COP ON A MISSION (2001) review

CopOnAMissionCover

A year before Infernal Affairs rejuvenated Hong Kong cinema, Eric Tsang was already playing an affable yet brutal mob boss in an ‘undercover cop drama’, COP ON A MISSION, which didn’t get much attention but deserved its fair share of it. It tells of Mike (Daniel Wu), a driven cop who is assigned to an undercover mission in triad boss Yum’s (Eric Tsang) circle. But he is soon seduced not only by the glitzy world he has infiltrated, but also by Yum’s beautiful wife Pauline (Suki Kwan). As he grows more and more estranged from his real life, including his kind girlfriend (Anya), and is given more and more power by the trusting Yum, Mike’s moral compass threatens to go awol.

It’s not difficult to see why such a film would get overshadowed and somewhat forgotten in the wake of the Infernal Affairs trilogy’s enormous success. COP ON A MISSION has an altogether much less polished package, though it is directed with maximum efficiency by hard-working editor Marco Mak (who edited virtually every Hong Kong classic of the nineties) ; the cast is less glamorous (Wu and Tsang being the only big names), and the script is less tortuous. But contrary to many of its kind, Marco Mak’s film doesn’t desperately try to be mind-blowing, it shoots for “fun and engrossing” and hits its target.

The “fun” part are the b-movie stylings, with rapid-fire shootouts (though not many) expertly choreographed by Ma Yuk-Sing and Daniel Wu’s growingly unhinged performance. Wu was only starting out at the time, and wasn’t yet the accomplished actor he is becoming these days. His performance is a simple and enjoyable one, transitioning from the puppy eyes and agape mouth of the undercover cop getting to grips with the triad world and falling in love with his boss’ wife in the beginning, to a collection of smirks and slightly wild eyes as his character’s soul starts to rot.

As for the “engrossing” flipside, it is carried out through a tight script that ably toys with the frontier between right and wrong, locating it in unexpected places, as the audience discovers that underneath boss Yum’s creepy eyebrows and sometimes startlingly brutal ways (he kills one of his men in the middle of a friendly dinner, much like Al Capone in The Untouchables) is a loving man who despite being on the wrong side of the law has a deceptively moral core. Eric Tsang is of course terrific, using his rotund features and hollow voice expertly, in what is indeed a convincing test run for his better-known role as Hon Sam in Infernal Affairs. And COP ON A MISSION, familiar though it may seem, does manage to sneak in a few suprises for the audience, including an oddly satisfying ending that is a welcome change from the usually bitter codas this kind of undercover cop thriller usually dishes out.

Long Story Short : A familiar and almost second-rate undercover cop thriller on the surface, COP ON A MISSION is nevertheless enjoyable and tight, featuring a great Eric Tsang performance and managing to introduce a few interesting twists to the formula. 1/2

MADAM CITY HUNTER (1993) short review

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Bearing not even the faintest connection to the famous CITY HUNTER character which received its Jackie Chan-starring film adaptation the same year, MADAM CITY HUNTER is a bafflingly-scripted action comedy in which a tough police officer (Cynthia Khan) is framed for murder and takes advantage of her suspension to investigate on her shady young stepmother (Kara Hui), who may be a venomous gold-digger with ties to the mob. She is helped by her love-struck commissioner (Tommy Wong Kwong-Leung) and a private investigator (Anthony Wong Chau-Sang) and his hyperactive girlfriend (Sheila Chan). It’s a film that noisily goes nowhere, a string of lazy gags peppered with bouts of fairly inspired action (Yuen Woo Ping produces and had a hand in the fights). The trite comedy balances between playing ground-level hijinks and viagra jokes. Still, outside of the scant fight scenes, the film’s one redeeming aspect is its cast : Cynthia Khan may not be quite at home in that kind of comedy, but Anthony Wong Chau-Sang is always eminently watchable, Kara Hui ramps up the sexy and has a lot of fun, and Tommy Wong Kwong-Leung is enjoyably cast against type as Khan’s swooning, well-meaning superior officer. A fun film, in an obnoxious way. 

BUTTERFLY LOVERS (2008) short review

This featherweight retelling of a classic, Romeo and Juliet-like legend (already filmed in Tsui Hark’s The Lovers) is directed by the master of glitz, Jingle Ma, with a sure commercial hand but little in the way of a vision or even basic originality. Wu Chun and Charlene Choi are star-crossed lovers while Hu Ge is the bitter third wheel whose scheming precipitates a strikingly artificial tragic end. Charlene Choi is exceedingly cute, and estimable people like Ti Lung, Xiong Xin Xin or Fan Siu-Wong add a dash of gravitas and martial arts in supporting roles, but BUTTERFLY LOVERS remains as bland as its male lead, charisma-challenged Wu Chun. Falsely advertised under the title Assassin’s Blade and with an action-packed cover in some places, it is a corny affair that only really succeeds as eye-candy (and ear-candy, thanks to Chiu Tsang Hei’s score). 

TOUCH AND GO (aka POINT OF NO RETURN) (1991) review

What could a collaboration between Sammo Hung Kam-Bo and Ringo Lam in the early nineties look like, since the former was at the time known more for his hard-hitting but breezy and optimistic comedies, and the latter already celebrated for his brutal and pessimistic style and outlook (having already directed such classics as City on Fire and Prison on Fire). In a way, this is a similar kind of pairing as when two years later the realistically-inclined Kirk Wong paired up with the perennially sunny (at least at the time) Jackie Chan for Crime Story. But TOUCH AND GO didn’t fare quite as well as Crime Story would, artistically or financially.

It tells of Goose (Sammo Hung Kam-Bo), a cook who witnesses the murder of a cop by a gang of sex traffickers headed by Tiger (Tommy Wong Kwong-Leung) with ties and “customers” high up even in the Hong Kong police. Goose agrees to testify against Tiger, but the latter is bailed out and proceeds to burn his restaurant down to scare him away from testifying. A terrified Goose finds help with Pitt (Yeung Ming Wan), the murdered cop’s partner, as well as his sister Angel (Teresa Mo) and a kind-hearted Mainlander May (Irene Wan) who was lured to Hong Kong only to be exploited by Tiger, who actually may have feelings for her…

TOUCH AND GO is what you could call a “two-in-one”, that is to say it saunters from dark thriller with social undertones to light comedy so carelessly that you often have to wonder what you are watching exactly. It does do both styles pretty well however. Ringo Lam was already the master of unforgiving, grim cop thrillers, and whenever the film isn’t indulging in out-of-place pratfalls, it is a fairly gripping and brutal action film, realistically choreographed by Yuen Tak, and boasting an interesting subplot about the ramifications of sex trafficking in Hong Kong ; nothing new, but always good for added poignancy and moral implications. And Ringo Lam manages to sneak in his customary shades of grey : the villain of the piece, Tiger, may be a vicious criminal, but he harbours seemingly real feelings for May (an endearing performance by Irene Wan), and the cops who set out to arrest him don’t really care about Goose’s life being put in danger by his courageous testimony. Again, this is nothing new to the Hong Kong cops and criminals genre, but Ringo Lam has a way of making is even a bit more compelling.

Too bad this is offset by a bright comedy side to the film, with Sammo Hung Kam-Bo doing what was becoming a shtick at the time : bumbling, well-meaning, overweight underachiever with a heart of gold and strong principles. It’s always great to see Sammo do it, but he was already capable of much better. The endless scenes with his inquisitory mother and her search for a viable child-bearer for her son, as well as his childish crush on Angel, make the film grind to a stop.

Long Story Short : TOUCH AND GO is a fine brutal cop thriller too often corrupted by bouts of unwelcome breezy comedy. 

CHINA STRIKE FORCE (2000) short review

With a cast that is kind of interesting in its own warped way (Hong Kong heartthrob Aaron Kwok, American-born Taiwanese singer Wang Leehom, Miss Japan 1992 Norika Fujiwara, underrated Hawaiian cypher Mark Dacascos and American rapper/awful actor Coolio, no less), and an experienced action director at the helm (Jackie Chan’s main yes man Stanley Tong), CHINA STRIKE FORCE is, at least, entertaining. The forgettable and trite plot involves two Chinese agents (Kwok and Wang) tracking drug smugglers (Dacascos and Coolio), and the possible double-agent (Fujiwara) stuck in between. Coolio is punishingly bad and drags the whole thing down, but most of the action scenes are impressive, especially the vertigo-inducing final fight on a pane of glass dangling from the top of a skyscraper. Stanley Tong proves yet again that he’s one of the best action directors around, and Ailen Sit’s choreography is superbly fluid and weirdly balletic. By now, you’ve guessed that CHINA STRIKE FORCE only has its action going for it. 

SHE SHOOTS STRAIGHT (aka LETHAL LADY) (1990) review

Joyce Godenzi, a former Miss Hong Kong of Sino-Australian descent, had a short career as a lead actress, before marrying Sammo Hung Kam-Bo in 1995 and retiring from the film industry. The few films she made as a lead actress were often associated with the successful ‘Girls with Guns’ sub-genre of action cinema, which in the late eighties and early nineties had people like Michelle Yeoh, Cynthia Khan or Kara Hui as its most famous faces. Her best known film remains Corey Yuen’s SHE SHOOTS STRAIGHT, in which she plays a career-oriented policewoman who marries Tsung-Pao (Tony Leung Ka Fai), the only son in the Huang family. She has to face the resentment of her husband’s four sisters, (all of them cops under her command, which makes things more complicated) who do not approve, among other things, of her unwillingness to have a baby just yet. The elder sister Ling (Carina Lau) is also defiant of Mina’s authority on the force, and enraged that her own mother and brother are siding with Mina in every argument. At the same time, they have to put their differences aside to stop a gang of Viet-namese criminals (headed by the great Yuen Wah) on a crime spree through Hong Kong. Sammo Hung Kam-Bo endearingly crops up from time to time, surely to show his future wife some support (he’s also a producer on this film).

SHE SHOOTS STRAIGHT has two things in abundance : blistering action and cheesy drama. The former is unsurprising : after all the director here is Corey Yuen, who had already given the Girls with Guns movement two of its best known films (Yes, Madam ! and Righting Wrongs). He was (and still is) matchless at staging brutal action scenes with a preposterous edge to them. Preposterousness is very present in the film, like when the Viet-namese criminals kill one of the main characters by luring him to a public garden and trapping him with a series of wooden contraptions that would be right at home in Predator. But most of the time the action does stays rather grounded and serious, and benefits from the leggy steeliness of Joyce Godenzi, who throws herself in the action with a measure of fearlessness that may not reach Michelle Yeoh levels, but is still admirable as many shots of dangerous stunts are noticeably performed by her. Her final fight against Filipino bodybuilder Agnes Aurelio is a cringingly brutal showdown that is still seen as a classic of the genre. Carina Lau is also impressively game for a lot a crunching action, like in the big finale where she dishes out punishment with twin machetes, which is a sight to behold.

Too bad then, that sandwiched between these vintage Hong Kong action scenes, are cringe-inducingly tear-jerking passages. When one of the main characters is brutally killed off, why does it have to be on his birthday, with the only two members of his family that are aware of his death having to hide their anguish not to spoil the anniversary party that is going on without the man of the hour ? It’s one of several cheesy scenes that uselessly amp up the pathos (it’s possible that there is more crying and whining in this film than fighting), and along with some bad comic relief from David Lau as a tactless commissioner, it makes SHE SHOOTS STRAIGHT an often frustrating experience.

Long Story Short : Blistering action undercut by overdone drama and tasteless comic relief. 1/2 

A CHINESE FAIRY TALE (aka A CHINESE GHOST STORY) (2011) review

Remaking Ching Siu Tung’s 1987 fantasy love story A Chinese Ghost Story was a ballsy move. The original is still a reverred classic, featuring a legendary screen couple in the person of the late Leslie Cheung and the now-retired Joey Wong, some of Ching Siu Tung’s most inventive choreography, and a superbly effectibe blend of romanticism, tragedy and comedy, with crappy but well meaning special effects and a very popular soundtrack. It gave way to two sequels and a whole wave of fantasy love stories. A remake was always going to face a very tough challenge, especially since the legendary Leslie Cheung committed suicide in the early 2000′s, which adds a sheen of intensely emotional nostalgia to all his greatest successes.

Demon hunter Yan (Louis Koo in the role made famous by Wu Ma) fell in love years ago with demon Siu Sin (Liu Yifei replacing Joey Wong), but due to the forbidden nature of their union, had to leave her after suppressing her memories. Years later, naïve scholar Ning (Yu Shaoqun trying to fill the shoes of Leslie Cheung) is searching the forest trying to find a water source for a small village suffering from a drought, when he comes across a temple where he encounters life-sucking demons, one of whom is none other than Siu Sin. They fall in love with each other as she spares his life, thus finding herself hunted by her fellow demons. Things get more complicated when Yan re-emerges, setting demons, demon hunters, villagers and lovers on a collision course.

Narratively, the most notable difference to be found is the fact that the benevolent taoist demon hunter played by Wu Ma in the original, has been rejuvenated and placed front and center in the remake, in the romantic and in the action stakes. It allows the film to rely on the star power of Louis Koo while avoiding the Leslie Cheung comparisons by reducing the importance of the character he played in the original. Indeed, this remake does a whole lot of things right and manages to be a loving hommage (Cheung’s iconic song is used twice), while still being its own thing. The risibly fake but strangely endearing stop-motion special effects of the original have been replaced by superb CGI that look much better than in another fantasy remake of the same year, The Sorcerer and the White Snake. Humour is less omnipresent, here present mostly through some banter between Koo and Yu, and a funny turn by Elvis Tsui as the pompous mayor of the village. But the rest is as enjoyably overblown as in Ching Siu Tung’s film, from good action scenes choreographed by Ma Yuk Sing that are as CGI-fu as they are wire-fu (though the pick of the crop is the more down-to-earth match-up between Koo and Fan Siu Wong as a fellow demon hunter), to the romance that has been upgraded to a full-blown love triangle.

The cast is uniformly good, and marginally better than in the original. Louis Koo is impressive as the hardened but emotionally scarred demon hunter, assuredly carrying the film and in the process completely eclipsing (but it seems that was intentional) Yu Shaoqun, who is fine but forgettable and sometimes mildly annoying as the scholar. Liu Yifei, as far as this reviewer is concerned, completely surpasses Joey Wong as the love-sick demon : she’s just as delicate a beauty but she brings a certain steeliness to the character, where Wong made the character more whiny. Two supporting actors, however, are often close to stealing the show : Fan Siu Wong as a deadly, one-armed demon hunter is charismatic as hell, and Kara Hui as the cruelly sexy head demon is simply on fire, overacting a (very enjoyable) storm in each one of her appearances.

But for all its subtle (and less subtle) upgrades of the original film, A CHINESE FAIRY TALE in only surprising in its sly incorporation of references to other Chinese legends and wu xia fixtures. There’s the one-armed swordsman (here the one-armed demon hunter), the fox spirit from Painted Skin (Siu Sin sometimes appears as little white fox), the white snake and the green snake (seen in Tsui Hark’s Green Snake for instance), and even a nod to The Bride with White Hair when Kara Hui’s deadly locks literally reveal their true colour.

Long Story Short : Not really a necessary remake, but one that manages to upgrade the original in many ways. Gorgeous-looking and very well acted, it is the best recent Chinese fantasy film. 1/2

NAUGHTY BOYS (1986) short review

An amateurishly plotted, not even sporadically funny comedy that inexplicably casts Mars as its lead (great stuntman, not good actor) and the lovely Kara Hui as a plain jane (really ?) to Carina Lau’s alpha-female. Logic is absent, the gags are uninspired, and the action (supervised by Jackie Chan’s Stuntman Team) is only interesting when Hui gets in on it. The plot involves a hidden loot and a hapless idiot (Mars) hunted by his ex-partners in crime, fresh out of prison (and headed by Phillip Ko). There is a literally blink-and-you’ll-miss-it cameo by Jackie Chan (a cameo predictably blown to deceitful proportions in the film’s DVD advertising), but in the end the only thing that sticks in the mind is a short outtake at the end where Jackie Chan demonstrates a dicy stunt to Kara Hui, who replicates it to perfection.  

ON THE RUN (1988) review

Heung Ming (Yuen Biao), is a down-on-his-luck cop who is looking to emigrate to Canada to start anew. But when his ex-wife is killed for digging too much into a case of corruption involving the head of Criminal Police, Lu (Charlie Chin), he finds himself accused of the murder and chased with his young daughter through night-time Hong Kong by Lu’s squad of corrupt cops (Lo Lieh, Yuen Wah and Phillip Ko). Through a bizarre but inevitable twist of fate, he finds that his only ally is Pai (Pat Ha), the very person who killed his ex-wife.

Casting against type can be a cheap way of bringing a sense of novelty to well-worn formulas, but when made right it can also be, as in the case of ON THE RUN, a powerful way of taking the audience aback and hitting harder in the dramatic stakes. The director himself, Alfred Cheung, was and is still better-known for his comedies, and for him to direct such an unflinching noir thriller, is kind of like if Jon Turteltaub was the director of There Will Be Blood. But credit where it’s due : Cheung directs not only with a firm hand, but also with a great eye for dark humor and shocking turns of events. The pace is crisp, with taut, realistic action scenes that are made more hard-hitting not by trying to be too spectacular, but through striking details such as the hitwoman’s almost uncanny ability to kill anyone she fires at with a single, perfectly aimed headshot, even if that person is using a child as a human shield. The gripping pace of brief shootouts and blistering chases only ever lets up for strangely mesmeric interludes, as when Pai, the hitwoman, takes advantage of a moment of respite in a hideout to coyly try on a dress she’s bought before everything went to hell.

Though the action remains realistic, Alfred Cheung introduces fantastical overtones. There’s a dark poetry to the proceedings, with Peter Ngor’s photography a stunning example of how to capture neon-lit night-time Hong Kong as an almost gothic place, an impression enhanced by the almost grotesque nature of the corrupt cops : Yuen Wah, Lo Lieh and Phillip Ko are grimacing gargoiles who wander in a seemingly endless night (the film takes place over several days, but few scenes take place during the day), with the law on their side but no regard for life. Indeed, often it seems as if Yuen Biao and Pat Ha’s characters are running from a dark paranormal force, and it creates sense of despair, and indeed, perversity (a synonym for ‘corrupt’, after all) that grips the viewer and makes Ringo Lam look like a kindergarten storyteller. And this is from the director of Talk to me, Dicky.

But Alfred Cheung isn’t the only going against type. Yuen Biao, an actor known more for his extraordinary agility and genial personality in martial arts films where he performed mind-bogglingly dangerous stunts, is here ‘shackled’ to an almost purely dramatic role. He only gets to perform one big stunt, when he swings on a bamboo scaffolding to reach the top of a lamppost before crashing onto the roof a van. Other than that, even his final fight is a savage and bloody struggle, not an intricately choreographed martial arts dance of the kind that made him famous alongside Jackie Chan and Sammo Hung Kam-Bo. And on a dramatic level he simply impresses with an alert, sometimes gut-wrenching performance. Another actor effectively cast against type is Charlie Chin, who trades in his usual ladies’ man persona for an oily turn as a morally bankrupt chief of police. But the main attraction is Pat Ha who turns Pai into an unforgettable composition : a cold, sharp-shooting hitwoman with a weird hairdo on the outside, but a young woman with a heart of gold and a fiercely protective streak on the inside. Yes, this is the kind of film where what warmth there is mostly comes from the assassin who killed the hero’s wife.

Long Story Short : A pitch dark noir thriller with almost gothic overtones, unforgiving and intense, anchored in killer performances from Yuen Biao and Pat Ha. 

EASY MONEY (1987) review

EASY MONEY was Michelle Yeoh’s final film before she went into early retirement to dedicate herself to her marriage with Dickson Poon (who had been her producer via D&B Films on most of her filmography up to then). That didn’t quite work out and five years later she was back in business, new and improved, making quite the splash by upstaging Jackie Chan in Police Story 3. So this is the last film featuring that former incarnation of Yeoh : a more round-faced, girly-looking actress, already very beautiful and stunt-ready, but not quite as well-rounded a performer, especially in the dramatic department.

EASY MONEY is actually a thinly-veiled remake of The Thomas Crown Affair, with the spin of a gender-switch : Michelle Yeoh is the gentleman-thief figure formerly played by Steve McQueen ; former crooner George Lam takes the Faye Dunaway/Rene Russo role of the insurance investigator who gets drawn into a web of deceit and seduction that is half of his making. Kent Cheng is the dogged cop in charge of investigating a multi-million-dollar heist, thus taking the Paul Burke/Dennis Leary role : no gender-switching for this character, merely a fatness-enhancing.

Unfortunately, the gender switcheroo is about the only noteworthy thing this remake attempts. The script, co-written by regular Johnnie To collaborator Wai Ka Fai, is impressively inert : for an hour or so, scenes merely fade into one another with little sense of logic, urgency or even playfulness. Stephen Shin’s direction is muddled, failing to introduce properly any of the main characters, to the point that it might be difficult for someone who hasn’t seen either of the Thomas Crown films to figure out who is who and why they do what they do. Things get livelier in a middle-sequence set in Paris that includes a solid car chase coordinated by legendary French stuntman Rémy Julienne (from a dozen James Bond films, John Woo’s Once a Thief, The Da Vince Code…), but then it’s back to procedural dullness and half-baked seduction. Indeed, there is little to no chemistry to be found between Yeoh and Lam, which is a shame since that’s what the whole Thomas Crown concept hinges upon. Yeoh is suitably gorgeous but her role is pure nothingness : we get no insight whatsoever on why she steals, or even how she steals. And George Lam might have made 60 and older Hong Kong housewives swoon from 1978 to 1985, but he’s hardly a match for either McQueen or Brosnan. Only Kent Cheng brings some edge as an unhinged cop, but he can’t stop this harmless film from flatlining and vanishing from the memory as soon as the credits roll.

Long Story Short : Even Michelle Yeoh can’t save this gender-switching take on The Thomas Crown Affair which has a muddled plot, inert direction and no chemistry between its leads. 

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