Undercover cop Hsiong (Waise Lee) has a tendency to often have his cover blown and ultimately it catches up to him as he dies in a high pursuit car chase, leaving colleagues behind and newly befriended hostess Witty (Carina Lau) behind. Then there's the problem of a case of 10 million dollars gone missing before his death too and as a ghost, Hsiong tries to put together the puzzle while also learning how to contact the human world...

Very low budget (not even special effects are used when Waise Lee walks around as a ghost or trying to interact with stuff) but a well-stuffed package nonetheless, matters are actually close to light-hearted and darkness doesn't come as much out of left field as you think. Albert Lai (A Serious Shock! Yes Madam!) directs a bit on the sloppy side though, showing little logical progress in the growing affection between Hsiong and Witty and any other plot development just gets dumped on us quite sloppily. But nonetheless, by bringing in literally the angle from Ghost (and tons of other flicks) and with engaging leads, Shadow Cop is easy stuff to like for the moment. Also with Ben Lam and Kenneth Tsang.

TROY'S REVIEW: Have you ever yearned to witness a sexy, lady ninja utilizing disco dancing as a combative ploy? Have you ever wanted to watch a man beheaded with a belt? Have you ever wished for a film in which a ninja is pursued around a forest by an seemingly intelligent, ninja seeking missile? Have you ever wanted to watch a 'women in prison' film featuring ninjas? No?! Erm... well just say for the sake of argument that you have, then this my friends is the film you've been waiting all your life for. Of course, it will subsequently come as little surprise to find the name Tomas Tang attached to this demented flick. Indeed, judging by his consistently deranged (but oh so much fun!) output, one has to wonder if Tang was perhaps, perpetually as high as a bloody kite! Ah... sadly they just don't make such joyously carefree crap like this these days... mores the pity. Also known as The Shadow Killers.

Chris Lee opens with some fairly elegant images to accompany his gangster story but soon it develops in that very thing, just another gangster story. This time set against the backdrop of the Japanese occupation of Hong Kong with rebels trying to reclaim their land. Divided loyalties becomes the biggest plot point eventually. Lee tries to overcome his own shortcomings as a director through action but it barely registers as passable since dark cinematography, quick-cuts and close-ups are elements that dominate the fights. Things improve during the finale as the mayhem includes guns as well and our villain Damian Lau is a lot of fun to watch during these moments. Also with Roy Cheung and Vincent Wan.

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Criminally generic and designed simplistically to the T, this indie obviously doesn't care for making a mark on the genre. That's why it unashamedly features little story surprises, ranging from the coveted gold seal at the core of the story, brothers separated by birth only identifiable via half jade bracelets, drunken masters, the temptations of being a monk to moral values and further bla bla. While the production has invested in good acrobats that deliver the action choreography well when called upon to, Shaolin And Taichi needed to realize that it required some charisma somewhere. A few scenes being on the VERY truncated and illogical side doesn't help either.

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KENNETH'S REVIEW: Easy to sit through as it reaches just above the 70 minute mark but easy to dispose of and forget too, Shaolin Boxers was clearly never meant to be a standout coming from Golden Harvest. James Tien and fellow students protect the honor of their school and safety of their fellow villagers whilst fighting within boring Ching Siu-Tung choreography. Hon Gwok-Choi displays neat acrobatics in the sole worthwhile fight scene while Mars appears in a fighting cameo.

The output of 1977 by Joseph Kuo was pretty abysmal but out of the trio of The Shaolin Brothers, The Shaolin Kids and The 8 Masters, the latter even at the incredibly boring 90 minute length is heads and shoulders over the dynasty power struggles that essentially summarized the other flicks. Although appearing interesting initially as The Shaolin Brothers mixes in a hopping vampire storyline, despite being relatively unexplored in cinema by this point Kuo's handling of the cinema-friendly material (essentially shooting any moody scene in slooooooow motion and letting it run endlessly) is as boring as when the huge character gallery across the dynasties conspires and fights against each other. Essentially Ming rebels disguises as Taoist priests for a few reels while ruthless Ching general played by Carter Wong pursues. Only briefly showcasing intense and messy action in a compelling way, the scenes in particular towards the end are more than decent set pieces on their own but obviously lack impact in the whole scheme of things.

Less of the kung fu (yet still well put together when it does appear) and more of a fantasy comedy romp along the lines of The Miracle Fighters, it's understandable why efforts such as Yuen Woo-Ping's Shaolin Drunkard never really found the widespread audience that Drunken Master or The Magnificent Butcher did. Broad to the max and very uniquely Asian, since director Yuen and his brothers focus all energy on delivering silliness, albeit very creative silliness, it's a film for audiences that have embraced but maybe there also are those that dare embrace the low-brow nature to their Hong Kong filmmaking. Some quite stomach churning gore and body horror at times disrupt the goofy surface but having gone past those thresholds successfully, Shaolin Drunkard becomes manic fun from the Yuen Clan.

Yuen Yat Chor, Yuen Cheung Yan (as the titular drunkard as well as Yat Chor's grandma. The latter role being a reference back to The Miracle Fighters), Yuen Chun Yee, Yeung Hoi Yi and Eddy Ko star. Director Yuen Woo-Ping appears in a cameo.

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All involved in this Shaw Brother's production (including action director Tong Gaai) punches in as usual but does deliver fair competence considering the common plot framework. David Chiang is Cheng Ying who is taught the titular technique fully but has his family murdered by Fang Yu Biao (Chan Shen) shortly after his final training has concluded. Yu Biao was hired by wealthy smuggler Lin Hao (Lo Lieh) and Cheng Ying goes to Thailand to execute a revenge plot. It starts by stealing Lin Hao's gold in order to prove his worth and get close to him as only bodyguards can...

Therefore seemingly lensed in Thailand partly, the setting is more modern as we get the sights of trains and the action direction contains motor bike stunts for one scene. Director Hoh Mung-Wa (The Mighty Peking Man) does roll full steam ahead concerning his revenge plot but stopping at the very last second is a choice that generates more of a curious narrative when we see Cheng Ying manipulate his surroundings to believe other ones but him are after Lin Hao. Michael Chan co-stars while Kara Hui and Dick Wei briefly appear.

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Armed with a huge cast and sets, Joseph Kuo intimidates with the English title of the film as kids and kung-fu normally don't mix well (hello Kids From Shaolin!). Even though it barely touches upon Shaolin or any kids, the film manages to be largely unbearable despite. Essentially a 306+ character gallery conveying a bloody power struggle between the Ming and Ching dynasties, it sounds simple but is muddled beyond belief. Only the bursts of weapons-action entertain and especially the extensive, quite ferocious assault during the ending ranks as classic Kuo imagery put on screen. Starring Polly Kuan, Tien Peng and Carter Wong. God only knows who they were in the movie and what they were doing...

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