Through the eyes of little Sang (Cao Dan), a naughty 11 year old who gets in trouble most of the time and subsequently punished by his father the school principal (Du Yuan), director Xu Geng takes a whole lot of little tangents of life but manages to turn them into a coherent whole eventually. While set during the cultural revolution of the 60s, Xu rarely takes his view away from the village homes and school, choosing rightly to focus of the life lessons of Sang. He gets subjected to the backlashes of punishment and disease that logically is what makes a stronger, wiser human and while it's sounds awfully simplistic, it's a technique Chinese filmmakers have utilized successfully within their beautiful landscapes before. The tone can at times be a little overbearing on a melodramatic and symbolic level but Xu proves to be a fairly skilled conveyer overall. It's just not up there in the higher division where the likes of Chen Kaige, Zhang Yimou or even Huo Jianqi (Postmen In The Mountains) resides.

The original author of the novel, Cao Wenxuan also wrote the script, a work that took home the corresponding Chinese Golden Rooster award in 1999. Actor Du Yuan was also honored as well as the movie in the Best Picture For Children-category.

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KENNETH'S REVIEW: Employees of Ng Man-Tat's gets involved in the chase for a million dollars connected to a drug case, all neatly conveyed through Benny Wong's cast via playful chemistry and a tongue in cheek type of humour not translating as the usual dopey Hong Kong cinema. The jokes are broad however, ranging from erection jokes, the sight of a brain damaged violinist played by Wong Yat-Fei and a maniacally laughing villain with just the right, fun touch provided by Stuart Ong. Despite launching into gritty action with a hint of darkness, the glove fits and is a decent fisticuffs experience as well. Much thanks to the team of Max Mok, Kara Hui, Yukari Oshima and Norman Tsui.

Clarence Fok (Naked Killer) opens this Cinema City outing in daring fashion with hints at steamy erotica and viewers will also think he's slapped the end reel onto the beginning as the action by Phillip Kwok is almost too excellent! You're right in thinking that it can't be topped and as soon as Fok begins introducing the various characters that sets out to rob in Hong Kong, he takes away any actual good momentum They Came To Rob Hong Kong possessed.

Content with letting the plot rest and the players act in all manner of stupid ways in stupid situations, it's no surprise that the film is as well pretty stupid. But with the odd gag or two registers (Stanley Fung's fear of blood is sold well by the actor) and coupled with the 80s Hong Kong cinema charm, They Came To Rob Hong Kong becomes bearable thrash. It's funny how that end verdict often happens. Cast also includes Roy Cheung, Dean Shek, Sandra Ng, Eric Tsang, Chingmy Yau, Shing Fui On, Chen Jing, Chin Siu Ho, Charlie Cho and Kara Hui.

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The debut from Li Kim-Wa (Sunshine Cops, Shadow) clearly shows he's not afraid to enter a teen state of mind and still make an attempt at sincerity. A rough package no matter how you look at it, They Don't Care About Us could claim rough to be the utmost positive remark for the film. It's Stand And Deliver, Dangerous Minds, School On Fire-lite basically with a very far fetched entry into its story. Brenda (Teresa Lee, whose inexperienced energy I've often fallen for... Big Bullet excluded) has on her horizon the Iron Man competition but when her friend Fong ends up in the hospital thanks to teaching, Brenda enters the school to perform an avenge of sorts. She indeed has to deal with a frisky bunch in the worst of ways, including pop idol worshippers that even has a special bathroom stall devoted to their idol Leo and possible triad rascals in the making. Mainly Lee spots and devotes her time to Kwok (Wong Kwan-Yuen - All About Ah Long) though, a boy madly in love with May. Many of these students will learn what hand life deals them and some needs to get on a path. A proper path the previous adult world already on a path weren't able to provide. It therefore takes Brenda, who is still indecisive about life herself. So it's a few parts adult maturity and basic messages directed at the teen audience but director Liu presses several correct buttons in regards to all this. You can't be too subtle when speaking to this particular audience but the movie neatly avoids being condescending. Some dark detours towards the end even enhances but They Don't Care About Us doesn't necessarily display a cynical vein. Nor should it and it's a sufficiently told, better debut for it. Vincent Kok, Matt Chow, Wong Yat-Fei, Lee Siu-Kei and Jerry Lamb make brief appearances.

The last of Yu Kang-Ping's movies, from a career that took wacky (Can't Stop The War) and somber (Papa, Can You Hear Me Sing) routes. The latter remains true for his complex The Third Bridge. A local and tricky product by design, Yu regular Suen Yuet plays Ho, a Mainlander married to a Taiwanese who now sees his chance to reunite with the family he left behind 40 years ago as the borders are opened up. For undisclosed reasons at first but as we learn more as the movie goes on, the reunion will take on several meanings.

I wouldn't say Yu is unclear in his intentions but again as the fairly naive Westerner that is me, looking in, it takes quite a bit for the story-hooks to attach themselves. When it becomes less about immigrant policy and more about the emotions and scars that the reunion holds, The Third Bridge flashes a deck of cards you'll gladly study carefully. As the past is revealed, Ho's current wife has to decide her place in the equation and other tangents include the granddaughter's fascination with everything American. A little mutual learning from both sides, the final quite subtle end note to this professionally told drama has the term "open memory" quite heavily attached to it. So with patient pace, The Third Bridge studies its history, past and present of its characters with an admirably keen eye for the subtle. And when not, outbursts are well deserved. Also with Tok Chung-Wa.

Entertaining sequel to Thou Shalt Not Swear, the Wellson Chin helmed horror-comedy with a scenario connected to the lunar calendar. This time cops Chow and Lau (Michael Chow and Lau Ching-Wan re-teaming) have to deal with a killer that matches the description of a solider (Yu Rong-Guang) that should've been dead. In fact, he's out to re-unite with the love of his that happens to look exactly like an unsuspecting woman (Joyce Geung) in the present...

The solid chemistry and banter between the male leads is carried over to amusing effect, in particular various odd detours of insanity that Lau Ching-Wan is responsible for. Nagging Chow about having taken the step into marriage, one annoyance IS Ivy Leung as the wife but director Chin keeps us well occupied with other elements. Gore level is quite considerably stepped up and dependant creepiness sneaks in at points. Chin even produces some minor magic within the story of Yu Rong-Guang and Joyce Geung as this ultimate confrontation becomes fairly affecting, speaking of life and death in sufficiently poignant ways. Jamie Luk, Tats Lau and Helena Law also turn up.

By mistake, three bags of Hong Kong bank notes slip through the cremation process. Eric Tsang is the employee that spots this and his plan to involve just a few of his friends soon fails and even a nun (Brigitte Lin) joins the hunt for the 30 million...

Typically wild and wacky comedy hijinxs from Cinema City profile Karl Maka (who also stars). He puts himself greatly at center stage and by acting like a complete moron enough times, he somehow manages to make a joke or two on his behalf amusing. A slight portion of that welcome 80s Hong Kong cinema charm is also generated, helped much by the fun presence of Brigitte Lin and Lau Kar Leung (also action director). Thirty Million Rush is only slight but mixing the faces and tone makes for solid entertainment. Mark Cheng, Wong Ching and John Woo also appear.

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Lau Kar-Wing channels past genre success (Till Death Do We Scare) by going ghost-comedy on us, pairing up Yuen Biao and Eric Tsang as two stuntmen (yes, even chubby Tsang). Yuen is Lung, whose father (Stanley Fung) sleeps VERY deeply at night. Explanation being that he occasionally goes out of his body to claim souls and lead them to their new shells to inhabit. When he stops the order by refusing a lost soul entering Tak's (Tsang) body, the afterworld awakens. Oh, and there's some skirt chasing too...

While standard 80s fare and the two genres intertwining to neither bad or notable effect, director Lau can't exactly make extraordinary acrobat Yuen Biao walk in the shoes of an ordinary man. Relying little on Yuen's fighting skills, but successfully when doing so, instead makes the often annoying Tsang take center stage with behaviour akin to retardation at times. His high pitched voice in this intense mode will have viewers reach for their aspirin bottles. When eventually venturing into the ghost side of things, Lau Kar-Wing provides decent distraction but aside from the atmos turning macabre in a welcome way during a few select points, it's hard to feel immersed in this package (despite all characters taking turns to be possessed during the finale). Standard atmosphere, lightning and battling techniques ain't a bad recipe for 90 minutes of genre entertainment (and Lam Ching-Ying carries himself well too) but Those Merry Souls shouldn't be expected to mingle with the greats, ever. Lily Li appears in support while Richard Ng, Wu Ma, Moon Lee, Chung Faat, Fruit Chan, Sammo Hung and director Lau appear in minor roles.

Title gives it all away really. Chen Sing joins the Shaolin temple looking for revenge but gains spiritual enlightenment. His fellow brother (played by Michael Chan) doesn't and falls victim to the temptations of wealth and flesh. Fights ensue.

Ok, it's not thoroughly fair to label Thou Shall Not Kill...But Once as just another kung-fu movie as director Au Yeung-Jun does display fairly good storytelling competence and ambition to stand out in a very crowded room. First half definitely benefits more from this as the atmosphere ever so slightly feels fresh for the genre and it's a vehicle suitable for Chen Sing's range as an actor. Not that I would expect it but fact of the matter is, there existed an opportunity here to leave out much of the martial arts without consequence and it's also a fact that Au don't distinguish himself in any way when concentrating on the fighting. For the moments where it does try, albeit in a crude way, Thou Shall Not Kill ... But Once is worthy of respect.

By definition, Wellson Chin found a voice via the horror genre and went for it during the 90s, more distinctly starting with Thou Shalt Not Swear. Affectionately proclaimed as the start of the "Date" or "Day Of Horror" series that also included among others July 13th and The Day That Doesn't Exist, the various films refers to dates in the lunar calendar.

Otherwise known as the helmer of another series but an unremarkable one (Inspectors Wears Skirts), Chin's first dose of, albeit rightly mild, acclaim centers around his 1993 horror-comedy here and while not THE director to dissect, it's a nice feeling to see someone find a way to express a cinematic vision their way finally. Dividing his time with the buddy-cop formula and low-budget spookiness, Chin gets decent chemistry and banter out of the Michael Chow/Lau Ching Wan match-up. Chow is doning his underrated comedy persona at points (him trying to learn basic English is remarkably well-sold) but he's the straight man to Lau's slightly loopy sidekick. The two bond, even share some good serious interaction and Chin also squeezes eerie atmosphere out of the low-budget tools at his disposal. A little winner therefore. Also with Jennifer Chan, Ronald Wong, Helena Law, Kingdom Yuen, Cheung Kwok-Keung, Tats Lau and John Wakefield. A sequel entitled The Third Full Moon followed in 1994, re-teaming Michael Chow and Lau Ching Wan.

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