Dark and off-beat comedy from Sammo Hung that juggles all kinds of elements that only Hong Kong cinema can for 90 minutes. Dealing with relationships, there's first Hung himself as a phone salesman trying to outdo his fiercest rival Ling (Carol Cheng). Being witness to a brutal murder by the whack job Bat (Jacky Cheung) and his calmer sidekick Owl (Lam Ching Ying), he manages to flee to report the case to the police. Difficulties arise because one, his wife (Yu Li) is a cop and the object of desire of another cop (Ngai Sing) and Hung's testimony doesn't get taken seriously. Then there's the shrink (Joyce Godenzi) who has Hung as her patient and gets involved as the killers go after him...

Slickers Vs Killers is involving but a little bit lacking in focus, mainly in regards to Carol Cheng's Ling who doesn't seem to have a proper spot in the narrative in the latter half. A few characters too many really occupies the film although Hung and backup leading lady Cheng's feisty interactions are probably the funniest throughout. Joyce Godenzi also gets ample time to shine as she tries to manipulate the underlying tension in the Hung/Yu Li relationship and Sammo hard hitting action, with a few stunts thrown in, has a decent showcase in what in the end, despite darkness, really is light, entertainment "only". Richard Ng and Tommy Wong also appear.

When the action directing isn't particularly distinctive, Taiwanese martial arts filmmaker Joseph Kuo easily gets into trouble and The Smart Cavalier (The Cavalier in Mei Ah's newly generated credits) is further proof why. While the likes of leading man Sze Ma Lung comes off well during the fights and various acrobatics are noteworthy, Kuo's film rather represents a haunting memory of poorly paced and grating comedy bits that perhaps may have worked in the local market but are a cruel tester for anyone else. Lo Lieh's end fight cameo adds some colour to the film but by then it's way too late.

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Yesasia.com

KENNETH'S REVIEW: Also known as Kung-Fu Gangbusters, all the bone crunching bashing in the world can't help this boring trek amongst cops, drug smugglers and raging brothers out for revenge. Tony Liu (director of Holy Flame Of The Martial World) is in the latter part and certainly possesses a physique fit for anger but Ed Wood-inconsistencies by director Suen makes everyone take the descending trip. Even when cop Jason Pai takes center stage and bones are literally broken left and right, you have scenes with a three section staff appearing and it all turns totally baffling. Yep, Smugglers has one consistent factor: It's terrible.

When Eastern Heroes in the UK released Wilson Tong's Snake Deadly Act on video back in 1995, it had reportedly been hard to obtain ever since its run in 1980. It's notable for that as well as being the only starring vehicle for Ng Kun Lung and for also featuring one of the most abrupt endings in martial arts cinema history.

But that's not really notable positives as such and Snake Deadly Act doesn't come off as anything special, even though it certainly doesn't try either. The obvious template is the successful one set by Snake In The Eagle's Shadow and in particular Drunken Master with Ng Kun Lung being launched as a Jackie Chan style hero here. Ng does have abilities, no doubt, but doesn't possess any of the winning charisma that Jackie had brought. Even with solid players outside of Ng's casting such as Wilson Tong, Fung Hak-On, Chan Wai Man, Phillip Ko and Angela Mao, the end result is just an assembly line product. Tong's action is lively and intricate but lacks a certain polish that the best of the action directors had. Despite, Snake Deadly Act is a harmless waste of time and don't expect a gem just because it once was rare. Also with Bolo, Tai Po and Cheng Hong-Yip.

In an odd move, Eastern Heroes dvd presentation uses the same subtitled print found on the VHS release but drops the original Cantonese track in favour of an English dub only. The tape is still readily available though.

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HK Flix.com

Back from when IFD were Joseph Lai AND Tomas Tang and therefore no apparent ninja craze was present to cash in on, this South Korean martial arts vehicle was brought into the hands of IFD for re-dubbing and possible cutting (but no pasting). The Snake Strikes Back gives that impression, of someone attempting to speed up the already unbearable film so that audiences wouldn't feel like captives for a torturous 90 minutes. As a matter of fact, the Godfrey Ho stamp of approval doesn't change the original so original director along with Ho will get disapproval for a nonsense filled time but approval for the kooky elements present. Elton Chong plays an abused youngster who after some plot incoherency about him being the Master Of Absolutes and bad guys after that title as well as the Book Of Invincible, turns to a big bellied beggar (Mike Wong) for his proper martial arts training. Teaching techniques of working blindly but also channeling the energy hidden in your stomach, here's where the select few minutes of film equals wonderful, especially the finale where Elton graduates (yes, he gets his own deadly belly). A few Eagle Han Ying scenes of legwork are otherwise noteworthy as well as various Wuxia style weaponry. All in all, one can definitely praise IFD for having the eyes open for the light stuff because it is what makes The Snake Strikes Back and possibly sold it. Also re-titled by IFD to Dragoneer 10 The Remarkable.

Protecting a valuable cargo on behalf of his adoptive father Wong I-Hsia, Wan Fu (Peter Yang Kwan) has to fight his way through hordes of henchmen belonging to Master Leung. Eventually Wan Fu is injured but is rescued by female swordswoman Pi-Ku. This triggers various revelations and connections the rival families thought they never had...

In my experience, outside of Kung Hu, Joseph Kuo was the only director with any sense of style or tension when depicting the Wuxia world on film. Striking narrative gold with King Of Kings the same year, Son The Of Swordsman has strengths that makes it climb to an acceptable level as a movie but runs out of steam when the intricate plotting isn't particularly interesting (or surprising to follow). The overall mature intent shines through though and having assured male lead Peter Yang Kwan at the forefront of all this benefits Kuo's frame. The action is also almost extremely plentiful with at times terrific tension and fluidity for its time.

When it all comes crashing down, it crashes down HARD as Deannie Yip's upper class character finds out. It starts with her husband Kai Yeung (David Chiang in a cameo) of many years falling to his death at the police station where he works. A suicide the police calls it but soon the wife, the Taiwanese neighbour and her kid Leong, are the targets of a bumbling trio of triad assassins. As the neighbour, who turns out to be the mistress of of Kai Yeung, falls at the hand of a knife, Yip is given responsibility of Leong and begins her own character re-building. Taking on parenting and tracking back to the past what might be the reason for Kai Yeung's demise....

Shu Kei (Hong Kong movie critic and director of the acclaimed Hu-Du-Men) sure causes death and destruction across his characters but does so in a more dreamy, subdued manner that makes the all too familiar aspects of the plot template take on a different life than we're expect and are used to. The piece is moody and rather underplayed (especially violence that tends to be very incidental and therefore haunting) with nice, unexpected touches such as Jacky Cheung's triad character learning to think for himself, leading to him abandoning his big brother. It can be tricky to take in what exactly remains the main purpose of Deannie Yip's journey but then again it seems to be in design that she doesn't go straight roads towards her goal. Violence we know is looming though but how and when makes Soul take on a dangerous edge at times. But mostly it leans towards being a picture of a female backtracking, learning to fight back and Deannie Yip at center of these traits is an asset for the production that also deals with suitable, in tune comedy at times! Reportedly a remake/re-take/rip-off/whatever expression you find suitable of John Cassavetes Gloria. Elaine Kam, Dennis Chan and famed Taiwanese director Hou Hsiao-Hsien appear in support. Director of photography was Christopher Doyle who won the Hong Kong Film Award for his work here.