Lu, Ivy Ling Po, Lily Ho (playing a man believe it or not), Li Ching, Ouyang Shafei, Fan Mei-Sheng, Yueh Hua, Tien Feng, Paul Chun and Lo Lieh.

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The last of the "Date Horror" movies (referring to the Lunar New Year Calendar) Abe Kwong wrote for Wellson Chin, 24 Hrs Ghost Story sees friends Tai Mo (Francis Ng), Ah Ah (Chin Kar-Lok), Frankie (Simon Loui) and Siu-Wan (Gigi Lai) open up a new convenient store. Open around the clock, Tai Mo soon starts to hear singing and spooky encounters are not far off. All having to do with the past history of the location...

Shot very cheaply and certainly not aiming for dread, within the plain frame Chin employs tools such as cueing up scary music whenever something BARELY is mentioned that is BARELY ghostly in nature. And with spooks concerning Tai Mo hearing the singing over the convenient store telephone, no one is fooled into thinking filmmakers are aiming high here. When Dayo Wong enters as this dry, quirky cop with relationship troubles (his over caring girlfriend is played by Kingdom Yuen who essentially feeds him as shown in quite a well done stylish sequence that utilizes different filmspeeds), you definitely see a recipe for disaster in the making. It helps though to combine Dayo with Francis Ng as they try to solve the spooky mysteries together. Because coupled with the basic, cheap ghost story, you have a fun double act for a while as the two try and gather ghost busting tools. It involves kidnapping children for their pee, getting a black dog's tail that no one has the courage to cut and Francis Ng showing his forehead (by putting mousse in his hair). It's decent situational comedy that doesn't get a chance come "spooky" ending time but at least 24 Hrs Ghost Story had something. But it ain't much. Also with Helena Law, Jerry Lamb, Lam Wai and in quite a fun cameo, Michael Chow.

A fun contrast to Billy Chan's powerful No Compromise released the same year, the 80s hijinxs and skit structure gets a fun showcase in 3 Wishes. Japanese tour guide (Anthony Chan) finds a urine pot with a Devil Ghost (Wu Ma) hidden inside. He gets granted three wishes but at the end of those, the Devil Ghost can claim Chan's life (and must claim 8 additional) in order to gain access to heaven. You see, he was too nice when alive. Chan goes to work with not knowing of the end deal knowledge, trying to get money out of the opportunity (backfires) and trying to teach his female boss a lesson by employing the Horny Curse. A notion that also backfires but represents a peak in low, crass Hong Kong cinema creativity as of course a fat lady is initially the recipient of the curse. Soon an entire office of women AND men are affected but no one will even under this influence go after Sandra Ng. Not even a sex maniac played in a cameo by Wong Jing! Yes, it's repeated jokes against Sandra, high pitched, wild and often illogical behaviour put forth by director Chan, something that carries over to the dual role for Anita Mui. Playing Chan's abusive wife (kung-fu abusing wife rather, something that looks good on film) and her identical, DEAD twin Fa (who falls in love with Chan's brother Sing, played by Max Mok), Mui is a fine asset to the production as a comedienne and an echo of her character from Rouge. Other tangents involve Chan taking his tour bus across the border to China with disastrous results and also being mistaken for a child molester. Plus the literally spirited finale has minor Ghostbusters inspiration as both slime appears and the villainous ghost growing to proportions that will make anyone think of the Marshmallow Man. 3 Wishes is not a balanced and politically correct experience but 80s profiles executing at this frantic pace can suck you in at the best of times. Deannie Yip also appear as the ghostbuster of the group.

Anthony Chan and Anita Mui played husband and wife in Happy Bigamist and One Husband Too Many as well, both of which were directed by Chan.

Or rather the 4 Faces Of Sandra Ng who stars in this art film divided into 4 separate stories. While this particular excessive form of cinematic expression could mean just about anything as being abstract opens up the floodgates for various interpretations, the directors seemingly examines relationships, starting with "Maö" where we see Sandra as a pesky patient of Jan Lam's psychiatrist, following him wherever he goes. "Blowing In The Wind" is an unsubtitled trip into the bizarre where Eric Kot and ugly wife hold a prostitute (Karen Mok) captive in their apartment. "Twins" is a family confrontation of some kind while "Love Game" puts us back into hysteric mode as Jan Lam leads quite a potentially damaging game show disguised as entertainment for the masses.

Directors Eric Kot, Jan Lam and Kam Kwok-Leung on one hand are clearly just messing around, allowing themselves and cinematographer Christopher Doyle to be completely free for all (Doyle can make that photography choice into an art form easily though) to see what content actually makes it into coherency, especially in regards to the first two episodes. If there was a concrete meaning to this though, I sure as hell missed the meeting but again, abstract art very much can lean towards appreciating select sections and overall, 4 Faces of Eve possesses that at heart. No great impact can be had even if "Twins" is easily the one with the clearest of dramatic substance but it's a minor joy to see the versatile talents of Sandra Ng through the various stages of the scattered film. Also appearing is Chingmy Yau, Ha Ping, Wyman Wong and Chan Fai-Hung.

The bells of patriotism ring loudly throughout Chang Cheh's 7-Man Army, an all-star (cast includes Ti Lung, David Chiang, Fu Sheng, Chen Kuan-Tai and Chi Kuan-Chun) war-action-drama of the epic proportions you've come to expect from the man. Co-directed by understudies Wu Ma and Hung Ting-Miu (the latter never directed again), there's technical excellence/embarrassment on screen early on. Utilizing the widescreen format for copious amounts of extras fighting, explosive mayhem does ok for itself but the reactions of those affected by such things as explosions are painfully mistimed. All that grandeur for nothing it seems and when settling down to explore characters, the film goes into forced flashbacks that manage to add nothing at all. It's as if Chang Cheh expects the autopilot to work here but he damn near kills the film. Thank god he's got more mayhem up his sleeve and combining it with man to man combat, he manages to gleefully but successfully push his thematic buttons once more. Few did it as well as Chang Cheh, painting the screen red in blood in the process. You'll have to disregard certain logic and the cast looking rather uninspired outside of the action. Once past that, 7-Man Army delivers.

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Shiao Chieh is brought to the Shaolin temple as a youngster in order to avoid the wrath of the 8 masters who wants him to repay a debt his father owes them. Training from this very young age and well into adulthood (where he's played by Carter Wong), the desire of Shiao Chieh's is to become a monk but he is told he has worldly matters to take care of first. So after clearing each chamber the temple holds (often containing bronzemen fighters), he goes out into the world with three commandments: keep the peace, stay patient and forgive offence...

Awesome momentum is maintained by Joseph Kuo (7 Grandmasters, Mystery Of Chess Boxing) whenever having stoneface Carter Wong go through the rigorous training at the temple. It's not insanely creative but still viewers like me with a weakness for training scenes, room with traps etc will get a kick out of the various bronzemen-challenges Wong takes on. Then huge dullness enters in the middle of the film as now the melodrama with Shiao Chieh's family takes center stage and clearly director Kuo is the wrong man to even attempt being serious. Inject a cast like Jack Long or Mark Long and he's got something more bearable. With Carter Wong carrying the load, The 8 Masters is a chunk of boredom to endure until finally Wong faces the entire range of masters in a non-stop fighting reel towards the end. One by one, style by style, standouts include his scenes with Phillip Ko, Chia Ling and when a group of hopping ghouls are the opponents. Finishing off with high pitched melodrama, we're unfortunately reminded why these 90 minutes are such an upwards trek overall.