Cinema-Maniac: China White (1989)

I’ve seen many films, and been disappointed plenty of times even with reasonable expectations. Once you’ve seen the many noteworthy films in the action genre the more obscure titles you’ll have to take a gamble on. Granted, I haven’t written anything about a good portion of those noteworthy action movies, but sometimes the prospect of tackling something not widely discussed intrigues me more over something that is well praised, and regarded. Having a huge respect for action cinema than probably your average blogger/reviewer who writes about action cinema. Movies like China White further hammer in the point why action cinema is frequently criticize for their bad stories, and bad acting.

In 10 seconds, Russell Wong avoids getting killed three times

China White follow brothers Bobby Chow (Russell Wong) and Danny Chow (Steven Vincent Leigh) want control of Amsterdam’s Chinatown for their drug trade in the midst of an escalating between the Italian, and Chinese mafia. Now, that sounds like a blast of an Hong Kong style action in a U.K. setting you might be thinking. The final product falls significantly short of its somewhat interesting setup due to its inability to focus on a single point. For starter, the character of Bobby Chow, and Danny Chow are developed decently in the story. However, the film isn’t interested in showing these two blood brother bond, and the struggles they must overcome in the violent criminal world they are a part of. Bobby, and Danny spend around half of the movie together, and then the other half both are separated from each other with the viewer only seeing Bobby side of events. When it wants to show some kind of drift between Bobby, and Danny it’s quickly brushed aside. Considering the movie spends a good chunk of the first half developing these two characters it’s misdirection in how it uses them effects the impact it desires to have.

While not required it does have a romantic subplot which yes litters action cinema in drove, even if the film could be stronger without such a thing. In the case of China White it got it partially correct. Bobby first interactions with Anne (Lisa Schrage) aren’t ones filled with romantic intentions. Starting off on the right foot in getting them to start out as friends. However (again), once Anne gets rescue in the film the relationship between Bobby, and Anne quickly takes a more romantic turn, and it’s unconvincing because it’s rushed. After Anne gets rescued there’s no recovery phase for her to get over her near death experience. It’s just brushed over like the development of Anne, and Bobby relationship. It practically goes from Bobby, and Anne having sex to the next important scene they are planning a trip to Paris before something tears them apart.

Another part of its grand story is the initial storyline of Bobby Chow, Danny Chow, and their comrades taking vengeance on the criminal boss who took out their father figure. This part of the story is pretty thin in actual value, but simply having them be themselves makes a thin idea work well. It easily gets across these people respect their father figure, and establishing a good sense of gratitude towards him. It’s unfortunate that after a flashback sequence which yes brings the movie to a halt that it is unable to expand on the idea. This is to blame on the romantic subplot, and also the subplot of the police officers trying to capture our main criminal characters. It’s unable to juggle all of it pieces into a coherent narrative easily  making things get lost in the shuffle. Meaning you have aspects of the story that start out initially working well, but deteriorate in quality as they go on.

No one in the background looks suspicious at all

Lastly, the biggest downfall of the film’s story is the uneven pacing. The film’s act is paced well setting up the characters, and small bits of an overarching story in good fashion. Sure some of the dialogue is unnatural, though it has little hiccups in actually telling a story. Act one only big drawback is a flashback that’s bring the movie to a halt to provide some backstory. It’s well intended, but since the film is all over the place the flashback unintentionally harms the overall quality in the long run. There’s a lack of raising action due to the fact Bobby, and the gang easily obtain resources to launch their big plan for vengeance which skips plenty of steps. The final act is where the film suffers the most from rush pacing. Whereas the first hour of the film did somewhat well in holding itself together. It’s the remainder forty minutes where it all comes crashing down.

Plot points that were meant to resonate fall flat from glossing over character building rendering significant characters death lackluster. Raising action is absent spending an uneven amount of time between the main conflict, and the conflicts in its subplots which aren’t granted enough time to be properly fleshed out. Leading to resolutions to storylines that will make you feel nothing in the journey. There’s also the ending text crawl saying this movie was based around true events, even though it has cheesy elements ripe in the action genre like going oversea (half the time it’s Thailand) to expands drug trade, main villain having evil henchman doing their every bidding, villains & heroes being able to kill people in public (sometime in broad daylight) without long term repercussion, the protagonist love interest getting pregnant, and the police letting a criminal get away with a murder once against someone they hate to name a few.

I wrote earlier before the film’s does a somewhat decent job developing its leading characters, but its actors are plain wooden. Our lead is Russell Wong, and he is incapable being charming, and showing many range of emotions. His biggest issue is he’s mostly stoic in his facial expression, and there’s hardly a change in his tone of voice when delivery dialogue. When’s he meant to be tough he doesn’t come across as tough. If Wong is meant to be charming his wooden delivery, and stoic expression will make you question how he manage to get a woman with a lack of personality. The only time he’s somewhat convincing is during his action sequences because he has no lines to speak, and even those get ruined by some awkward choices. Also, he sounds really unnatural when speaking English dialogue. Almost robotic in delivery simple sentences. Russell Wong other co-stars fare about the same also sharing Russell Wong lack of range. Steven Vincent Leigh doesn’t come across much of a gangster, but since he’s given as much wide ranging material he fares better. He’s typically has to look upset, or tough in his scene. The only one in the supporting cast was Victor Hon as One Hand, and that was because he was at least trying to do his best in his limited role. The Chinese actors are largely speaking in their native language are fine, but sadly the stars speak English in a unconvincing manner making the bad performances stand out more.

Even in bad movies, I do appreciate stunt work

Surprisingly, the film has superstar Andy Lau, Alex Man, and a surprise appearance by Fui-On Shing who just keeps popping up in a number of obscure Kong Hong movies I keep checking out. Despite appearing only in the ten minute flashback sequence Andy Lau doesn’t fare much better. He simply looks like he wants to exit the production. Allegedly, Andy Lau, and Alex Man were abducted by force by the triads to be in the film. I say allegedly because apparently a lot of sources claim this is real, but I’m unable to find the blog post by Manfred Wong who confirms this on the internet. As for Fui-On Shing he’s the typical baddie, and that what he so well at playing. He’s a highlight in the movie, along with a lackluster Andy Lau who is still more engaging to see than his other prominent co-stars.

The western cast of the film fare slightly better. Out of the entire cast Billy Drago comes out the best as the film’s villain. He’s one note in his performance, but it’s that one note he’s able to nail by hamming it up. Instead of portraying his character in a realistic manner Billy Drago simply revel in his evil nature. Lisa Schrage does okay with her haphazard material. She isn’t allowed any opportunity to transition from one aspect of her character into another. However, she’s able to pull off her none-serious scenes well. Frank Sheppard plays a cop name Rasta (I’m not kidding), and it’s a stereotype performance. Providing a Jamaican accent while throwing the occasional “I told ya man” whenever on screen. It’s passable at best. Saskia van Rijswijk plays the classic silent henchwoman who doesn’t appear much in the movie, and aside from one fight sequence she doesn’t get any scene to stand out.

When mixed together, Chinese, and Italian gangsters are very explosive

Ronny Yu direction is one without confidence. He’s unable to make an assure experience being just as lost in juggling the film story just as much as the script. He’s also unable to overcome his actors weaknesses having long takes of his actors giving one bad performance after another. Where he partially does well is during the action sequences. The choreography in them is nothing special, but liven them up a bit. They would be exciting if it wasn’t for two things; Ronny Yu unnecessary use of slow motion, and his inability to show a connection between the camera & action choreography. For example, there’s a small skirmish between two criminals, and one of them pulls the pin of a grenade. The grenade isn’t seen with the only indication of a grenade pin being pulled being a sound effect. That’s not good action design. What’s also not good action design is some of the sloppy timing in the editing. There are a few instances where someone is shot, and takes seconds before the actor is shown reacting to getting shot. Sometime in slow motion!

When it infrequently comes together there’s nothing impressive about the action sequences. Gunfights are strictly of the cover, and shoot variety with little to visually make them interesting. Suffering from the cinematography not establishing the location, and what’s where. Not even the huge amount of sparks when bullets make impact liven things up. The brief instances of a choreograph fight are as good as it get because Ronny Yu tries to show them in a interesting way. Further hurting the movie is the film doesn’t know how to space out scenes evenly. The first half is evenly spaced out, but the second half saves it’s nearly absent until getting closer to the credits. When it gets to the climax, the action sequence is not worth the wait.

China White offers what you expect from a bad action movie from the rush writing in places, and the general bad acting from its cast. Feeling like the filmmakers weren’t yet ready to tackle a story with such big ambitions, and it shows throughout in the final product. Even action junkies won’t find much to enjoy in this mess of a movie.

Rating: 3/10

Cinema-Maniac: The Tigers (1991)

Today’s film, The Tigers (1991), might simply come across as just another obscure Hong Kong film forgotten by time. However, it’s the star studded of the Five Tiger Generals of TVB that will ensure it place in Hong Kong cinema history, even the reason is superficial. The Five Tiger Generals of TVB consisted of Michael Miu, Kent Tong, Felix Wong, Andy Lau, and Tony Leung Chiu-Wai who were the most popular young actors in Hong Kong during the 1980s. If you’re a fan of even one of these actors than eventually you’ll stumble upon this film on their filmography, and like me, be surprised by the amount of talent in the film. Sadly, whose in the film is about as interesting as it ever gets. While some of the Five Tigers of TVB have gone off to star in some classic films that have become landmark films in Hong Kong cinema. The Tigers (1991) is going to be a footnote in it stars legacy.

Hong Kong’s Finest

The Tigers follows fives Cops that find their careers, and their lives in jeopardy when they spend a gangster’s bribe money after releasing him from custody during a drug bust. The movie’s premise immediately falls upon when it decided our first introduction to our characters sould be them betting on horses while on duty. It’s this initial irresponsible impression the film is unable to shake off becoming detrimental in its failing. Before the whole “should we take the money” plot point comes into play. Everything leading up to that plot point paints our officers as goofy, and easy going. Not treating what case they’re currently assigned to seriously. So when the officers are considering whether, or not to take away a suitcase filled with money, and not report it to anyone of course it comes across something they would do without question. Except for the fact it wants to present this fall into temptation with shades of grey, which you can’t do when only one out of the five characters presented actually appears to be taking their job seriously.

So seeing one officers who’s remaining silent on the matter, and not telling his superiors talks to another corrupt officers to remind him why he became an officer is sketchy. For starter, the silent officer values his friendship more so than upholding justice, and yet this character thinks he holds the higher ground when compared to his friends who actually took the money, and spend it. Obviously, just because the character sees corruption in his line of work, is in a position to prevent it from getting worse, and not participating in it doesn’t make him an upstanding officer. If the characters were more fleshed out in terms of caring about their jobs than maybe all the conversations about how they will make things right might actually hold some weight.

Missing from this still image, slapstick humor.

Another weakness from the writing is the uneven characterization for its large cast of characters. Most of them can be defined as easy going officers whom want to make more money. Some of the characters are decently developed, and some fleshed out with their own subplots most of which don’t matter in the long run. However, on the other half you get characters who just come across as background fodder despite being established as good friends. There’s also the noteworthy weakness that none of the officers are given traits to stand out. All are jokey, partially serious, and slowly crack under pressure. Homogenizing nearly all the characters unknowingly. Also, since the film is incapable of developing characters the “mind games” the corrupt officers take part in against the film’s villain feels dragged out. When the “mind games” portion start around the end of the first act virtually no progress in the story is made until the climax of the movie comes. This is because it feel like the story is prolonging the inevitable by having scheme, after scheme failed in either getting the villain killed, or getting the police officers locked up.

Dialogue doesn’t fare any better being the routine “what does being an officer mean to you”, “what separates your action from criminals”, and “we are bound to uphold the law, not break it” variety with conversations going where you would expect them too. The issue with this are the characters participating in these conversations never had the high ground. From the opening that showed the officers not taking their line of work seriously, even during a police raid making sex jokes, all the way to the end these officers simply come off as irresponsible, and stupid. You would think characters who’ve all been serving various amount of years in the police force would know how to hide the fact they illegally acquire a huge sum of money during a raid. Apparently not since the characters aren’t able to hide their tracks for simple reasons like buying an expensive car that can’t be bought on their budget, or giving a daughter a large sum of cash for her to start her business. Made even stupider by the fact they mentioned earlier in the movie they wouldn’t do these of things to because they could caught, yet still do it.

Seriously, we’re surrounded by fog, and looking over mountains, and you still wear sunglasses!

Now comes my biggest point of criticism in the writing; it’s inability to represent morality in shades of grey, or black and white. The villain of the film for instance uses his hold over the officers for his own needs. Never at any point in the film is he given a fair shake that would allow him to be sympathetic. This cartoonish villain doesn’t belong in the same story that is attempting to make police officers that took bribe money appear morally grey. A villian who enjoys giving our main characters a difficult time, and takes pleasure in killing some of them muddles it’s execution of being morally ambiguous. You end up with a film with a cartoonish villain who has nothing much going for him besides being evil. However, when one of the police officers takes the stolen money to pay for his brother education it’s meant to be a noble cause. You simply can’t do that because then the villain becomes justified for demanding the police to do his bidding for taking the money he made through (likely) illegal means. This issue could have been easily remedied if the film didn’t attempt to make what the police did with some sense of righteousness.

As for the actual story of the film that’s hard to discuss because nearly all character arcs are never balanced out in its nearly 2 hours runtime. A subplot revolving around an old police officer trying to reconcile with his daughter that doesn’t add much to the movie. It would have helped if the reconciling part wasn’t resolved by a third party after one conversation that basically amounted to “Your dad does care for you, have you considered that”. Another storyline would be an officer finding his brother during a raid doing shady activities. That plot point feels like it just disappears after its brought up. Instead of using this moment to create an interesting dynamic between the brothers it chooses not to do anything with it because it’s not a well written movie. There’s also another officer who worries about getting killed because it’ll mean his family will be left with no money. This officer is hardly ever shown interacting with his family rendering what could have been an emotional drive seem shallow.

When it tries to be thrilling it fails because inevitable sequences are dragged out; like the police releasing a gang leader from custody in order to get the villain killed, and there being a fight that breaks out. Whenever the story acts like whatever it does is a big deal it gets boring over time before realizing you still have over forty minutes left in the movie. Tonally, there’s no balance in it. It’s somewhat comedic in the beginning of the film, and than suddenly turns dark before the first act ends. The writers had a bunch of ideas about what story they wanted to tell, and just called it a day before developing them into something cohesive that would work in anything it attempted to do.

Cool moment brought to you by Andy Lau.

Despite my gripes with the story my actual biggest disappointment from the movie is generally the weak performances from its star-studded cast. Sure, maybe Hong Kong superstar Andy Lau is the only name you recognize, but Tony Leung, Felix Wing, Miu Roi Wai, and Ken Tong aren’t small players either. First of all, Andy Lau performance in the film is weak. Usually he can make the most even out of cardboard characters. Sadly in this movie his usual charm is nowhere to be found, and when it comes to his dramatic chops the poor direction hurts him. For example, there’s a sequence where he sees one of his friend getting killed, and while he’s mourning a song he sang for the movie is inserted into the sequence with on the nose lyrics about how conflicting his character is. It made a dramatic scene unintentionally funny, and it’s doesn’t help either the song used in this sequence is also used to close out the movie further hammering the point in.

There’s the beginning of the movie where most of the cast are acting goofy. Andy Lau during the brief lighthearted moments appears to be having fun. His dramatic acting is the opposite delivery scene after scene like he’s directly reading of from the script without adding his own touch. Becoming robotic in nature when delivery his scenes. Rarely does he deliver a scene in the movie that feels natural because once the lighthearted moments end he always looks pissed off. This could have been remedied if the writing included more moments of Andy Lau character expressing how conflicting he was about the turn of events. While Andy Lau does have the acting chops to play a unrepentant character the direction gives him little on how much to convey in scenes.

Tony Chiu-Wai Leung who plays Tai-Pi fares worse than Andy Lau. Whereas Andy Lau will have moments that displays the strength of his acting abilities. Tony Chiu-Wai isn’t allowed that luxury as he suffers the most from jarring tonal shifts. He overacts the comedic bits of his character so whenever he does any serious scene it’s difficult for him to come off convincingly. Seeing him be overly goofy detracts from his dramatic scenes, and in return almost comes off the worse among the star studded. Also, his goofy clothing dressing up like a teenager with his baseball cap adds to the problem.

Yes that’s a dummy, but in a boring movie this moment is a highlight.

There’s Miu Kiu-Wai who unlike Tony Chiu is simply wooden. His lack of effort to emote eventually makes him disappear into the background, and make you forget the fact he’s in the film. At least Felix Wong Yat-Wah who is constantly just making an angry face for the entire film stands out a bit. Sure, Felix Wong unmoving angry face makes it impossible to care for him, but he puts effort in emoting when it he has too. Tony Chiu is the weakest link in the film in terms of acting.

The only actor who delivers a good performance in the film is easily Ka-Yan Leung as Uncle Tim. Unlike the rest of the cast, his performance is more grounded, and in line with the film’s end goal. He never borders into the realm of silliness like his other co-stars thanks to his committed performance. He never lets up on his serious portrayal being one of the oldest actor in the cast, but when requires he’ll loosen up a little bit in moments that don’t require him to be serious. In these moments, it’s not jarring seeing him having fun, and most importantly refrains himself from being overly silly like his other co-stars. There’s also a surprise appearance by Shing Fui-On who keeps appearing in obscure Hong Kong movies I write about, and here he’s once again casted as a criminal. He’s does fine, but I find his appearance more amusing more than it actually should be. There’s also Philip Chan as a superintendent which is another surprise.

Not a fan of Tony Chiu (guy in red cap) look in this movie. Just comes across as someone trying to recapture their youth.

Ken Tong plays the villain in the movie, and typically over acts in virtually all his sequences. His character is to dislike, but it’s biggest drawback is falling into the annoying category. When Ken Tong starts taking up more screen time as the film progresses so his obnoxious evil laughter. Over acting while constantly laughing is a recipe for annoying. Sure, it makes you want to see Ken Tong gets killed quickly in the movie, but when’s far from subtle in his acting it diminishes the payoff. His over acting further highlights weakness in the writing going out of his way make his character detastable by any means. In a ironic way Ken Tong succeed in bringing to life this over the top villain, but at the cost of being increasingly annoying.

If you’re expecting any thrills from this film you’ll be disappointed. Aside from the fact the script is terrible written, director Eric Tsang doesn’t know how to rack up tension. I’ve already went into lengths about a majority of the actors inability to balance the tone of their material, but Eric Tsang is just as responsible for that. Committing mistakes that an amatuer is more likely to make; like inserting a song from Andy Lau during a death scene, and the right on the nose lyrics (paraphrasing) “I know I’ve done wrong, so let me take the blame” is not how drama should be delivered. While on music, it’s largely forgettable. His biggest strong suit is obviously comedy since he felt the most comfortable helming those scenes, and simply having fun, even if the humor was off. However, the absence of tension is noteworthy, especially if you’re making a mind game between two opposing forces, and the only thing you could think of to raise tension is by having loud music play more frequently throughout the movie. There’s also the lack of action, but since it’s more in line of a crime thriller the lack of them isn’t a criticism. Although, the poor quality of them is. From a shootout that is ruined by slapsticks to the climatic sequence in a mall that relies to heavily on making its villain nearly invincible to make it exciting. It’s a climax not worth sitting through a chore of a film.

The Tigers only appeal is the star studded cast of actors whom headline the movie, but even than only Ka-Yan Leung comes out looking good. It’s just a complete mess in representing it’s morality, handling its characters, and especially building tension for what’s meant to be a thriller. For something that has a star studded something better should have been expected than what was given. Even if you’re not a fan of any of these actors, this film doesn’t come close to being a worthwhile watch by any means.

Rating: 1/10

Cinema-Maniac: City Kids (Ren hai gu hong) (1989) Crime Drama Movie Review

One of the many joys, and misfortunes of seeking out lesser discussed anything is the experience of it. From witnessing a very cool action climax in The Dragon Family (1988) to finding a surprisingly great movie in Return Engagement (1990) make going through the slough of bad films worth the endeavor. City Kids (Ren hai gu hong) from director Michael Mak is one film that sadly is another name on the increasing list of forgotten films not worth digging up.

City Kids attempts to tell a story about delinquency in youth Third Lam/Chor-san (played by Max Mok) as a refugee from China fleeing to Hong Kong, and the tragedy of his life. The film’s story is done no favor by the editing, but before getting to that whole fiasco, in terms of writing the film does too much in to little time. It wants to cover a life, and a significant portion of it just comes across as a cliff notes version of events. For example, Third Lam doesn’t have a good relationship with his cousin, but only in one very brief scene do they ever exchange dialogue showcasing their trouble relationship. Another example would be the lack of a father figure in Third Lam’s life. In the story, the closest person to fitting that bill would be Big Skin Chuen (played by Shing Fui-On), but once Big Skin Chuen purpose in the story is served there’s no time spent reflecting on his influence on Third Lam’s life. Instead, the film immediately moves on to the next important event in Third Lam life. By not providing anything substantial there’s no one to relate to as a character. Third Lam is simply representing delinquency with a rough upbringing on a purely surface level, and just using that background to tell its viewer anyone can turn over a new leaf no matter how far you’ve fallen in life. A well intended message that likely won’t impact its viewers because of how shallow it characters feel.

I must have misremember The Karate Kid.

With Third Lam suffering from a cumbersome collection of undercook ideas this also works against the more stable emotional core of the story. Throughout the film, Third Lam best friend Sas (played by Andy Lau) is shown to have significantly impacted his life in the worse ways possible. However, the film never portrays Sas friendship as one of pure negativity, nor one of an over controlling figure. The writing perfectly balances Sas as being his own individual, and not placing blame solely on him for the course that Third Lam’s life took. Sas is simply an individual struggling through the same ordeals as Third Lam, but tackles delinquency in a different manner. Fulfilling his role as a contrast to Third Lam in its exploration of delinquency.

The purpose Sas serves in the story works well, what deteriorate Sas positive contribution is the melodramatic writing in the heavier scenes involving Sas, and Third Lam. In the middle of the film, Sas, and Third Lam are force to fight each other in prison to settle a gang dispute. Portraying the fight as a tragic moment being the only time these two ever harmed each other in their entire life. However, before this scene the film shows two times how Sas action inadvertently forced Third Lam to be in the situation he’s placed in. Making whatever beating Third Lam gives to Sas to be unintentionally justified. It works against the intention of the sceneas neither character harbor bad will towards each other after the fight. Rendering whatever dramatic weight it was meant to have mute.

In City Kids it’s not just the larger picture that fail to deliver any dramatic weight, but also what should make up the smaller human moments. For example, Third Lam romantic subplot is one that could have been delved deeper into, but after a while is unable to flesh it out further pass the halfway point. For as sloppy as the romantic subplot is handle it’s nowhere near as bad when regards to Third Lam family members, and his issues that surround them. At least with the romantic subplot there were efforts to develop it. Thanks to a large part of Sas acting differently towards women in contrast to Third Lam allowing enough material to come full circle making the sequence where both discuss about their love life work dramatically. Third Lam family issues, much like the rest of the film, is in its own inability to develop good material with its lead by himself. The largest offense is the plot twist revealing who’s Third Lam father is, and it happens fifteen minutes before the movie ends. Not only is the reveal pointless, but nothing poignant can be done with the little remaining time it does have.

Um, who are you again?

The only time the film had any good moments were when it slow down in the final ten minutes of the movie. I would like to discuss the final moments of the film, but they’re significant plot points, and that would spoil the only worthwhile moments in the film as a drama. In particular the final two minutes before the credits started rolling I found effective. Despite the rush nature to explore Third Lam life, finally seeing him think about his actions while possibly choosing to continue his downward spiral in his life I found engaging. There was conflict, there was reflection on it, and it wasn’t rushed which is why I was engaged. There wasn’t any sort of time allotted to other important events within the story that captured my attention, and sadly there’s no fixing them. It was simply rushed with too many undercooked story elements to be an effective crime/drama about delinquency.

When it comes to acting, same with the score by Richard Lo, it’s simply modest. There isn’t any performance in the film that stands out in any negative, or positive manner. The best bit of acting comes at the end of the film when Max Mok displays an eruption of several of pent up rage, and sorrow in the final moments. It’s also the only time I felt music, acting, and cinematography complemented each other wonderfully.

Max Mok as Third Lam is serviceable as a leading man. He’s capable when it comes to the lighthearted scenes with natural charisma, but when it comes to the dramatic scenes he’s struggle to be convincing. Unable determine in part of a scene should he deliver an emotional response. For example, when Max Mok character finally meets his ex-lover in prison to learn about what happens to the baby. What Max Mok was attempting to get across in this brief scene is uncertain. His line delivery doesn’t suggest sadness, and his body language can be misread as confusion, or plain juvenile. Mok other dramatic scenes also suffer similar issues in terms of how Mok chooses to deliver the material, but improvements are visible the longer the film goes on.

My typical reaction when this movie attempted drama.

Max Mok co-star, Andy Lau who plays Sas, fairs a bit better overall, but both really shine with their onscreen chemistry. Given that a majority of the film they spent together both are able to make lackluster material believable. Unlike the screenplay, when both Mok, and Lau are on screen regardless of the scene tone both portrayal comes off as genuine. It’s the elements that surround their scenes that hold them back from.

In a crime/drama film about delinquency it would serve the story well if it completely disregarded the three short choreographed action sequences it has in the final act. The choreography in them are fine, but when the rest film attempts to be realistic without any over the top elements it stylistically conflicts with each other.

Finally, the biggest detriment to City Kids is hands down the editing by Hung Choi. Typically when it comes to movies regardless of quality a majority of the time I don’t even pay attention to the editing. The few times that I do it’s either because of its seamless flow enhancing the viewing experience (like Blade Runner 2049), or when masterful editing is absolutely integral to the film success (like Christopher Nolan’s Dunkirk) does editing in film ever register with me. However, the same doesn’t apply to bad movies as it’s rare that I contribute an entire film problems to the way it was edit. As you know, I then suddenly saw this film which now I can use as a future example on how not to edit a movie.

The most obvious issue in the film editing is there are times in the film where a cut won’t simply just transition to a new scene in progress. On a few occasion Hung Choi (the film’s editor) for who knows what baffling reason would pause the current scene, slide in the new scene paused, and after a couple of seconds resume the new scene. It was jarring to see such an issue not get fixed, and yes, this editing mess up is even on the film’s own DVD release which I own a copy of. Another thing Hung Choi does too frequently is cut away from a scene too quickly. I mentioned a scene earlier with Max Mok, and how he is uncertain to act in a scene where he learns unsettling news about his child. A reason why the scene doesn’t work is because Hung Choi fades into another scene very quickly instead of lingering on Max Mok performance for a bit longer to let the scene properly finish. In return, it makes Max Mok clumsy performance of the scene more noticeable.

Not a good sign if there’s this many prisoners in the showers.

Another is that early on in the film Choi splices in too many significant sequences together making it story’s intention muddle to the viewer. Hung Choi lack of knowing when to begin, and when to end a scene is consistent throughout the film. For example, Choi decides that instead of letting a scene of two best friends force to fight each other just play out without any theatrics he feels cheesy music, slow down footage, and splicing in scenes from earlier in the movie would add dramatic weight to the film. Obviously it didn’t work out how he wanted. Finally, the biggest drawback to his editing is the inconsistency of scenes length in the film. Granted, what film is going to have every scene be the same length, but in City Kids it’s very noticeable seeing minutes be kept on characters picking up girls while only allocating seconds to dramatically significant scenes. Choi simply doesn’t understand in this film when his influence is required.

City Kids fails as a drama with a unclear direction on how to properly explore youth delinquency. A rush pacing prevents Third Lam from feeling like a fleshed out character while side characters in the story don’t offer much to the story beyond their introduction to the story. Another facet to its negative quality is the editing by Hung Choi really bringing it down despite the best efforts of Max Mok, and Andy Lau to bring out the best quality of a lackluster screenplay. As hard as Max Mok, and Andy Lau might try they can’t overcome rush pacing, and bad editing. Michael Mak’s City Kids gives the impression that it should have been more than what it ended up being.

3/10

Cinema-Maniac: The Dragon Family (1988) Chinese Movie Review

In 1986, in China that is, a little film known as A Better Tomorrow by John Woo was released. The influence the film had in its region film industry is an understatement, and often credited as setting the template for the heroic bloodshed genre. Due to its unpredescant success due to having virtually no advertisement at the time marking its influence on several films, and filmmakers at the same time to capture the same gold. Thus, today’s film in question is one of those films that is heavily influenced by A Better Tomorrow. Like many other films at the time, many try to capture the magic of the film that inspired them, but couldn’t duplicate the critical, or financial success. However, in spite of its heavy influence The Dragon Family (1988), unlike other films of a similar nature, is able to stand as a good film outside of A Better Tomorrow’s shadow.

So, this is how the movie got funded.

The Dragon Family follows the leader of a group of 4 triad families on their decision go straight and stop dealing in drugs, 3 of the 4 follow suit, but the 4th decides to continue with their illegal dealings, and frame the son of the boss to climb up the ranks. During my viewing of the film it became very evident that this film’s premise wasn’t going to live up to its full potential as I would have hoped it would. The groundwork is laid here for a gripping, and compelling crime epic with a few action scenes thrown in for a good measure of thrills. However, due to its run time of 90 minutes everything from characters, story, and themes come off as cookie cutter. For example, you get the usual blood brothers (A Better Tomorrow), followed by a betrayal by someone high ranking in the triad (Flaming Brothers), death of a loved one orchestrated by traitor triad (Tragic Hero), and an explosive finale involving the traitor (A Better Tomorrow again). This outline is simple to follow, and its formula is predictable for those familiar with these kind of Hong Kong action films post the release of A Better Tomorrow. 

Same thing applies for the characters as you have the wise old veteran whom everyone looks up to as a father, the young hot headed trouble maker who can’t go straight, the youngest member who has bright future ahead of him coming back into the criminal fold, the loving collected mother, and so forth. Sadly, almost all of the characters don’t have much to them beyond these descriptions. Only a few characters whom survived past the sixty minute mark receive any added characterization, but even then it leaves much to be desired.

Cameraman: “You’re joking right? This ain’t your entire family?”

Fortunately, everything else that is streamlined is in favor of the film, and the viewing experience. Much like the vein of a similar movie I recently reviewed, City War (Yi dan hong chun), it starts out like crime drama at first for around fifty minutes of its runtime. However, the difference is plain as day; the pacing is brisk, and scenes are to the point not prolonging any obvious plot points. Spending the first half entirely setting up events, and characters before its goes in the realm of a action revenge flick. Cookie cutter characters are sympathetic in their cause as well as not reaching higher than it knows it can actually achieve in its length. Something that’s quite baffling since Eddie Chan Shu-Chi, and Yuen are credited for the screenplay, and the story are credited to Lau Kar-wing, Clarence Yip, and Wong Jing making the total of five writers who worked on this. In its modesty, you’ll also find a film that actually tries to add some depth to the topic of vengeance. It doesn’t end up going anywhere meaningful, but the characters history in the field of crime, and some of them attempting to achieve a better life gives it some worth.

The cast listing for the film is ridiculously long, and they include Alan Tam, Andy Lau, Max Mok Siu Chung, Ken Tong Chun Yip, Norman Chu Siu Keung, Michael Miu Kiu Wai, William Ho Ka Kui, Lisa Chiao Chiao, Stanley Fung, Kent Cheng, Ku Feng, Lau Kar Wing, Shing Fui On, Philip Ko Fei, Wayne Archer, Charlie Cho Cha Lei, Kara Hui Ying Hung, Blacky Ko Sau Leung, Nick Masters, O Chun Hung, Pak Man Biu, and Sin Ho Ying. Yeah, that’s quite the cast, and especially attention grabbing for anyone who explores Hong Kong action cinema. In spite of the large cast it’s surprisingly easy to summarize the quality of acting within the film. The older the actor is the better the performances turn out. Granted someone like Shing Fui-On whose villain like appearance lend itself to Fui-On smooth portray a criminal wouldn’t find it difficult to disappear into his small role. Same with O Chun-Hung who portrays a father like figure to the younger generation could easily sell viewer on his portrayal thanks to his appearance as well. However, with the two examples given you wouldn’t be far off in thinking the older cast members make good out of general onenote roles.

Younger actors like Andy Lau, Max Mok/Mok Siu-Chung, and Alan Tam completely take the lead once the film gets over the halfway mark. Before then, these three actors are still in the film, but the film attempts to give equal screen time for other actors to get in their stuff in a good move that, especially if you go in blind, will make you wonder the outcome of characters throughout the film once the action hits. Out of Andy Lau, Max Mok, and Alan Tam the best performance is easily given by Alan Tam. Unlike a majority of his co-stars, he’s given more range to portray a more dynamic character who can at least allow him to come off as responsible, caring, and eventually brave. Andy Lau, and Max Mok portrayals follow largely the same trajectory. However, all three actors can equally share praise in performing their action scenes, along with some of their other cast members. Lau especially whom puts his body through quite the endeavor for the audience amusement. What saves this film from others A Better Tomorrow wannabe is Lau Kar-wing fine direction as never once throughout the film is he, or any of his crew ever confused on what type of film they are making, and when in the story they are making such a film.

The action choreography is handled by Chia-Liang Liu who won an Golden Horse (Taiwan/China equivalent to the Academy Awards) for Jackie Chan’s The Legend of Drunken Master (1994) renowned for its famous final fight sequence. It’s a factoid that will go largely ignored for the average movie viewer, but won’t be ignored is Chia-Liang Lui craftsmanship of action sequences. Lui first action sequence, which doesn’t appear until the second act, ensures to reward the audience, in particular action junkies, patience with a good shoot out. In this sequence, in a small room dozen of people are simply massacre heighten by tension thanks careful craftsmanship of seeing attempt after attempt of people trying to escape, or survive fail one after another. This first set piece does an excellent job displaying how harsh the criminal world can be.

The second action sequence, in vein of the first one, is also centered around survival/escaping from setting where the sequence takes place. Taking place at night, the choreography, and cinematography keeps the action at a distance, but also capturing the helplessness of the situation as the characters you follow struggle to stay alive. Showing in true desperation using household objects around them to fight off goons. Unlike the first action sequence, this one is more reliant on fight choreography, though is one sided for this sequence.

Yep, don’t like criminals at all.

Without a doubt, the standout sequence in this entire movie is easily the finale of the film. Combining gunplay, and several uniquely choreographed fight scenes together all in one sequence. Unlike the previous two sequence, the climatic action sequence is a all, or nothing setup. The gunfight it starts off with isn’t just cover, and shoot, but constantly moving around. Despite the constant movement of the gunfight the cinematography never loses sight of the action, and editing makes it all flow seamlessly. It’s quite an exciting sight seeing a gunfight that while quick has a lot going on in it besides ducking, and shooting. Once the guns are finally scrapped the fight sequences take over, and this time fights are even. Requiring the actors to take some serious painful falls, and throws through some rough objects to demonstrate the rough confrontation. Succeeding in truly ending the film on a high note.

The Dragon Family is the kind of film that makes you wish it was more fleshed out in its writing on all fronts, but in the end turns out to be a fine way to spend 90 minutes on. The few action sequences it offers are the true standout of the film while everything else does enough to not drag down the experience. Those familiar with Hong Kong action cinema post A Better Tomorrow will find familiarity in the material it threads on, but also find an enjoyable action flick. It won’t ever surpass the film that inspired it, but unlike many other imitators, The Dragon Family won’t remain the shadow of its inspiration.

Final Rating: 7/10

Random Factoid

I didn’t know where to place this random factoid, but if you look up posters for The Dragon Family (1988) you’ll notice Andy Lau headlines the movie. No surprise since even now Andy Lau is still a big name. However, what you likely didn’t know is that within the year 1988 Andy Lau headline 10 movies! The reason I didn’t put this random fact into the review itself is because I felt it ruined the flow of the review, and distracted from it.

Cinema-Maniac: Shaolin (2011) Review

I hesitated considering to watch this seeing the Tomatometer of the users rating. After watching this, I knew I was watching one of the most under-rated movie to ever be reviewed by critics and users.

The problem with most of these user reviews is that they excepted ton of action and were disappointed for some reason. It’s like watching Red Cliff and Bodyguards and Assassins, I expected allot of action, but it didn’t make them bad movies. While you may disappointed in the lack of action, like other users, the action sequences it does have are terrific in many ways and won’t disappoint.

Another complain I want to address is that people thought the movie was predictable, when I watched it didn’t feel predictable. I actually thought the characters were well written and the actors fit well into their role. The story on the other hand was superb in my opinion, I just couldn’t believe how this movie blew my mind away. I think most of these negatives came from people who missed the great spiritual dialogue coming from the Buddhists and the spiritual message of the movie.

In my opinion, it’s great movie with a good story line and though lacking in great martial art sequences to some, the action in this won’t disappoint. So, don’t let the score fool you, pick up this movie, and hopefully you have same experience as I did when I watched it.

10/10