Cinema-Manic: Best of the Best (1992)

Best of the Best follows Dee (Jacky Cheung) a member of the SDU, Hong Kong’s version of SWAT, who engages in a personal vendetta when his new girl Heidi (Sammi Cheng) turns out to be the daughter of evil triad Ngan Kwan (Paul Chun). If this synopsis sounds like an interesting movie to you, sorry to say, but it’s a slough of a movie to get through. Before the title card of the movie comes up, it shows Dee enjoying a birthday as a kid with his brother, and father resulting in a tragic incident resulting in the death of his brother. The person responsible for accidentally killing his brother is Little Ball (Ng Man-tat), Dee’s own father, whom hit his own son in the head with a gas cylinder during a scuffle with a criminal. At first, I thought the story was going to take the route of being more of a drama with some action sequences sprinkle in. This sequence while rushed sets it up that way. It doesn’t happen as the film is neither about redemption, forgiveness, and moving forward. Instead, what’s the movie focuses on romance that feels undercooked despite the amount of time dedicated to it. On top of that, opportunities that could have taken more advantage of the premise to the romance eventful isn’t taken.

I could also use drink after watching this movie.

So dumbfounded by this, imagine my surprise less than half an hour into the movie seeing meandering scene, after meandering scene to only realize it’s going to focus on the romance aspect of its story. Confusing since the movie takes a while before even introducing the love interest Heidi, yet feels compel to rush the growth of the relationship. It takes so long before the actual main story props it head in making previous events feel disjointed. Going from a rescue mission inside a mall to a date doesn’t make a good transition between directions. Granted, action logic dictates a damsel in distress might fall in love with the hero after saving her from four gun wielding masked goons, and pulling her out of a car seconds away from exploding. However, action movie logic doesn’t excuse the rushed romance, the lack of direction, tonal inconsistency, and especially boredom. Half the reason for my boredom results in the same the couple simply talking about daddy issues, and the other time talking about running away when both characters grown adults. They don’t have the same restrictions applied to them if they were teenagers meaning they have less obstacles in their way if they both choose to run away together.

A major reason for this feeling like a chore to me was the lack of involvement with the characters. For example, Dee works with SDU, and no point considers putting his father, or any other love ones under some sort protection from  Ngan Kwan once his men attack him more frequently. Pointlessly endangering people around him that shouldn’t be caught up in it just because he’s head over heels for Heidi. Then there’s also Heidi who also doesn’t go to police to ensure her lover safety. Heck, she could have threaten her father to that she would tell the police incriminating details about his dealings just to make sure he backs off. She doesn’t do this either. Aside from not getting help when available, there’s also the lone that Dee’s conflict with Little Ball remains underdeveloped for the whole film. Once the time skip occurs, there’s no expansion on the trouble relationship between Dee, and his father. There’s no step forward for Dee to finally forgive his father, and there’s no progression in forgiving himself for the incident that push his son away from him.

There’s also the untapped potential of exploring years of hatred Dee has against his father action as a abusive police officer. If explored, it would explain why Dee is dedicated as he is to being a good SDU officer. Bringing me to the gift his brother gave to him before he died. While the sentiment is nice to have its main character carry around a memento he cherish from his brother it’s no point used to further expand on anything. There’s a point in the film where Dee’s loses the gift his brother gave him while dealing with his drunk father on the streets. Instead of using as another hurdle that has to be overcome, or Dee finally letting go of the tragic event. What the film does is simply play some sad music, close up on Jacky Cheung being sad, and end. Scratching my head wondering what was the point of establishing Dee’s brother gift as something significant if the story itself doesn’t do any with it.

Jacky! Don’t asleep on duty!

Characterization is fairly handle well. While the romance of Dee, and Heidi suffer because it’s chooses to rush instead of building it is their weakest point. As individual characters their some interesting ideas surrounding them. Sadly, that all they end up being, ideas that could have been. For instance, the film after the timeskip is somewhat lighthearted during it romantic scenes, but the film progresses it slowly get harsher. However, because of the opening sequence the harshness immediately goes into lighthearted, and back into harshness instead of just being a steady flow from one tone to another. Then finally, despite the 90 minute length of Best of the Best half of it simply feels like it meanders around. This could be due to several reasons; it’s nearly half an hour before the main storyline even gets established, information that be given out quickly take longer than needed, and around half of the plot points don’t go anywhere. Even when there was action on screen the feel even made those boring due to a lack of urgency stemming from characters disappearing, and appearing inconsistently in the story. One thing it is consistent at is failing to create anything remotely engaging.

Jacky Cheung plays SDU officer Dee, and his acting is above average. It isn’t good because simply feels like he directly reading from the script instead of being the character. There’s many moments where Jacky Cheung is meant to be saddened by certain events, but puts on a sad face, and calls it a day. However, the limited material him (along with the rest of the cast) is his biggest hurdle. In that sense, he what is required of him adequately enough. However, it is a rather poor showing of his acting abilities when he comes across no differently in his tearjerker scenes as he does in his romance scenes.

Looks like someone else is drinking their troubles away as well.

Sammi Cheng plays Heidi it’s underwhelming. When she’s meant to be cheery she is cheery. When she has to be sad she is sad. In this movie at least, she’s not capable of doing much with her material coming off unconvincing whenever she is required to be serious. Her only decent moments of acting are when the film picks up a lighter tone. However, as soon as that disappears her delivery feels robotic. Paul Chun plays Ngan Kwan, and with the exception of one scene in the climax he’s even worse. Given the direction wanted to do something serious, Chun over acting is out place in the movie. He can’t make a one dimensional character any fun, or hateable since he simply just shouts all his lines, and hoping scary sounding music will help mask some of his stoic line delivery.

The best actor is Ng Man-tat, and that’s simply because he comes off as the most pathetic out of the cast. Man-tat character is constantly depressed whenever he talks to his son, and attempts to be happy when he’s not around. During his dramatic scenes, he pour everything he could into those scenes more than the writing actually did. Convincingly getting across he’s a tortured soul who still wants to be a good father, but doesn’t know the right path. It’s Ng Man-tat who is the one bright spot among the better than average acting. Sadly, that puts everything else beneath him.

One of the film’s few rare moments of not being boring.

Final thing worth even bringing are the action scenes, and they are all poor. Director Herman Yau simply wanted to get them done as quickly as possible. Making what little action is has seem underwhelming because there’s no coordination in it. There’s also a lack of creativity in them; like a chase sequence that requires Jacky Cheung to run away from a dozen armed goons. A majority of the chase sequence simply has him running through alleys, throwing some objects to throw his pursuers off, entering a more confined place to get a lead, and just barely making it into a taxi to getaway. There’s other action sequences like these, but very few have of them have me as bored as Best of the Best. The climax suffers from a lack of proper staging as Jacky Cheung simply goes into a wide open public area, start shooting baddies, and enters a building to confront Paul Chun. This whole climatic sequence doesn’t have much happening in it. The one stunt that occurred in this scene involved a stuntman laying down in a incinerator of sorts for a couple of seconds before the camera cuts. It’s not spectacular in execution, but it’s something eventful that required effort to capture. This is one of those films where even the action won’t keep you awake.

Best of the Best aims to be more than your standard average action, but ends up being worse as a whole because of it. It’s a half baked drama with boring characters, a romance that overtakes the story forgetting it’s intention, and becoming a total mess of a movie by the end it. It’s a movie that doesn’t accomplish anything, nor rewards viewers with much for their investment in it.

Rating: 2/10

Cinema-Maniac: Man Wanted (1995) Review

One factor that can dictates what I choose to watch is sometime having a single actor I like. Simon Yam for instance, is one of my favorite actors whom I first saw acting in Johnnie To films like Exiled (2006), Election (2005), Triad Election (2006), and Vengeance (2009). After those strings of movies, I still started noticing Simon Yam in more films I’ve watched, and everytime he proved reliable in delivering solid, to great performances in all his roles. Seeing him in any film I come across whether it’s him headlining it, or in a supporting role I always take pleasure in seeing Yam on screen. It doesn’t matter the quality of the movie he ends being as he’s typically a bright spot in them. It’s no different here in the average action crime film Man Wanted displaying no matter what film he’s in, Simon Yam makes it a bit better.

Simon Yam, master of the blindfire

Man Wanted follows undercover policeman Lok Man-wah (Simon Yam) setting up a sting for a notorious drug lord, and his friend Luk Chan-fung (Yu Rongguang). There’s more to the story than the synopsis implies as the first arc of the Man Wanted would have been the climax in any other Hong Kong action crime film. What this film ignores is the tedious busywork of other movies like it. Plot points you can find in heroic bloodshed movies showing blood brothers bonding, the undercover officer uncertain where his loyalties lie, and the head criminal betrayal by the one he felt he trusted the most are quickly dealt with. It caught me off guard since in Hong Kong action films of these kind, these plot points are sprinkle throughout the story instead of being quickly dealt with. However, some plot points like the orchestrated death of a love ones are saved down the line, and aren’t as effective as they should be.

Man Wanted biggest issue is the melodramatic romance overtaking everything else in the story. Establishing early on some romantic tension between Lok Man-wah, and Yung (Christy Chung) while also piling on to the fact that Lok Man-wah has a girlfriend. The script doesn’t delve much into Lok Man-wah being conflicted between the women he love, but rather is more conflicting where his loyalties lies. The more interesting aspect of Lok Man-wah character is typically shoved aside so the movie can plow through it material to meet an end goal. Instead of simply having Lok Man-wah tell Yung he can’t pursue a romantic relationship with her. Lok Man-wah just continues seeing Yung, and makes her believe there’s a possibility for a romantic relationship. If this love triangle was use for anything thematic like tackling the hardship of staying committed than yes I can forgive it. However, simply having it here for Lok Man-wah to have a back-up woman is a pretty poor decision. Especially nearly every scene involving Lok Man-wah, and any of his two lovers have dialogue on par with corny romance dramas. There’s also the plot point that Lok Man-wah quickly gets over the death of one of the women he loves, and rebound with the other very quickly. Meaning whatever time was spent with either character was pointless if it got tossed aside as quickly as it did.

Leading into another issue of characters simply acting stupid. Not just the police force whom didn’t bother searching for a body to confirm a drug dealer death, but the lone fact as a officer Lok Man-wah does some stupid things. For example, there’s a scene where Lok Man-wah drives Chan-fung to a school so he can pick up someone, but instead Chang-fung ends up kidnapping a rival drug lord child, and results in a brief gunfight at a middle school. In all his years of experience as an officer, Lok Man-wah decides to drive him to the police station parking lot, and decides not to turn him in to the authority when Luk Chan-fang gives him his word he’ll leave town after settling business. Apparently Lok Man-wah thinks placing his trust in a man he betrayed, whom also kidnapped a kid from a middle school, and started a gunfight with citizens around in a middle school is a guy he can trust to keep his word. There’s also the typical character of the superior officer not getting along with the lead character, although given how stupid some of the people act in this movie the superior officer behavior is reasonable this time around.

“I don’t care if I’m on fire! I’ll kick your ass”

Finally, the one aspect the film does mildly well is characterization. Despite there never being a feeling of raising action, the characters have some meat to them. Motivations come across as reasonable, even if the action they do goes against their characteristics. A good amount of time is focus on Lok Man-wah turmoil of where his loyalties lies, and tackles that part well. Focusing more the relationship he made in both world rather than morality within them. Doing a fine job getting across he doesn’t know what world he belongs in. Another thing the film does well is make you question the outcome of the movie. Adding enough twists to it climax that makes the climax slightly more interesting than the entire movie before it. There’s some good to be found within the messiness of melodrama, and stupid characters.

Simon Yam presence in the film is enjoyable, and delivers a solid a performance. Without strong material, Yam in the movie rarely comes off as the character he’s portraying. However, he is able to make his character not come across as bad as he is. Yam delivers the right amount of emotion in every scene he’s in preventing scenes from being too melodramatic, or over the top no matter how hard the direction, and screenplay want to them to be. He eases through the film no problem as a leading man. Making sure there isn’t a weak scene he’s in, even when no action is abound. For a non martial artist, Yam performances in the few choreographed fight can trick you into thinking he is one. His gunfights here on the other hand will the lack action choreography he’s capable of like in films like in John Woo’s Bullet In the Head (1990).

Roongguang Yu plays villain Lu Chan Feng pretty well. Standing toe to toe to Simon Yam in terms of acting. The only downside to his performance is the closer it reaches the end the more over the top he acts. Going from acting somewhat subdue of his character to eventually becoming absurd. Both Christy Chung, and Eileen Tung whom play Simon Yam love interest, and the supportive character. They do fine in their roles, but only Christy Chung gets much meat in her material. She’s allow to express a wider range of emotion for her character. Another thing that helps is, like Yam, she underplays the more melodramatic dialogue to make it better than it is. Aside from them, there is Cherie Chan Siu-Ha who either is too melodramatic, or over acting. Plus, her sporting an afro out of nowhere for the rest of the movie prevents her from being taken seriously.

Seriously, what is up with that afro

When it comes to the action they are the only thing that somewhat stand out, but not by much. The fight sequences are good, though end as quickly as they start. Given that Simon Yam isn’t a martial artist the lack of them makes sense. In terms of choreography, Yam doesn’t do anything impressive. His fight sequence in the beginning of the movie has him making quick usage of his props to take care of three men. No high flying moves, or elaborate counter moves are to be found in this, and the other fight scene. It’s impressive that Yam looks convincing doing them.

Unfortunately, these short skirmishes are the only time the action tries to be above your standard fare. Gunfights on the other hand are very simple with the cover, and shoot approach to them that tend to make gunfights boring. Benny Chan tries to remedies these by having bullets piercing make sparks fly when in contact with anything, and makes explosive look a lot more deadly than they actually are. One example involves a shootout at a port, and the films villain throw a grenade at some police officers shooting at him. This grenade is point blank next to some officers, and yet when the grenade explodes, the police officer don’t blow up into pieces, nor do they seem harmed by it. Other gunfights aren’t as silly, though the lack of creativity are consistent in them all. Like the one where Simon Yam simply goes to a warehouse, and kills a dozen men simply flailing around the guns he’s dual wielding instead of incorporating anything that would make Yam looks like an expert gunmen. Doesn’t even bother to dodge, or duck while being shot at either. Sure, I’ll buy every bullets miss hitting Simon Yam in this warehouse shootout, but he’s capable of much more. Same with Benny Chan when it comes to filming action sequences. Only thing left to comment on is the music is not effectively used during the romantic scenes giving the vibe of a cheesy romance drama. Music during everything else is fine if unremarkable.

Yep, whoever is in that car is dead. Right?

Man Wanted doesn’t stand out in any special way. If it wasn’t for the fact it starred Simon Yam, and was directed by Benny Chan I would have definitely would have given this a missed. As an actor, Simon Yam has appear in better action films, and the stuff here doesn’t make use of his commitment as a actor. Having Yam perform more simplistic fight scenes, and gunfights than what he usually does. Benny Chan as a director knows how to space action sequences in his story, and understands what makes good pacing. Unfortunately, this film shows even he who occasionally make films better than they should be can’t make up for all it shortcomings. As hard as the whole production tried, it still came out average.

Rating: 5/10

Cinema-Maniac: Will of Iron (1990) Review

Will of Iron is a PSA disguised as a feature length film attempting to tell the audience that drugs are bad, and don’t do them. Sharing the spotlight between four characters it aims to show in the simplest of ways the horrors that drugs can bring to their lives directly, and indirectly. A serious subject matter that should be handle with care none of which will be found here. You have Jacky Cheung playing the complex character of Jacky. A drug addict whose trying to call it quits, but just seems incapable of quitting it cold turkey. Then you have Michael played by Michael Wong. Doing all he can to clumsily play a drug dealer whenever he’s on screen. The material he’s given doesn’t provide much leniency, or clarity how tough, sympathetic, scummy, or funny he should be in a scene. One scene will have Michael being scummy in supplying Jacky the drugs, while seconds will be the concerning best friend. It doesn’t help that Michael Wong himself does a poor job in the role; he’s fine whenever he’s not acting as a drug dealer, but since half of the film has him doing that he lacks the toughness the role demands.

Producer: “What do you say now Jacky? Agree to star in the movie?”

Jacky (the character) is given some background being told that he has tried beating his drug habit, but there’s no usage of that in any sort of theme. From my limited experience, having a drug addict constantly coming back to doing drugs has worked itself into a theme in other movies about drugs. It’s a ongoing cycle that drug addicts have difficulty in breaking, and typically this would be used in either its narrative to reflect that cycle, or have the drug consumption sequences reflect its character enjoyment of it. Here, you get neither of those approach. Breaking the norm by just having it as a plot point, and just bringing it up whenever the plot is at a standstill. Like Jacky job for instance is to draw pictures; however, manga/comic panels (you anime fans will notice the Dragon Ball manga in the background) can be seen in his household multiple times throughout the movie will confuse matter. Simply saying Jacky is a comic artist would have clear things up. However, Jacky claims people buy his pictures whether this means making an entire issue of drawings, or just a singular piece is unclear. It’s not important to the story, but given Jacky addiction revolves around him using cocaine to get inspiration for his artwork just getting the basics right is required.

There’s also the character of Maggie played by Maggie Cheung. Considering how incompetently written the movie is I can’t fault it for naming some of its characters after their actors since it would have forgotten that too. She’s the one good person among the group of friends who managed to make a good life for herself. Going out of her way to help her friends resolve their issues no matter how dangerous it gets. We’re talking about involving drug dealers who regularly appear in the movie violently reminding Jacky he owes them money. Now, Maggie character when not interacting with the drug dealers is a sensible character. This flawless character ain’t got much going for her, but her actions to help her friends never come off as far fetch, or out of the boundary of realism. When she does interact with the drug dealers, well, one-hundred thousand dollar debt increases to around half a million in one conversation, and have to earn that within a week all because Maggie had to open her mouth.

 

Drug Dealer: “Get into the fridge! Revenge is a dish best serve cold!”

Finally, the character of Carol is played by Crystal Kwok. She suffers the most from bad writing being important in the beginning of the movie than turning into a plot point. Kwok character is so poorly written I laughed unironically at the characters discovery that Carol attempted to kill herself. Yep, you can tell by that how much I cared. The only character left to talk about is Sam played by Yiu-Wah Kwok. Sam is just simply evil, and money grubby. Everything he does is done without subtlety to paint the idea all drug dealers are this crazy, and ruthless. In a action movie sure I’ll accept such a character depending on the context, but in a PSA passing itself as a drama such a character is out of place.

The film doesn’t function a film first, and quickly fails because of it. Typically, you would think certain rules, or ideas about writing would be common among people who are paid to write stories for a living. In this film, it thinks it’s a good idea to have the lesson first, and then think about the movie aspect to them. So what you get are scenes, after scenes, and more scenes driving the same point home of drugs are bad. Given the territory, expect the usual giving into temptation, friends being torn apart by the person’s addiction, the addict falling back into their habits until they finally have the strength to overcome it on their own, and other such scenes.

The only scene in the movie that’s worth anything is a scene where Jacky has a nightmare consisting him making some silly expressions. It starts off with Jacky walking into a hallway, finding a small packet of cocaine, and than a bigger package, until eventually finding barrels full of cocaine in the hallway. Jacky gleefully envelopes his face into the cocaine overjoyed by the supply. Once the cocaine disappears, Jacky sees a the drug dealers in the hallway, and they go after him. After tripping, Jacky turns back to see it was all in his head, and then an avalanche of red plastic barrels fall into down a flight of stair, and into the hallway. This nightmare finally ends when Jack witnesses his girlfriend getting killed. This the only entertaining scene in the movie, and all for the wrong reasons.

Now that’s the face of a drug addict.

Finally, the action climax which the film has one for some reason lacks urgency. To give you an idea of the setup, you have a character who swallowed drug pods, a pregnant woman, and two other friends avoiding getting killed by gangsters in a abandoned house. Despite the prospect one character can die unexpectedly of drug pods exploding inside of him, and a pregnant woman possibly having her baby killed still left me bored. As characters, the previous two acts did nothing much in creating compelling characters. Once it got the setup done in the opening credits that was about it for characterization. Everything that was to be heartfelt felt phoned in due the constant PSA of don’t do drugs prevented the story from flourishing naturally. A happy ending wouldn’t actually lessen the significant of the message, but this film thinks otherwise which is why it just ends. After the action climax is done, and the last person is killed the film just finally calls it quits. It ends without lingering the consequences, or ends bittersweetly with a message that not committing to quitting an addiction is just harmful.

Will of Iron is simply a tiresome PSA patronizing the viewer, and does even worse as a drama having no idea how to properly discuss its subject matter. Just about every aspect of the film doesn’t work in its favor from the clueless writing, bad acting, and hammering the same points over, and over again to the point the viewer might actually take up drugs just to feel like their time wasn’t completely wasted. It’s just a dreadful movie to sit through, and by the end of it I felt my life sucked out of me during my viewing experience. I was done with the movie before hitting the halfway mark, and maybe taking some cocaine, unlike watching this movie, will actually provide some level of engagement.

Rating: 1/10

Cinema-Maniac: Extraordinary Mission (2017) Action Crime Movie Review

Extraordinary Mission follows undercover police officer Lin Kain (played by Xuan Huang) who attempts to take down a drug trafficking syndicate from the inside. The first half of Extraordinary Mission is standard undercover cop happenings; main character is in too deep in his current assignment, deal goes wrong escalating the undercover job, rising up the ranking earning the big boss trust, collusion in the police force, and other familiar territory. It’s these familiar traits while well executed thanks to pacing do make the viewer wonder for an hour if it’ll lead anywhere rewarding. Another drawback is the main character Lin Kain isn’t as compelling compare to the supporting characters. Lin Kain is simply the hero of the film with the position of an outsider put into a situation with characters whom all have a history with each other. Supporting characters are fleshed out, have clear motivations, and a rounded arc that is completed by the end of the film. These developments come in slowly, though do pay up in favor of the narrative. For example, the film’s main villain, Eagle (played by Yihong Duan), is surprisingly given more depth to him than initially introduced. Not only that, but his backstory makes him somewhat sympathetic in the story. Somewhat because you know he’s still in the drug selling business.

Lin Kain, as implied earlier, is the protagonist who has the least going for him out of the major characters. His backstory, and reason for becoming a cop is looked into, but not a whole lot to make him a fleshed out character. One flashback with just one tragic event doesn’t do enough to convey Lin Kain much as a character. He simply comes across as a nearly flawless hero with a strong sense of duty. An attempt to give him a flaw is made by making him addicted to drugs. However, it’s a plot thread is simply mentioned in passing in dialogue after a certain point. Seeing Lin attempting to overcome drug addiction is something that helps the viewer bridge a stronger connection with him, but it’s simply making something come across more significant than it actually is in practice.

Still from a good scene introducing to the film’s villain in the movie.

Regardless how good the film turned out in the end both fans of crime films, and action cinema will find the flick overall polarizing in its narrative. An action junkie will find it to have too little action spread out through the film with a lead whose underdeveloped, and crime film fans would find it familiarity meandering to sit through. What the script writing does accomplish with ease is blending action cinema, and crime drama into a singular vision. The sillier aspect of the action side of Extraordinary Mission, like a seemingly unkillable villain who can take multiple gunshots does not contrast strongly against the crime drama vision. Expertly using crime drama familiarity to as an excuse to eventually provide good characterization, and using action cinema setups to provided the entertaining set pieces. In tangent of that, it operates on action cinema logic hence no mention of the passage of time in the film, and the resiliency of the heroes bodies despite what they endure during the climax. While also using the crime drama aspects of it writing to keep the story moving forward at a good pace. In spite of its major writing issues, Extraordinary Mission is clearly written by a person who knows how to work well in different genres, and know how to best combine them to their strength.

Xuan Huang takes on the leading role of Lin Kain delivering a very good performance despite some of his characters limitation. Huang excels in humanizing Lin Kain more than the script does playing off the cool, and collected side of Kain with ease. Another positive is Huang has a plenty of range as an actor so not only is he convincing while performing his action sequences, but is versatile in portraying Lin Kain more vulnerable side convincingly. Huang does such a good job as a leading man it makes it that much easier accept the same character you see struggling not to take drug is also the same character easily killing dozen of henchman in the climax.

The standout performance of the film is Yihong Duan as the film’s villain Eagle. Much like Xuan Huang, Duan delivers a good performance making a great flick duo on screen. He’s on par with Huang in the acting department; however, is able to crafts a carefully balanced character. Never going into the melodramatic Duan provides the sympathy his character demands. His mannerism differs greatly from the rest of his co-star typically speaking in a calmly, collected gesture regardless of context. Another appreciated aspect of Duan performance is never entering into the over the top. Much like Huang who would have been for to solely play a tough hero, Duan also doesn’t take it easy solely coming across as evil in his portrayal.

Only other noteworthy supporting actor is Jiadong Xing who plays Li Jianguo who does a good job who brings thing around in terms of creating a good actor trio. Jiadong holds his own fine with the two leads sharing convincing chemistry with them. While the silent Yueting Lang gets a thankless role. She remains silent for virtually the entire film, and her character ends up going nowhere. Lastly, the actor Ding Yongdai whom plays Zhang Haitao is the only other noteworthy character. His role is small, but well acted. Though, not enough to believe he can shot a gun flawlessly for being imprisoned as long as he has.

The climax just make Xaun Huang look like a badass.

Action choreography is handled by Chung Chi Li whom over the top nature in action is kept in line thanks to director Alan Mak. The action in this film, for the most part, aims for realism while the physical feats of its performers have no limitations. Creativity is very high in the two action sequences in the beginning of the movie. Starting up with a single man drug bust before going into a car chase. There’s also a brief gunfight involving Xuan Huang meant to display his proficiency with a gun compare to the criminals. After this shootout, it pretty remain inactive on the action front until you get a flashback of a particular event in the story.

Finally, the film biggest selling point to casual viewers is the action climax which makes up around the last 25 minutes of the film. In this climatic actions sequence proficiency is made very clear between the heroes, and the villains. Despite their enemies larger numbers, our heroes use less bullets firing their weapons, and using cover constantly to avoid getting shot. The professionalism is obvious as the criminals are constantly moving around making up for their lack of skills for fire power. It’s a strange thing to compliment since many action movies do the same of proficient heroes vs sloppy evil henchman, but it’s rarely taken into account when it comes to choreography as much as it is here.

The climax is constantly moving from one area to another not just on foot, but eventually on vehicle which offer some cool moments. Either be it a cool shot of Xuan Huang on a motorcycle with a explosion behind him, Xuan Huang on top of a vehicle dodging bullets while taking out some henchman, or one cool looking car crash. It doesn’t try to constantly up the antics during climax, but slowly escalate into cooler, and cooler moments making the final impression the film have you be a positive one. Only drawback is notable usage of CGI, but they are rare in their usage in this sequence. Lastly, Alan Mak direction is fantastic in the movie blending two genre together for a visually coherent film through, and through. There’s only one jarring moment in the film that happens in the film which involves drawings coming to life into, but aside from that one moment Mak direction work fine.

Extraordinary Mission tackles very familiar territory for half of it run, but eventually is able to turn it around to make it a far more interesting character driven story, and displaying some exciting action in a very lengthy climax to end things on a high note. Genre fans of both crime, and action cinema will find individual aspects polarizing. However, anyone who likes both genre equally will witness a film that does a fine job of combining the two.

8/10

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: City War (Yi dan hong chun) (1988) Chinese Heroic Bloodshed Movie Review

City War (Yi dan hong chun) follows two buddy cops; the calm, and collected Dick Lee (played by Chow Yun-Fat), and the hot-headed Ken Chow (played by Ti Lung) in their everyday life when drug lord Ted Yiu (played by Norman Chu) is released from prison seeking vengeance. Despite the classification on numerous film sites calling City War (Yi dan hong chun in Chinese) an action film it doesn’t offer much in terms of action. It’s two-third crime drama sprinkled with comedy with the final act switching gear to an action driven resolution. To a certain degree, anyone familiar with Korean action cinema will feel familiar this type of structure for an action film. However, in this is an instance where the film stumbles in being a drama having no pay off for your patience. It knows what it wants to be, and what it needs to do to pull off its own story, but not how to get there. Having a jarring jump between Dick Lee more comedic centric scenes to contrast Ken Chow more dramatic scenes. There’s nothing like the smooth transition of seeing Chow Yun Fat going on a date to smoothly transition into Ti Lung arresting a criminal with grim music playing. Unfortunately, for the film the dramatic scenes usually incorporate one detrimental flaw each differently preventing these scenes from having the full effects they should.

The officer is just as confused as I am with Ti Lung clothing.

For example, half of the motivation for Ted Yiu (the film’s villain) vengeance is that his balls were shot off. I would like to be joking, but since the film is subtitled there’s no mistaking what I (and other viewers) have read. The serious delivery of this revelation comes off as unintentionally silly since balls being shot off is held to the same significance as someone important in Ted Yiu’s life getting killed. This plot point could have been taken seriously if there was more added to it. Only once does the film do anything with this plot point, and it ain’t much. Ted Yiu, while having sex, with his girlfriend suddenly reminds him of that incident, and that’s it. Something like Ted Yiu possibly wanting kids in the future would have made this silly motivation easier to embraced. This whole “shot off my balls” motive undercuts the other half of Ted Yiu motive for vengeance which is enough to maintain the serious tone of the story. You can also probably make an accurate guess on what Ted Yiu other motivation is if you’re familiar with Hong Kong action flicks when it comes to cops vs. crooks.

A major hindrance in the film is the lack restraint on the film’s listed three writers. Portions of City War will have scenes that feel like they go on far longer than they actually should. For example, a scene where Dick Lee goes on a blind date, and shows him joyously interact with his blind date. The intention of the awkwardly comedic scene is clear, but lingers what feels like minutes of Dick Lee interacting with a character who doesn’t make another appearance in the film. For a while, it forgets it’s mostly a crime drama becoming a romantic comedy in the second act before returning to crime drama without ease. Given the film had three writers it certainly comes across that the film didn’t have a unifying vision, nor cohesion in combining several ideas together.

Hm, I wonder if these are the bad guys?

There’s also the in your face subtlety of some its dialogue that attempt to provide some sort of commentary about law enforcement. There are three instances where the film characters would simply say something along the line of (paraphrasing) “More regulations are making it harder for good police officers to capture criminals”. Now imagine that, but put even more bluntly because the film will sprinkle these odd dialogue at random moments. When this happens, the film comes to a complete halt just to make sure you, the audience, like this sentence, get the point of what is being said to you. It would have been less damaging if the film actually bothered showing the consequences of going against these regulations instead of just ending abruptly like it did. Another reason this commentary does not work is everything within the story goes of it way to justify going against these regulations. Without a balance depiction the commentary comes off tacked on. Yes, it also contains a strictly follow the rules, promotion seeking lieutenant as a bonus whose only purpose is shove the film’s point about laws preventing cops from capturing criminals.

City War final act is where the action finally comes into place, but lacking the emotional resonant intended. A major reason for this is Ken Chow is hardly shown doing anything else besides police work. Ken Chow is meant to serve as the film emotional center given the events that transpired; however, Ken Chow is hardly shown interacting with anyone else besides Dick Lee when it’s not job related so the importance of anyone else in his life does not come into fruition. Ken Chow lost is meant to be sad just because it’s meant to be sad. Ringing a hollow feeling when he decides to take justice into his own hands. Another issue is regarding his attitude towards anyone giving him any kind of opposition. Certainly doesn’t help him, along with everyone else, naturally act impulsively stupid in order to force itself to tell the story it wants.

A rare still of unscripted laughter of both Chow Yun-Fat (left), and Ti Lung (right) when reading about the film’s commentary on police regulations.

The ending is something that just happens abruptly. Granted the main conflict is resolved, but it makes the instances of characters bluntly talking about how difficult it is for police officers to do their job seem pointless. Another downside to the abrupt ending is the absence of weight. Due to the final act being action driven from scenes of tragic loss; character reflection would have been acceptable to linger on are glossed over. Making two acts worth of character building go to an immediate waste in favor of showing people getting blasted with bullets.

Chow Yun-Fat, and Ti Lung performances are easily the best part of an otherwise misguided film. These two actors, whom worked together in John Woo’s A Better Tomorrow (1986) basically play the reversal of their characters from that film. Yun-Fat plays the calm, and collected Dick Lee while Ti Lung plays the hot headed Ken Chow. Ti Lung is given the heavy lifting duty of carrying the film drama almost entirely himself. Being able to make a character that lacks depth sympathetic through his performance. He never over states, or over deliver in any of his scenes. Chow Yun Fat is varied in his performance, but is given some bad comedy to work with. He’s able to make some of the jokes passable while at other times you just want him to shut up. Despite the stupidity of Chow Yun Fat, and Ti Lung characters both actors are able to prevent them from becoming hateable. When on screen together both Chow Yun Fat, and Ti Lung raises the quality of the film, even if it is briefly.

Coming soon…no wait this man has no balls.

 

Norman Chau whom plays the villain Ted Yiu plays his part with a straight face. Only once in the film is he allowed to humanize his character, and it’s when he’s outside of prison for the first time in ten years. After that point, he’s just straight evil leaving his performance on auto pilot. His mannerisms, facial expression, and dialogue delivery remains the same throughout its entire runtime.

In terms of action for what little there is the choreography is fine. The first action sequence at Ti Lung character’s house has a goon tearing up Lung’s house with a barrage of bullets before it eventually becomes a somewhat grounded fight scene. Hand to hand combat is mostly one sided with Lung character barely being able to hold his own. There’s no complex fighting of any kind done in this scuffle as the most elaborate it gets is Ti Lung kicking the villain goon, and while he’s falling the goon shoots some glass. Despite the small apartment the stunt work is commendable as the two actors bodies aren’t afraid to get tossed around. As typical of 80s, and 90s action flicks glass anything is not spared from destruction.

Can’t blame these two for not liking the turns of events.

Finally, the climax where the remainder of the violence finally unfolds is somewhat interesting. Chow Yun Fat goes to interrupt a deal at a bus terminal starting off with Chow Yun Fat being a one man army against an entire gang. In fashion of other movies of this era, Chow Yun Fat can run into a barrage of bullets without getting hit, nearly always hitting the goons trying to kill him, and just barely dodging bullets when the action choreography is going into a new part of its staging. Unlike in nearly all of John Woo films, when Chow Yun Fat actually gets shot in this film working it way into the action choreography without adding much to it. Instead of intensifying the climax seeing Chow Yun Fat in a wounded state fight for his life. Chow Yun Fat just limps for a couple of seconds, and that’s all. Same thing also applies to actor Ti Lung who in spite of receiving a direct hit with an axe to his body moments later is able to swing that same axe with ease to kill a person seconds later. A couple of more seconds later, does a some very brief fighting making the axe wound pointless. When it comes to the final confrontation it feels empty overall due to the lack of rising action. Also, the lack of applying injury to the action choreography certainly adds to that problem too. Finally, the score of the movie works just fine when it’s needed. Nothing that’ll stick with you (especially for me) once the film has ended.

City War (1988) is unable to fashion a compelling crime drama for two-thirds of its total time to columinate into an explosion of bullets filled emotions in its final act like intended. The pacing is an hindrance either lingering on scenes longer than it should have, or rushing moments that should have been significant. The action sequences that are packed at the end of the film start off well before making whatever action it does have feel hollow no matter how much the film wants to emphasize the emotion that you should be feeling. It’s a sloppily made film that had the potential to draw in crime film, and action fans. Instead, it’s a film that is unable to function cohesively enough for either type of viewer to like.

Rating: 4/10

Post Review Note:

Also, if you do plan on seeing City War regardless of my negative review I strongly recommend you avoid looking up any trailers since it spoils the biggest turning point in the film, and sets up unrealistic expectation it’s going to be an action heavy film instead of the drama it is for the majority of its run.

Cinema-Maniac: Once Upon a Time in Shanghai (2014)

Expectations of Martial Art films have changed significantly over the decades. The days of getting cheesy English dubs for live action Martial Art movies are gone now with most home video releases of offering people to see them in their original language. Even when the films do receives English dub they are not as silly as what was release in the 70s. Another thing that also changed over time was the fight choreography implementing the environment as part in the fight during the 70s, and then pushing martial artists body limits during the 80s. An era which created plentiful of Martial Art classic films giving rise to legends Jackie Chan, Yuen Biao, and Sammo Hung Kam-Bo. Then came the 90s where some Chinese talent went oversea to find success in Hollywood. While the quantity of great martial films wasn’t as high as in the 80s the quality of them improved with some offering more complex plot lines. However, while there is more to the history of the subgenre than my broad generalization there’s no mistaking during the 2000s that China dominance over the Martial Arts subgenre dwindle as legendary talents were aging, and therefore not perform like they use too. Once Upon A Time In Shanghai wants to be a one of those classics from the subgenre heydays in a time where characters were kept simple, and emphasis on fight choreography was the norm. While it is an homage to those kind of films martial art films of the past. Once Upon A Time In Shanghai doesn’t ignite the same kind of feelings of those earlier films it loves.

Once Upon A Time In Shanghai tells the story of a laborer who moves to Shanghai in the hope of becoming rich. From that synopsis, if you’re familiar with crime films that contain an immigrant as the protagonist there’s no need tell readers what to expect. While it is a classic story to tell in the crime genre of immigrant hoping to make it big in foreign land it’s also been told countless of times. It’s telegraphed from the overly strong, naive country-bumpkin protagonist Ma Yongzhen (Philip Ng), the young ambitious new criminal on the block Long Qi (Andy On), the father whose disapprove of the criminal lifestyle Master Tie (Sammo Hung Kam-Bo), the young woman who eventually falls in love for the naive protagonist Tie Mei (Luxia Jiang), and a few singular purpose background characters. Making these characters arcs more predictable is adding martial arts replacing gun wielding gangsters for fists, and axes. Instead of touching on the subject of family there are few discussions about honor, and fighting. Retaining the classic story of beat of crime families uniting to eliminate a great threat that could overthrow them in power. So forth is the nature of the film to ooze old fashion cinema on everything. What this ends up creating is a typical story that aims to pay homage without changing anything. If you’re not familiar with these kind of stories the undercooked plot beats won’t make it engaging. Containing the moments you would expect from hero Ma Yongzhen becoming good friends with Long Qi after a fight, the two new friends talking about dreams on a bridge at night looking at the stars, and Ma Yongzhen given the option to run away when things become chaotic. The scenes are in place for creating good material, but the rush nature of a script that had too many ideas don’t allow time to develop them to their fullest effect.

The silent fart. Philip Ng deadliest technique.

The first signs of trouble in the script appears before the title card does. There’s text that (paraphrasing) says that Shanghai is a city of dreams for the people of China, and hard work can get you the life you want, but the thousand of youths coming into Shanghai are tempted to take the easy way out to by becoming gangsters. This text is delivered while dramatic music plays in the background, the film grayish color filter to show some harshness in the situation, and showing the viewers a crowded deck filled with immigrants with their head held down. This sets up the idea it’ll be touching on the realistic issues dealt with achieving the “American Dream” (well, in this case the “Shanghai Dream”) with martial arts as a bonus. Then it shows a grown man taking away a Potato from a starving girl which naturally makes one wonder how the immediate harsh tone will be followed up with. PUNCH! Out of nowhere a single punch is all it take to conflict with the tone established leading into a heavily edited fight scene. A fight scene where our main character kicks two baddies several feet from the ground is an odd contrast after seeing a deck of depressing looking immigrants. Now there was a better way to transition into the fight scene. Some simple dialogue of the grown man rudely stating he’s still hungry with our hero telling him to give it back to the little girl. When the grown man says no giving the signal to his buddy to prepare for a fight would have allowed the filmmakers to keep the fight scene, and transition into fight scene more smoothly. However, this opening never bothers bringing up why the grown man stole the Potato simply assuming the viewer will make assumption this immigrant is bad for stealing food from a little girl. Though, without context given in the scenario it could easily be interpreted as a grown man getting back food stolen from him.

I’m guessing Andy On paycheck is the reason the film has a grayish color filter.

The rest of the film follows a similar pattern of issues. There’s a scene early in the film where our hero helps an old man who stole opium from a gang, but the old man the protagonist helps goes nowhere. Then, there’s the romance aspect of the film which is underdeveloped. Our protagonist spends more time with his boss than he does his love interest. Also, there’s a subplot of our hero meeting up with his brother which disappears as it goes on. If a plot point is not underdeveloped it’s either forgotten about. The only aspect of the writing that works to any degree is Ma Yongzhen bracelet. His bracelet was given to him by his mother, and was given words of wisdom that would remind of Ma Yongzhen not to kill. It’s a simple motive where the outcome of the bracelet is telegraphed, but it was executed just fine. It’s just a shame there’s not much depth in it usage. A simple solution to the writing would have been to make the story longer, though given it wanted to be an homage script writer Jing Wong probably felt being derivative was the best bet. To his credit, the movie does progress naturally, and knows the classical story beats of old fashioned cinema to mirror classic martial art films from the era. However, by simply placing those classical story beats into the film his lack of understanding shows when he has no idea what made them work in the first place. While the film is superficially reminiscent of some classic martial art films with similar stories like Bruce Lee’s The Big Boss (1971), and Shaw Brother’s Boxer from Shantung (1972) it doesn’t build on its inspiration. It just ends up being typical in how it unfolds, and average as an homage that doesn’t illustrate what made its source of inspiration classic films in the sub genre.

Philip Ng seen here channeling his inner Bruce Lee.

Philip Ng takes center stage portraying Ma Yongzhen in a role that is more demanding of his looks than his acting skills. Appearances wise, Philip Ng nails the expressions of a country bumpkin in his naivete optimism. Switching between badass martial artist, and your average joe seamlessly. Another aspect of his look that works to his advantage is fitting the bill of coming across the average joe. Sporting a look that is reminiscent of Bruce Lee from The Big Boss, and Jackie Chan from Battle Creek Brawl. When he performs in the fight scenes he’s convincing, though not impressive for his lack of speed in performing the fights. What Ng doesn’t share among the likes of Bruce Lee, and Jackie Chan are the charisma of those actors. Try as he might, but Ng simply comes across as trying to hard to look cool, especially in the end of the film. In terms of line delivery he’s okay. He doesn’t have the timing to be funny, nor the lack of understanding to ruin a joke. Ng doesn’t come across as someone threatening when he fights, but is alright in the moments he’s not need in combat. For the role Ng is in it’s adequate, even if lacking star power.

Next up is Andy On who plays Long Qi. His performance is also adequate. On doesn’t demonstrate very difficult emotions as scenes don’t linger much on complex emotions. However, he has style, and doesn’t phone in his acting. Much like Ng, Andy On fighting is convincing in the few times he fights. He also has good chemistry with Philip Ng making what scenes they share together the film best offering in terms of acting. It’s where the best moments come from as the two really sell their friendship, even if the writing is not up to par. Both actress Michelle Hu, and Luxia Jiang don’t get much to do in the film beside looking pretty. They’re both the love interests to perspective characters caring for their lover, and showing concerns. Not much to discuss. There’s also no well known legends in the west martial art film stars Kuan Tai Chen, and Hark-On Fung whom presence in the film are not noticeable unless you know your martial art films. Now if you’re exciting to see well known martial art legend Sammo Hung Kam-Bo, who gets top billing, he is barely in the film. Hung Kam-Bo doesn’t get to show much of his acting, and fighting prowess’s in the film as he fights only briefly in one scene. Unless you’re a fan of martial art films the lack of screen presence from Tai Chen, Hark-On, and Sammo Hung Kam-Bo will seem insignificant, but for those who do know them will make their inclusion in film lackluster of wasted talent.

I used to be a magnificent butcher, but now I just cook food. 

The fight choreography is done by Yuen Woo-Ping whom name would be selling a point to fans of martial art films. Unfortunately in this instance a master of fight choreography isn’t at his best. A reason for this being with the exception for two, all the fight scenes are one sighted leaving no opportunity for counter moves, or complex maneuver to perform for the actors. Another aspects of the fights that take away from the fight choreography is them being overly edited. All the fight scenes have tempered speed which tends to ruin the flow of a fight scene when switching between fast, slow, and back to regular motion frequently. Applied with quick editing that changes up shots the editing doesn’t play to the fight scenes strength. If the speed of the fights weren’t tampered with Philip Ng (who performs in most of them) isn’t a quick a performer. Usage of wires are noticeable in some instances as one might take notice that defying physics, and taking yourself seriously don’t go hand in hand.

Noticed I didn’t put any stills of fighting. Here’s one.

There’s a fight in the film that is done in one take which sounds impressive until I tell you the post production work that ruined it. The one take fight scene is sped up while typical for the film is more noticeable in this sequence. If performed well, and on time than the sequence wouldn’t need alteration. Then, there’s not framing half of the sequence correctly as there is moment where it does not show Philip Ng fighting against actors. The camera gets to close barely capturing some of Philip Ng blows as it continuously spins around until the fight scene ends. Before the fight scene occurs there are only three people visible ready to fight, but as soon as Philip Ng attacks, and the camera spins around more actors are suddenly in frame. This also creates a continuity error, though that isn’t anything unexpected for action scenes. Everything else in the film is adequate. For a film paying homage you’ll get the shots you expect, and the same applies to the music. Not much to be surprised by as director Ching Po Wong made generally safe choices. His only truly questionable is making the entire film gray instead of black & white. In few scenes there’s some semblance of color so it’s jarring why Po Wong simply didn’t choose to filter the film in black & white.

Once Upon A Time In Shanghai is wholly average as a movie, an average showcase of martial arts, and average anything you could think off. It takes the classic ideas associated with the “American Dream” in a crime a story along with the classic imagery one would expect from this kind of story. All without throwing its own flare to familiar ideas. As an homage it doesn’t disrespect old fashion cinema, but at the same time does nothing to represent the best elements of old fashioned cinema. Having too much on its plate, and not enough time to make all the ideas it has be put to good use. If you only want to see it for the action the fight scenes are edited heavily with motion of speed being played with in all of them, and virtually every fight being one sided in the favor of what the story demands. Choreography wise it’s okay with a few making little use of what’s in the environment, but the actors performing them aren’t as skillful as the stars they pay homage to. This movie doesn’t falter seriously, but neither excel in anything at the same time either.

5/10

Cinema-Maniac: Special ID (2014)

Much in the same reign as Jackie Chan, Chow Yun-Fat and Jet Li, Donnie Yen action roles are arguably his most popular. Although when compare to the previous three most of Yen earlier starring efforts don’t pack the same punch. Yen’s latest sadly falls in that category whenever having to endure a muddle story before getting to the goods.

Special ID is about a cop and his team of comrades going undercover in one of China’s most ruthless underworld organizations to stop a gang leader. The premise and narrative beats are standard action film affairs without a change in formula; you have the undercover cop who’s been on the inside for too long, undercover cop running the risk of criminals discovering his identity, protagonist not getting along with his partners, the superior officers who uses protagonist life for his own means, and by the end protagonist attempting to fulfill a personal vendetta. For a film that hardly strays away from familiar territory making sense of it all is more difficult than needed to be. Its plot is easy to understand, but distorted plot points never connected with one another in a seamless flow. A love interest for example is hardly touched upon even though scenes are entirely dedicated to hinting at it. Nothing ever becomes at the hinted romance providing moments of character development with the interaction contributing little. Another noticeable issue comes in the directionless writing. Tones drastically change on the spot from becoming a gritty action film to feeling like a rom-com at a moments notice. Characters like the plot itself are easy to understand, but the muddle story makes it needlessly difficult decipher. You’ll have an understanding of the relationships, the characters, motivations, but even with a clear understanding muddle storytelling prevents any worthwhile investment to be made. This film never manages to find its own identity at the end coming off as a collection of several scripts each being drastically different each in their own muddle way.

Donnie Yen is comical and naughty rascal-like acting in the film is passable, but for the emotional side of his character he doesn’t cut it. A weak script is blame as Yen does his best with heartless dramatic scenes. When it comes to Yen fight choreography it appears brutal, but doesn’t get across that feel of brutality. Every fight is restricted to being in a close a quarter and even when the action is taken outside of a building it plays strictly by the rules. Yen is the only actor who uses MMA techniques while the rest of his cast are kickboxers. This eliminates the tensity in fight scenes as Yen opponents have no idea how to counter his MMA and Brazilian Jiu Jitsu techniques. Even in the first few minutes of the film even though Donnie Yen literally fights crawling around the floor his opponent does not know how to counter Yen moves. The only time it mixes fighting techniques is during Yen fight with Andy On. Andy On using primarily Muay Thai and variation of several others fighting styles offered more elaborate choreography. Only when On fights against Donnie Yen do the fight scenes deliver on its brutality. Action scenes don’t have the wow factor though they are well staged that provide the film the much needed energy. As for Andy On acting it’s solid selling the idea he could go toe to toe with Donnie Yen. Jing Tian provides a pretty face and impresses with her agility and flexibility. Tian might be small, but her move set makes her believable and the film climactic action scene sells her in the action role. Her acting is good genuinely the often corny and cheesy dialogue sound as good as it can.

Special ID delivers solid performances and solid action scenes, but in order to get to see those you have to endure the deadweight of a muddle and standard story. It plays by the rules in terms of narrative and action unable to find an identity of its own.

5/10

Cinema-Maniac: Aftershocks (Tangshan dadizhen) (2010)

Disaster movies tends to treat a natural disaster as the centerpiece or spectacle of the film. Forgetting to spend time exploring the human side of such an event and the profound effect it can have on a person’s life. Tangshan dadizhen (Aftershock in English) is unlike many in its league distinguishing itself by having a human core in the center of it all. I’ll even dare call it the greatest natural disaster film ever made.

Tangshan dadizhen (Aftershock) tells the story of a family separated as a result of the Great Tangshan Earthquake of 1976. Upon the first the act we get the basic setup; a loving family bond, a day in a pre-natural disaster state, and establishing the state of mind an entire nation’s people. Essential character development flourishes within the first act of the film presenting a loving average family. These moments of character development early in the film are important as the natural disaster occurs earlier than one’s might expect. Narrative wise this choice could have damaged the film having the disaster occur within the first act, but in this film the Earthquake nor the mayhem it causes the focus. Instead the natural disaster is a defining incident in our character live through that forever change them. It’ll pull heartstrings seeing a mother desperately looking for her children in the shambles of what remains for her city with citizens frantically acting to help. What occurs to the mother is difficult to watch in an emotionally devastating scene. For the purpose of that scene and anyone interested in seeing the film I won’t give the specifics of what occurs away possibly lessening its impact.

Once the Earthquake hits the majority of the film is a centerpiece on the impact the Earthquake had on the characters. We see them grow up attempting to forget the horrific past. Bringing up at one point by a survivor while mourning the lost it might have been better to die than live with it scars. The character lives expresses the aftermath has on the victims and attempting to live a regular life. It’s relatable regardless of your position in experiencing a natural disaster. Certainly not everyone will experience what it is liked living through an Earthquake, but everyone at one point will be come to face a trouble romance, leaving your parents living in the world on your own, being stuck in memories living on a glorious past during a unpleasant present, starting a family, and many more reflectable themes. Putting into to perspectives that forces far from our control has to complexities to it than a simple statistic and our best wishes. It’s a fully realized story that fleshes out human natures with it characters from tragedies and the uplifting nature of family.

All the performances are fully realized with it cast of actors casting a smile and tear on your face. Xu Fan leads the film with her performance as a depress mother. Fan character carries her scars the longest delivery a performance that’s not too overly emotional to detract from realism. She comes as someone cold and damaged never to point where we see her as a machine. Weaving a character whose humanity is still in tact, but baring years of scar both physically and how she verbally deliver her line. Zhang Jingchu strength is the ability to make a character performance so believable yet human. Chen Li is all class and humane as the caring fostering father of Guoqiang Zhang. His portrayal of the fatherly role is fitting and steals the show with his glaring eyes. His moments of anger are a joy to watch, along with his interaction with his wife and daughter.

Tangshan dadizhen (Aftershock) is tragically powerful as it emotionally moving. an expression of life and the difficult struggles that come with it. By the end of the film you will be given a better perspectives on such disastrous incidents. Life changes people sometime with forces out of our control, but never are common struggles and people are far from our understanding.

Rating: 10/10