Yang Shupeng’s The Robbers takes places during the Tang dynasty and follows two robbers (Hu Jun and Jiang Wu) who arrive to a small village and are about to rob one of the houses, when a group of soldiers burst into the village and start raping a young woman. The two robbers intervene and kill the soldiers, but they are not met with gratitude from the villagers who, led by a narrow-minded mayor, fear the army’s retaliation. They tie up the robbers to deliver them to the authorities, but when a larger contingent of soldiers arrives to the village and starts ransacking it, the robbers once again intervene and kill them. They then decide to stay for a while, as they are both falling in love with local girls. But the mayor is still intent on giving them up to the authorities.
Posted by LP Hugo on February 8, 2017
Lynn Chen’s Lost Minds follows a couple (Jian RenZi and Andrew Lin) who has been unsuccessfully trying to have a child for a few years, and decides to resort to an old Chinese fertility ritual, that of the “primer”: to temporarily adopt a child, who will open the way for their own progeny. They adopt a quiet 7-year-old girl (Wang Yifei) at an orphanage whose supervisors (Hui Shiu Hung and Pat Ha) are obviously not telling them everything. The adopted child is silent, asocial and constantly draws disturbingly dark pictures of her previous family. It doesn’t help that her new mother is beset with strange visions that threaten her sanity. Like so many mediocre horror films, Lost Minds uses a lead character’s vacillating sanity as an excuse to bombard the audience with nightmare sequences and jump-scare visions that thus don’t need to be justified by the story (since, you know, the character’s sanity is vacillating). There are a few passable red herrings until the final twist – a demystifying one as always in China’s supernatural-free horror genre – brings the film to a thudding close, with belabored exposition and flashbacks, to make sure everyone understands the denouement. Very little tension and virtually no scares are mustered, though the unsettling white glow of the cinematography is rather effective and well-judged, and Jian RenZi’s performance is fairly affecting, while Wang Yifei is an excellent child actress whose alternating creepiness and cuteness are never forced. Andrew Lin sleepwalks through the film, Hui Shiu Hung is wasted in a rare serious role, and the great Pat Ha valiantly makes the best of her poorly-written role. *1/2
Posted by LP Hugo on February 4, 2017
The fourth film of firefighter-turned-director Yang Shupeng, Blood of Youth follows a young hacker named Su Ang (Oho Ou), who anonymously tips off the police about the remains of a woman buried in the woods near the city of Hangzhou. Detective Zhang (Zhang Yi) discovers the victim was beaten to death almost two decades ago, and starts investigating the events that lead to her death. But at the same time Su Ang also warns the police about a bank robbery about to happen, but just as the robbers led by Shen (Zhou Ziwei) are about to enter the bank, he tips them off too about the presence of the police. His agenda is a mystery, but it may be linked to the fact that a brain injury he sustained during his years in an orphanage is slowly killing him according to his doctor, Han Yu (Yu Nan), especially as he’s not taking the medicine that might save him. And his endgame definitely includes Lin Qiao (Guo Shutong), a young cellist whose libidinous orchestra conductor Li (Guo Xiaodong) is none other than Han Yu’s husband.
Posted by LP Hugo on February 3, 2017
Wong Jing’s On His Majesty’s Secret Service is as narratively unfocused and packed with non-sequitur scenes as any of the rotund Hong Kong film kingpin’s comedies, but here is the gist of its ‘plot’: an Imperial Guard (Louis Koo) with no martial arts skills but a gift for scientific innovation becomes embroiled both in his fiancée’s (Barbie Hsu) plot to make him love her more by pretending she’s in love with a handsome hitman who’s actually a beautiful hitwoman (Liu Yang), and in an evil eunuch’s (Fan Siu Wong) plot to overthrow the emperor (Liu Yiwei), who is organizing a competition to find a worthy husband for his daughter (Song Jia). Apart from lavish costumes and sets, the direction is lazy and uninspired, while the humor consists of constant and lazy pratfalls, obvious pop-culture references (some are even delivered while literally winking at the camera), some inscrutable (for non-Cantonese speakers) wordplay and a cornucopia of blissfully unhinged comedic acting: Louis Koo is a broad delight, Fan Siu Wong steals all his scenes with his ‘dainty evil’ act, Song Jia shows effortless comedic skills, and while Barbie Hsu’s silliness feels more forced and Sandra Ng seems on autopilot, Tong Dawei and Liu Yang provide fine serious support, the latter being particularly charismatic as a cross-dressing assassin. All in all, it’s a harmless and often amusing comedy which could have stood out more if its numerous action scenes had been choreographed and directed with more verve. **1/2
Posted by LP Hugo on January 31, 2017
Wilson Chin’s Special Female Force is a loose remake of Wellson Chin’s (not the same guy) The Inspector Wears Skirts, following a dozen sexy young women who enter a stringent boot camp where they bond in the hardships of training and flirt with the male team, before being thrust into their first mission, to stop a terrorist – who twenty years ago decimated the previous iteration of the Special Female Force – from spreading a deadly virus. Tiny subplots from the original films (there were four of them) also crop up, like the male instructor’s crush on the female one (Ken Lo and Jade Leung step in for Stanley Fung and Sibelle Hu), but on the whole Wilson is largely rebooting Wellson’s concept, while adding an unfortunate layer of teary drama on top of it. The Inspector Wears Skirts were no masterpieces, but they knew their place and remained jokey displays of eye-candy with some hard-hitting action thrown in. Special Female Force is plagued by tragic subplots that lead to cringe-worthy moments of tone-deaf emotional acting from the main cast. Philip Ng has a few scenes and a few spin kicks as an ungrateful boyfriend, in another soap-worthy little nugget of plot.
Posted by LP Hugo on January 27, 2017
In Brand Tan’s The Adventures of Waibaobao (also known, head-scratchingly, as Provoking Laughter), timid tour guide Wei Baobao (Pan Yueming) is mistaken for a dangerous criminal as a result of a dinner reservation mix-up. Brought in the inner circle of a mob boss (Tan Kai), his lethal girlfriend/enforcer (Lin Peng) and his loyal second-in-command (Archie Kao), Baobao wants to run for his life, but a duo of cops (Chang Yuan and Tao Siyuan) urge him to stay under this unintentional cover and work with their other undercover (Wu Yue). This one of those films that try to be many genres at once but end up a bland amalgamation. There is some “wuss posing as a tough guy” comedy, but it’s undermined by a severe lack of conviction or creativity in the comedic situations. There are some David Mamet-style deadpan twists and turns on the canvas of a Hong Kong-type undercover crime thriller (suffice it to say, everyone is a potential undercover agent), but it’s all too muddled and sluggish to grip and surprise the way it is supposed to. There are also Tarantino-inspired postmodern winks (Ennio Morricone in the soundtrack, animated backstories…) and flashes of ultra-violence, but they appear tired and derivative, sometimes exceeding the production’s obviously limited budget grasp. The film does remain palatable thanks to a short runtime, a few inspired visual gags, one or two plot turns that are mildly surprising, and a solid cast: Pan Yueming might have been excellent with better writing to work with, Lin Peng is striking as a steely henchwoman, Archie Kao has fun acting as shady as possible, and Chin Shih Chieh brings a modicum of class to the whole thing, while Wu Yue would probably be a scene-stealer if there were really good scenes to steal. **
Posted by LP Hugo on January 25, 2017
A good one month after the delightful Railroad Tigers, Jackie Chan is back on the big screen, and a good 12 years after their flawed but enjoyable – and oddly heartfelt – adventure The Myth, he reunites with Stanley Tong for Kung Fu Yoga (though Tong was a producer on Chinese Zodiac). This Indian-Chinese co-production that follows illustrious archeology professor Jack (Jackie Chan), who goes looking for an ancient Indian treasure with the help of his assistants (Zhang Yixing and Miya Muqi), some old friends (Eric Tsang and Zhang Guoli), a thief (Aarif Lee) and an Indian princess (Disha Patani). The quest takes them from China to Iceland to Dubai to India, but another, less benevolent search party is also looking for the treasure: Indian heir Randall (Sonu Sood) and his mercenaries.
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Posted by LP Hugo on January 24, 2017
This caper about an Interpol agent (Andy Lau) who joins forces with a gentleman-thief (Huang Xiaoming) to stop a terrorist organization from using a revolutionary invention known as the Seed of God (a seed that can grow even in the most barren places) for evil purposes could very well be a From Vegas to Macau film, as it sees Wong Jing follow the exact same recipe as in his successful Chinese New Year franchise: pair up a handsome legend with a handsome younger star, surround them with comedians (including here a very funny Shen Teng and a so-so Wong Cho Lam) and cameos (hello, Sammi Cheng) and one or two martial artists (good old Ken Lo and up-and-comer Wu Yue), offer spectacle that combines a five-year old boy’s sense of narrative logic, a ten year-old boy’s taste for absurd high-tech gadgets, and a fifteen year-old boy’s fixation on leather-clad beauties (hello, Michelle Hu and many others). Add a dash of gambling (but not too much, the Hong Kong market is second served), one or two exotic locations, a lot of derivative elements (including a Resident Evil death corridor, Wolverine claws, John Powell’s The Bourne Supremacy soundtrack tracked in the action scenes…) and one or two incongruously straight-faced dramatic moments. In the end, it is indeed a lowbrow but entertaining formula, and Mission Milano is actually more palatable than any of the From Vegas to Macau films. Andy Lau is a delight (Huang Xiaoming seems less comfortable), there are some moderately inspired pratfalls, sight gags and situations, and Dion Lam’s action is cartoony and amusing. All in all, this film deserves the following faint praise: a Mission Milano 2 sounds more tempting than a From Vegas to Macau 4. **1/2
Posted by LP Hugo on January 19, 2017
After three films that oscillated between the tragic and the bittersweet (The Equation of Love and Death, Einstein and Einstein and The Dead End), writer-director Cao Baoping returns to his first love, rural dark comedy. In Cock and Bull, a mechanic named Song (Liu Ye) has to deal with two exigent issues. First, he is under pressure from a big mining company to move his ancestors’ graves so that a big mining operation may proceed on his land, which he steadfastly refuses to do, out of a deep-rooted sense of filial duty. But equally pressingly, he must clear his name after a fellow villager is murdered and suspicion falls on him, because he had a fight with him weeks before. Song thus sets out to find the real killer, who may be either a local delinquent (Duan Bowen) who somehow is in possession of the victim’s motorcycle, or a shaky nightclub owner (Zhang Yi) hard up for cash who moonlights as a hitman for local mobsters.
Posted by LP Hugo on January 17, 2017