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Wai's Romance (1994) Directed by: To Hoi-Sun

KENNETH'S REVIEW: The busy adventures of ex-triad Wai includes copious amounts of sex, an almost creative fight with his jojo, a gig at an antique company with shady behaviour behind the scenes, karaoke bar duty, appearing in Category III films and one not so carefully injected plot point about him needing to revenge his parents (especially heightened when he finds evidence of who's responsible, carefully organized in a folder). Furthermore there's Hong Kong/Mainland cops, dopey assassins of sorts and indeed, the plate seems rather full. But going about it in light fashion translates more into casual behaviour and Wai's Romance doesn't become as fun as its opportunities are. In quite the big role reversal, Charlie Cho is timed and afraid of the other sex but rest assured, he gets in on the action eventually. Ku Feng and William Ho also appear.

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The Web Of Death (1976) Directed by: Chor Yuen

Early on in The Web Of Death, we get a clear look and indication of the special effects limitations that is going to make or break this Chor Yuen directed Wuxia piece. The sought after weapon in the martial arts world for this one is the Five Venoms Spider and the effects guys are certainly pushing it as far as they can. This beginning appearance and its subsequent manifestation during the finale could disrupt the straight mood the filmmakers are going with, for certain viewers but I've learned to love the charm of SFX limitations in Hong Kong movies so I'm not easily bothered. Especially not since this is yet another very fetching Chor Yuen work visually.

The various trickery and weaponry are wonderfully showcased on the intricate sets, captured like very few directors at Shaw's could. It's not another Killer Clans or The Magic Blade but The Web Of Death, with only a fairly complicated plot by scriptwriter I Kuang's standards, is still memorable. With Yueh Hua, Ching Li, Ku Feng Lo Lieh. Lily Li and Norman Tsui logs smaller roles.

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Web Of Deception (1997) Directed by: Billy Tang & Takkie Yeung

Investment manager Fion (Francoise Yip - Rumble In The Bronx) is scammed into putting 100 million USD into an acquisition deal by business man Donson Woo. When trying to look him up again, she finds out Donson Woo is some other person entirely (played by ass kicking Michael Chow). The two join together to untangle this web of deception, ending up being wanted criminals and lovers in the process.

Co-directed by Billy Tang (Run And Kill, Sharp Guns), little of his visual strength or cinematic strength for that matter is evident in Web Of Deception. The movie may go to exotic locations but it's still an awfully cheap looking movie further enhanced by the fact that the plot carries such traits as well. The twists along the way causes some slight interest to manifest itself while Tang's Category III background remains evident in one sex scene as well as in the casting of Diana Pang (nothing that fits the actual story but it sure as hell is audience pleasing). But in the end, there's nothing to care for really.

May Yuk Sing's action directing has some neat ideas but is hindered by the low-budget clearly. Plus the casted henchmen add an unwelcome hokey flavour that stops any desires of Ma's to create hard boiled action.

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We're Going To Eat You (1980) Directed by: Tsui Hark

Behind its goofy title actually does lies a goofy, gory Tsui Hark movie, his 2nd. One that combines imagery and elements from The Texas Chainsaw Massacre, 2000 Maniacs and cannibal movies in general, that were hot at the time. The end result is plagued with more broad Hong Kong comedy than I can take but admittedly, Tsui churns out some funny gags from time to time, both when it comes to the low-budget gore and visually. The finale takes on a wild aura as it's just very active and Tsui manages to find entertaining ways to introduce roller-skates into it. Norman Chu's Agent 999 character, just like the world's best known secret agent known by another number, has an amusing running gag that he manages to get out of the most hairy situations when dealing with them cannibals. You also get what could surely be the inspiration for the nose-picking transvestite in several Stephen Chow movies and a fun, if not overly clever, Wong Fei Hung reference towards the end (involving one of the reoccurring actors in the old Wong Fei Hung films starring Kwan Tak Hing). Corey Yuen's martial arts choreography also adds a little fun to the mix.

There's enough here to like for Tsui Hark followers but We're Going To Eat You is more of a precursor of greatness to come, which obviously makes it essential viewing if you're studying the development of one of Hong Kong cinema's main trendsetters of the 80s and 90s. The cinematography for instance is a combination of well accomplished and typical Tsui Hark nuttiness, something I've always been fond of. And it has to be said, how uneducated it may come off as, the concepts for this and Tsui's debut The Butterfly Murders are cool. Co-starring Eddy Ko, Melvin Wong and Margaret Lee.

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Whampoa Blues (1990) Directed by: Blacky Ko

We've seen this one before, when it was both called Top Gun, Proud And Confident and to a much lesser extent No, Sir. Therefore Blacky Ko has not so much made a movie but extracted a template and dressed the human pieces of it with different faces. On the army training grounds in Taiwan there are therefore comrade, performance rivalry, strict training in order to bond and improve these soldiers as well as emotional twists where sickness may turn proceedings on its head. Plus you have the romance subplot straight out of Top Gun re-molded a bit and put into this movie but never followed through on so it's safe to say director Ko merely needed some filler. A variation on Europe's "The Final Countdown" is heard before the boys enter their examination mission but then real life circumstances turn into a real, albeit small war. Who saw that one coming? A lot of us and aside from an assured act from Miu Kiu-Wai as the typical drill sergeant with a heart, none of the performers such as Max Mok, Wilson Lam or Kenny Ho inhabit anything else but a shell that holds zero character. Compared to dreck like No, Sir however, Blacky Ko knows how to spice up the training sequences more and some of the more epic shots register favourably.

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What A Wonderful World (1996) Directed by: Samson Chiu

At times a little cheesy and uneven pace-wise, Samson Chiu's What A Wonderful World is still a worthwhile study of sensationalistic journalism and newly found humanity in the face of terminal disease (a plot device that's been used fairly frequently by Hong Kong filmmakers). Some of the characters, especially the reporters and the police are a fair bit overblown and stereotypical but the performances by Andy Lau, Kenny Bee and Teresa Lee carry the film well enough to not let those things bother in the long run. Jacky Tang's beautiful scenic photography greatly enhances as well. Paul Fonoroff and Kent Cheng logs cameos.

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When Taekwondo Strikes (1973) Directed by: Wong Fung

Wong Fung assembled the team from Hap Ki Do (Angela Mao, Carter Wong, Sammo Hung & Wang In-Sik) for another similar showdown with the Koreans, Chinese vs. the ruling Japanese forces. While Hap Ki Do was run of the mill, it possessed a great deal of momentum and energy while When Taekwondo Strikes (aka Sting of The Dragon Masters) can't muster up any sparks. Action director Sammo along with Chan Chuen creates notable fast and fierce fighting action though so Angela Mao fans will get something out of all this rather dull stuff (I would like to judge the film on its real terms whenever a Mandarin language widescreen print is made available by Golden Harvest however).

Of note is the casting of Golden Harvest executive producer Andre Morgan in a substantial role as well as the "Father of American Tae Kwon Do", Grandmaster Jhoon Rhee. You can also see Sammo and Chin Yuet Sang as part of the villainous Japanese gang.

When Tat Fu Was Young (1988) Directed by: Eddie Fong

Rarely involving to any extent (unless you're knowledgeable about the period covered?), Eddie Fong's drama about poet Yu Tat Fu (played as an adult by Chow Yun-Fat and in his teens by Terence Fok) struggling to find his Chinese identity among Japanese rulers and as a lover was apparently an unfinished Shaw Brother's production later sold to Golden Harvest. Re-edited without director Fong's consent and bumping the minor appearance of Chow's up to leading man status for marketing reasons, the film flopped despite. It's hard to imagine Fong's vision being that great to begin with and the film has little of the class and texture his prior An Amorous Woman of Tang Dynasty had. Also known as Cherry Blossoms.

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Why Wild Girls (1994) Directed by: Andy Chin

Conjures up intentions and goals but strikes out quite distinctly, Andy Chin's twentysomething drama about friends Gigi (Ellen Chan), Bobo (Ivy Leung) and Jane (Rachel Lee) contains the professional touch via the use of synch sound but little overall that resonates. Basically a simple tale of girls (and supporting character gallery containing men) in need to grow up, embark on career attempts as secretary or actresses but they are girls (and men) that are stuck in development. So they favour their loose side, playing and immoral acts such as spying on their neigbours (object of desire being the character of Mike, played by Ekin Cheng). Moral of the story is that life hurts, especially when you reap the consequences of your actions and then the movie stops for an end credits dance number! No, it's not director Chin using an open end for almost all characters, disguised as a brave filmmaking choice. Why Wild Girls simply seems to run out of film or competence (or it's in fact cut on Ocean Shores dvd). On the positive side of things, Rachel Lee is wonderful, in both bubbly mode and during the emotional detours her character takes. Chan Kwok-Bong, Kenneth Chan, Fan Yik-Man, Jamie Luk and Kingdom Yuen also appear.

The Wicked City (1992) Directed by: Peter Mak

Tsui Hark co-produced and co-wrote this live action adaptation of the Japanese Manga The Wicked City. Previously also an animated Japanese feature, the comic book aspects are brought to life in a way only Hong Kong cinema could, in 1992. Tsui Hark can inject his productions with genuine thought but he suitably retains cheesy aspects of comic strips in general here instead. It means that characterization is kept simple, visual style is extreme and, for this particular comic book adaptation, the special effects mayhem is high.

The Wicked City won't be remembered for its drama though, even if proceedings and the theme of humanity lost is handled straight. No, this is a showcase for Hong Kong filmmakers knowledge of how to use their limited special effects resources to delivery energetic images. The Wicked City being a prime example and the physical effects are pulled off with an admirable, cheesy style that greatly entertains. Being the trendsetter that Tsui Hark is (even when producing), a fair amount of CGI is also employed throughout, which obviously is crude because it wasn't an aspect that Hong Kong cinema fully took to heart until the latter half of the 90s with movies like Stormriders (directed by the co-cinematographer on this film, Andrew Lau).

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