One of the few kung-fu comedies that gets by and then some by bringing nothing new to the table... other than fine execution of genre-tropes and clichés. Even this close to Jackie Chan's breakthrough performance in Snake In The Eagle's Shadow, productions were not deviating from the formula. Which includes putting a young, initially abused hero front and center who learns martial arts, gets inspired by merging animal techniques and exterior location-work as this is an indie after all. But through the casting of a fairly charming John Cheung and not letting anyone's comedic persona run amok, seeing and experiencing all the familiarity is more than welcome. Especially since Wilson Tong's action choreography is also largely splendid, with creativity and even basic story context connecting well to his fight-scenes. Only letdown is that he gives us a complex 2 on 1 fight before the finale... which is also a 2 on 1 fight. Problem isn't repetition or that it's bad. Problem is that it's not as good.

A tribe is begging the gods for water as a drought has been plaguing them. Looked at curiously by a trio of snake spirits (the snake prince himself Ti Lung accompanied by Wong Yue and Ng Hong-Sang), they decide to interact with the humans and help them as their mountain has an endless supply of water. The prince falls for village girl Hei Qin (Lam Jan-Kei - Dangerous Encounter - 1st Kind) and this sets into motion first warning that snakes were never destined to mix with humans. Facing violent resistance, betrayal and man showing its worse traits such as greed, along the way they also SING! Yes, this colourful and beautifully designed Shaw brothers production is also a musical. Both beautiful and groovy, combine this with often awkward dance choreography and The Snake Prince is hard to resist on a smile at and with kind of level. Taking dark turns about the hour mark (and boosting its sellable elements by featuring nudity and a human/snake sex scene), director Lo Chen engages quite decently despite seemingly elements clashing. It doesn't hurt that the finale is a full on monster battle with above average snake puppets vs the villagers out for blood. Also with Lam Wai-Tiu and Norman Tsui.

A movie feeling like it wants to be impenetrable but in fact it wants success like Jackie Chan had the year before and Snake Shadow, Lama Fist makes that disguise look very transparent and ugly. Accompanied by some of most known pieces from the Star Wars soundtrack, opening credits cartoon versions of characters to be seen in the movie, yes it does go down annoying comedic paths but is mostly a straight faced revenge story starring Chi Kuan-Chun. Good casting as Chi can done the serious face, the serious hurt but no one is attempting any personal depth here. It would've been fine had we understood any motivations or known who anyone is plus there's very little kung-fu action that until the final, decent reel is mostly set at night to boot.

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.

A prison break (involving Norman Tsui, Eric Tsang and Huang Ha) has the cops (one of which, played by former Shaw Brothers director Chor Yuen, has a personal score to settle), triad hitmen and a private investigator (Alex Man) after the trio. Unlikely alliances occur along the way and Eric Tsang isn't that annoying. In fact, The Sniping is one of Wilson Tong's sharper movies as director. Looking dangerously cheap and bare at points, Tong actually pushes the thriller- and action buttons quite well despite the low budget look. Sufficient character, well paced and at times grim and bloody, The Sniping is also only one genre essentially. Not five, including comedy, as per many Hong Kong action movies of the time. Also with Irene Wan, Chen Kuan-Tai, Phillip Ko, Fung Hak-On and Dion Lam.

Now for something very one-sided. Joseph Lai once again turned to Korea to pick up some cheap animation for the international market and with a distinct flavour of 'Transformers' in the original 1985 movie, that just makes sense to try and cash in on. It's quite an unusual entry in this batch though as Solar Adventure (original title Roboteuwang Sseonsyakeu) is part live action. Dealing with the invasion of the baaaaaad North Korean spies (yes, this is therefore a South Korean production), just as the concept of an alien space craft crashing in a lake makes itself known, the switch to cheap and threadbare animation happens. With the sole, oddball delight being that North Korea's leader Kim Il-sung is working with the evil aliens (footage that turns up in Space Thunder Kids as well), the rest of this brief time with this Adda Audio Visual release is made up of repetitive action and awful animation at points (the slow motion death scenes are a hoot therefore). To boot, despite the inspiring brevity of it all, our original director (both in live and animated segments) does filler in the most heinous of ways. Ranging from static shots of trees for a good minute in the beginning to countless tanks driving alongside a mountain cliff side (Space Thunder Kids "fans" will recognize this too).

Deathly dull and complex triad affairs and family melodrama with fear of more of the children ending up in the gangster world, all round in front and behind the scenes force Addy Sung's execution is stiff but focusing solely on the action reveals promising sparks. In particular two sequences, starting with a parking garage fight that doesn't skimp on the power and Addy running through a mall blasting away cops (and having actors and stuntmen loaded up with squibs) is compelling as it's also very tense. Reference clips rather than a reference movie for Addy.