Blog Archives

Chasing the Dragon (2017)

To begin, an admission. I have not seen many Wong Jing films. Not even some of his biggest hits, such as God of Gamblers. Some of his work has flickered across my retinas, but given the fellow’s torrential output over the decades I may as well have folded before even picking up the cards. I know him more by reputation; a film-maker chasing the broadest and basest of cinematic trends. Jackie Chan’s classics are hardly high-brow, but City Hunter(read more)

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Master Z: Ip Man Legacy (2018)

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The Ip Man film scene has become a crowded sub-genre over the last decade and a bit. Although the four numbered titles directed by Wilson Yip and starring Donnie Yen are the most well-known, there are also the alternate takes on the historical figure in Ip Man: The Legend is Born, Ip Man: Kung Fu Master and Ip Man: The Final Fight plus Wong Kar Wai’s spin on the legend in The Grandmaster. There’s also a 2013 TV … (read more)

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Triple Threat (2019)

I’ve been waiting to see Triple Threat for over two years. Seemingly caught up with distribution difficulties and generating little buzz, it nevertheless carries the potential to be an all-time action classic. Check that cast list. It’s absolutely stacked with talented action practitioners. Real ones, who know how to make fights look good. Even if not all the names are widely known, the sheer amount of experience there is mouth-watering for a dedicated action fan. Game on!

It’s always exciting … (read more)

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Paradox (2017)

What a curious sort-of-series this is. Way back in 2005 SPL was heralded as a return to hard-hitting Hong Kong urban action, a description that has stood the test of time. After a ten year hiatus, SPL II: A Time for Consequences remixed the recipe with some returning cast members as different characters in a completely new story, with the notable fusion of Thai star Tony Jaa into a Hong Kong production with great results. Now we have Paradox — … (read more)

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The Villainess (2017)

The Villainess goes through a lot in her two hours of screen time. She goes through a lot in her first five minutes. By the opening scene’s end a few dozen men lie dead or maimed at her hand. It’s as though the audience has been dropped into the climactic endpoint of an action-revenge saga — which is precisely what it is — but as one story ends another begins and we’re along for the ride.

The craft of action … (read more)

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The Terror, Live (2013)

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The Terror, Live is a nail-biter of a thriller that screened in South Korea about a year ago, managing five million domestic tickets sold — a pretty decent showing given that it opened against Bong Joon-ho’s Snowpiercer (which set domestic opening records, and eventually ended up at 9.3M admissions). Terror is a very different film, though: recalling Hollywood “maniac on a phone” films of yesteryear (think Phone Booth, or perhaps even Speed), it sets almost the entire film … (read more)

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The Sorcerer and the White Snake (2011)

Remaking Hong Kong cinema’s greatest hits seems to have been all the rage lately. Last year we had Wilson Yip’s swing at remaking A Chinese Ghost Story and Tsui Hark’s second go at King Hu’s classic Dragon Inn. To be fair, Tsui’s Flying Swords of Dragon Gate ended up as more a sequel to New Dragon Gate Inn than a remake, and it was considerably more fun than I was expecting — I’ll write it up when I get … (read more)

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Red Cliff (2009)

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When Cantonese director John Woo left Hong Kong for Hollywood in the mid-1990s, many people expected him to become one of the giants of world cinema. His American movies turned out to be, at best, problematic and his talent for combining strong human drama and rip-roaring action sequences was never fully realised. His most recent Hollywood film was Paycheck, I doubt in the history of American movies has a more apt title ever been given.

Two years ago, Woo … (read more)

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