A gloriously trashy slice of gritty kung fu action
A gloriously trashy slice of gritty kung fu action, Slaughter in San Francisco is a sensational title that offers a pared-down promise of disreputable thrills, pure grindhouse poetry. Having originally been conceived as another vehicle for Bruce Lee, before his falling out with director Lo Wei and jumping ship to make Way of the Dragon, the undoubtedly sloppy production carries with it a certain appeal that's raw and unpolished, its pace is constant and unrelenting, even if certain events just feel like an excuse to get to the next bout of fancy fisticuffs, but it all comes across as a piece of weirdly charming exploitation. It feels quite like a low-budget film from the US underground scene awkwardly crossed paths with the action of Hong Kong and the tone of the typical American crime shows from the same era; scenes feel stitched together rather than carefully constructed, with the dialogue occasionally drifting into unintentionally comedic territory and some truly lousy police work populating its runtime. That being said, there's a lot of nicely photographed location work, while Lo Wei's choppily staged action carries with it a visceral urgency; the performances are all mostly solid, although Chuck Norris receives top billing, he's actually the villain with a diabolically cool name and sense of style donning Ray-Ban sunglasses, a fedora and a fur coat or watching his underlings practicing karate while eating an unnaturally large apple. Unfortunately, the film does very little to establish Don Wong despite his protagonist status, while Sylvia Chang makes an extremely early career appearance. Despite its plethora of action, Slaughter in San Francisco is very much a footnote in plenty of established careers, its serious edge ultimately at odds with all the inevitable B-movie silliness but that's where the fun really lies.Was this review helpful to you?
A long fought battle
Carrying with it those familiar themes of brothers-at-arms and the bonds of fellowship that run through so many Shaw Brothers films, Five Shaolin Masters is certainly a long fought battle amidst this struggle for survival. It's certainly a tipping point for its creative team, serving as a relatively lean martial arts showcase for its stars while also marking the last collaboration between director Chang Cheh and action choreographer Lau Kar-Leung before they went their separate ways. It undoubtedly spreads its attention too thin in attempting to balance the five main leads' screen time; it unfortunately drags its feet for a lot of the runtime with long stretches of minimal activity occasionally interspersed with extended martial arts sequences that, while impressive, border on the repetitive, even exhausting. Thankfully, it's a well-shot picture with some wonderful photography, aesthetically pleasing training scenes and lovely camerawork throughout, with even the occasional bit of comedy, although it veers quite heavily into gallows humour. The heroes aren't that deeply explored, but their dedication to Shaolin traditions and mutual trust creates a strong sense of camaraderie with each master representing a different martial style and personality, which gradually converge in the film's climactic confrontation. It almost gives the film a sense of strategic buildup, like pieces moving into position before the final strike. The performances are mostly solid, with maybe the sole exception of Alexander Fu Sheng, who looked like he was suffering from the heat sweats throughout. I just found his antics rather grating, more than endearing, but that seems to have been by design, given he was nearly always accompanied by childish music. Despite my niggles, Five Shaolin Masters is still very much worth a watch; it may stand as a rather influential piece of kung fu cinema, but it takes ages to really hit the ground and go.Was this review helpful to you?
Demonic Boogaloo
Doubling down on the original’s mix of supernatural possession, grotesque body horror and shock-heavy exploitation, Devil Fetus 2 is somehow even more unhinged than its predecessor and that's even before you consider it's title. There’s an almost raw, almost punk-like energy to it, playing the whole ordeal straight no matter how unhinged its chaos gets with a steady escalation of bizarre imagery that only gets stranger as the runtime goes on. That is, if you could even see what was happening half the time, given this is a highly elusive film and the picture quality, even on the best release, is pretty appalling. However, the direction by Tom Lau is filled with flashes of creativity; scenes will frequently pivot from eerie supernatural dread to sudden bursts of outrageous gore or surreal supernatural effects, which undoubtedly help balance out the otherwise grim tone the film carries. It’s the kind of film where every ten minutes something stranger than the last thing happens, often leaving you wondering whether the cast knew what was coming next, subtly was definitely never on the table, however. Despite its title, The Rape After is a pretty gnarly piece of commercial underground cinema with some extremely crusty visuals, begging for a proper restoration. Poster goes hard as well.Was this review helpful to you?
Something icky this way comes.
Full on maximalist horror, Devil Fetus wastes no time getting down to the gnarly goodness, unleashing a series of wild, over-the-top gross-out attacks on the occipital lobe at every possible moment. It's a positively ludicrous dose of gleeful insanity and maybe the best 90-minute prophylactic advert ever crafted. Packed with plenty of exploitive sleaze, including horndog ladies who love to make sexy time with the demon, the film is directed with an incredibly frantic pace and visual flair by Lau Hung-Chuen; its boundless energy and momentum are simply infectious. It can be surprisingly intense at times, with its nightmareish atmosphere, wonderfully grotesque practical effects, and disturbing body horror often overlapping with the film's more surreal elements. Yet it still manages to include a healthy dose of humour, including the best hard cut I think I've ever seen. Unfortunately, because the film jumps from one scene to the next, there's little narrative cohesion beyond the initial setup, yet it serves as a rather ingenious way of keeping you constantly on your toes because you never know what sort of chaos will unfold next. Especially when it’s all accompanied by a bit of cheeky Vangelis on the soundtrack as well as Ennio Morricone's score to The Thing, big win there. Offering up a very convincing case for careful family planning, Devil Fetus is an absolute must-see for anyone considering having kids.Was this review helpful to you?
Who you gonna call? Someone else.
Offering up a decidedly offbeat mix of horror, comedy and martial arts, The Fake Ghost Catchers undoubtedly riffs on the success that came about with Sammo Hung's Encounters of the Spooky Kind, although it ends up taking things in a vastly different direction. The horror elements are more playful than frightening, relying on wonderfully colourful lighting, fog-filled sets and practical effects that feel charmingly handmade rather than terrifyingly convincing. That being said, there is still some wonderfully freaky imagery courtesy of prolific choreographer Lau Kar-Wing in the director's chair; the martial arts take a bit of a backseat, though still reflecting the studio-house style of the time: energetic, theatrical and tightly staged. Wong Jing's script is certainly a mess of scenes, but the loose, scrappy nature and drastic shifts in tone are ultimately embraced with exceedingly silly and outlandish performances from its cast; the comedic timing carries the film more than its action does, as the comedy springs from cowardice, overconfidence, and the growing panic as carefully orchestrated illusions collapse. Leaning heavily into slapstick, more structured supernatural lore, gags are often prioritised over narrative flow, but it ultimately doesn't matter when your music is lifted verbatim from one of the best Doctor Who stories, The Invasion, no complaints there. Don Harper's music is incredible. Imperfect or not, I'm quickly realising that I massively prefer the more outlandish Shaw Brothers productions over their traditional wuxia tales because, for as ridiculous as The Fake Ghost Catchers is, it can still be lively, inventive, and often genuinely funny, carrying with it an immense amount of charm that lies less in polish and more in its energetic, anything-goes spirit.Was this review helpful to you?
Is there any comeback from this?
If you ever think to yourself that you've hit rock bottom, just remember, someone decided a sequel to Panda Plan was a good idea. Ditching its predecessor's Die Hard in a Zoo setting and obsession with the panda symbolising China's sovereignty, Panda Plan 2 settles for a fanciful jungle adventure that's loud, artificial and painfully unfunny. The CGI, particularly surrounding the pandas, all of whom somehow look even worse than the original film, veers into distractingly cartoonish territory; instead of magical, it feels painfully manufactured. It all looks more like a theme park attraction than a believable world, probably down to Derek Hui's horrendously flat direction, with little weight in its camerawork or action. The pacing drags despite constant action, and the story feels stitched together from thin plot devices rather than genuine narrative momentum. Chan at least remains somewhat likeable as the film plays to his strengths as a physical comedian. Unfortunately, he's stuck in a script that reduces him to repetitive slapstick, uninspired gags, and a seemingly endless stream of fart jokes. It all feels incredibly sad, especially following a high point with The Shadow's Edge last year. Ultimately, The Magical Tribe is stuck in a muddled mix of heartfelt family adventure, broad comedy and fantasy spectacle, never finding a balance that works.Was this review helpful to you?
A some what step up from A Legend.
Some what of a step up from A Legend, Panda Plan gets by because this is Jackie Chan doing exactly what he's known for, possibly for the last time. The film only really manages to elicit a light chuckle, even at the most trying of times. The problem stems from a lead who's way past his prime, although to be fair, at 70, Chan remains spry and in great shape, but there's no denying that awkward framing, poor editing, obvious speed ramping, body doubles, and painted-out wire work do serious heavy lifting. Zhang Luan's lightweight Die Hard-in-a-zoo action demands so little from its viewers, often thinking a poorly realised CGI panda is a good substitute for all the stuff we love Jackie Chan films for. Instead, the film becomes more of a tedious trudge through lazily choreographed fight sequences, sluggish chases and torridly scripted interactions between Chan's lethargic protagonist, an interchangeable ensemble of goofball mercenaries and a horrendous villain, all coupled with forgettable music and some questionable acting from the supporting players. Setting aside the meta references, Panda Plan fails in its attempt to aim at the kids with the stale jokes that don't appeal to anybody, irrespective of age; it's high budget, but the effort isn't. Maybe New Police Story 2 will deliver… I remain hopeful for that one at the very least.Was this review helpful to you?
Fancy a Toblerone?
Theoretically, any film that opens by decapitating Anthony Wong should be a winner; unfortunately, Visible Secret gets stuck with what it wants to be. It wants to be a slick and sexy horror-comedy, but instead it completely squanders all its promise shortly after the opening credits have finished rolling. It's a film that never quite clarifies what it aims to be; the horror elements feel perfunctory and passed over in favour of the romantic and character-based elements. It's more suggestive than genuinely frightening, but in a way that reflects the region's modern, millennium-era scene in its portrayal of young people caught in history, trying to understand both the world around them and each other as they navigate life, love, identity, and family. Ann Hui's direction is exceptionally muted and melancholic, creating an eerie, almost dreamlike tone that feels distinctly early-2000s Hong Kong cinema, succeeding more as a thoughtful meditation on loneliness, memory, and the inability to let go. Yet it all feels off, almost unfinished, bogged down by its narrative loose ends and especially the editing. The performances from the cast are fine; no one really stood out to me, outside of the terrific Kara Hui and Shu Qi, although the latter was mainly down to her fashion choices, while Tommy Wai's soundtrack is perfectly servicable in complementing the tone and visuals. Unfortunately, Visible Secret simply does not gel together; although there is certainly some quality stuff buried in its middle, it is the sort of character-based drama done better elsewhere. It doesn't go for scares or laughs. It falls into this weird valley where nothing is quite right, offering more of a more a gentle, ghostly romance with occasional dark humour than anything sharper or gnarlier. Still, maybe that's on me for expecting more from what its opening promised.Was this review helpful to you?
Blends fun and fighting as only Lau Kar-Leung could
A clash between old-world discipline and new-world confidence that blends fun and fighting as only Lau Kar-Leung could, The Lady Is the Boss is loud, chaotic and hilariously abrasive, fully embracing its oddball identity. Spending its early acts indulging in absurdist gags, it does begin to lose focus around the midway point, throwing caution to the wind with its spotty scripting; however, the film really comes alive during its many inventive and highly entertaining fight sequences, adorably adapting Lau's choreography style for practical purposes, exchanging bloody fisticuffs for dance fights and shimmering blades for BMX bikes and gymnastic equipment. It even includes a few tongue-in-cheek pastiches of some of Lau's more famous works, all set to some super funky synth beats, while the film's commitment to absurdity gives it a truly infectious energy. A lot of the comedy had me giggling uncontrollably, thanks largely to its cast and how much fun they are clearly having with their roles, especially Gordon Liu and the adorable Kara Wai Ying-Hung delivering tenfold as the titular lady. Comedy certainly takes precedence over elegance and means that while The Lady Is the Boss is not as refined as some of Lau's other works, it's lively, assertive and hard not to enjoy on its own rambunctious terms.Was this review helpful to you?
Weirdly fascinated by testicles
Unusual to the point of being downright eccentric, Executioners from Shaolin carries a significant amount of generational weight while also serving as an incredible showcase for Lau Kar-Leung as an action filmmaker. From its blistering opening credits, a surreal, red-tinted deathmatch to its ferocious, bloody freeze-frame climax, the film is littered with fabulous choreography and wonderfully realised action. Unfortunately, it is bitterly unfocused as to what it wants to be, not lingering long enough on one thing to truly grab me, trying to balance a marital drama and the typical Shaw Brothers revenge yarn to less than stellar results, thanks to a brutally uneven pace and a weird fascination with testicles. There are some decent comedic beats here and there, but the film doesn't make the best of its lighter moments, often taking away from the revenge hook that supposedly drives the narrative, with the shift in focus from father to son robbing us of a fulfilling conclusion to this tale of vengeance. Performance-wise, there's an exceptionally brief but memorable role from Gordon Liu, Lily Li is wonderful, especially alongside Chen Kuan-Tai as the sympathetic and obsessive father figure, but it's Lo Lieh's turn as the villainous and nefarious Pai Mei who is the real highlight and has gone on to be the stuff of legend. The only real sore spot is Wong Yu, who doesn't really leave much of an impression beyond what might be one of the worst haircuts and wardrobes I've ever seen in a Shaw Brothers film. Although epic in scope, Executioners from Shaolin ultimately feels as if it's been cut down to the bone, not emphasising any of its narrative threads to truly tie us down. It's an odd film in that its flaws are more about what is not seen than what is seen, while it may not be the slickest or fastest film in Shaw Brothers' output, its heart and ambition still shine through.Was this review helpful to you?
Contender for the worst Chinese film ever made.
There are vanity projects that are hilariously awful but still entertaining to behold. Then there's Pure Hearts: Into Chinese Showbiz. Absolute word vomit of a title aside, I don't think I've ever seen something as hollow and empty as this in my entire life. A glossy, tone-deaf abomination of filmmaking that mistakes clichés and tropes for a narrative. It borders on the dangerously incompetent at times, putting the cast in situations they should never have been placed in, where the Director should have been told no, but given the fact that this film was crowd and government funded, speaks volumes about where his priorities lie. He just wanted to live an extravagant lifestyle and used this film to fund and live it, no matter who he steamrolled over.Was this review helpful to you?
A better successor to the original than the actual sequels!
Arriving as a knowingly skewed echo of the heroic bloodshed era, Return to a Better Tomorrow has all the right ingredients of a slick and snazzy slice of action brilliance, playing on all the familiar themes and tropes that come with the territory. As much as the A Better Tomorrow namesake was undoubtedly slapped onto this to sell tickets, it didn't stop Wong Jing from going all out on the production, even with the notable absence of both John Woo and Chow Yun-fat. It's great to see Wong Jing taking himself seriously for once, as this is extremely atypical of his usual bouts of tonal insanity. The film still contains a few jokes here and there, plus a healthy dose of self-awareness, but these don't outright break the film's relentless pacing or its serious tone. There's a clear attempt at emulating the look and feel of the original, even if it's less interested in operatic tragedy and more so in remixing familiar iconography, although that oddly works in the film's favour, delivering plenty of punchy gunfights, splattery violence, dapper trench coats, dual-wielding shotguns and, of course, lots of cool posing! Jing's direction is great, filled with energy and a heavy amount of stylistic flourishes; the photography is extremely colourful, the musical score goes hard, and the performances all around are great, even if characterisation is sketched in bold strokes rather than fine lines. In a period where Hong Kong cinema was already looking back on its own myths, Return to a Better Tomorrow is a highly underrated little gem that has seemingly been lost amongst Wong Jing's blitzkrieg on the industry. It certainly isn't a replacement for the classic it riffs on, nor does it aim to be, although I'm probably committing absolute sacrilege when I say this is a better successor to the original than both II and III.Was this review helpful to you?
High-class soap opera
Bizarrely fluctuating between an exuberant reflection on young adult life in Hong Kong and a gory thriller, Nomad possesses an enchanting quality about it to the point it can be absorbingly disorientating. It manages to capture a brutal honesty of youth, from hairstyles to philosophies, but beneath its exterior lies a moody, elliptical meditation on alienation, desire, and a generation untethered from stable identity as the film's quartet of characters drift aimlessly together, going on dates, having sex, and vaguely contemplating the future. Unfortunately, its story is unfocused, playing more like an episodic series of skits filled with absurdist comedy, and, despite being relatively short, its pacing is exceptionally slow. Granted, the film is at least a looker; the photography and art direction are absolutely stunning, although Patrick Tam's actual direction is relatively messy, the super unsexy sex scenes filmed in choppy slow motion really hammer that home. His tone is one of impish confidence, never allowing his characters to fully succumb to the anxieties that pervade them. The sudden shift from languid romance to random acts of brutality in the final act feels almost like a wake-up call for the viewer, almost like the writers were trying to inject a bit of excitement to cap it all off. It really does just come out of nowhere, especially after wallowing in plenty of self-indulgent pretences for most of the thankfully short runtime. The performances from its cast are mostly solid, but the musical score tips over into pervasive, heavy-handed, if you would, rendering certain scenes ridiculous when they perhaps would have benefited from simple silence. As a cornerstone of the Hong Kong New Wave, it remains provocative, melancholic and stylistically bold, but all comes together as an ultimately disorderly and chaotic experience. Nomad certainly drifts through the motions, losing sight of what it really wants to be. It feels kind of cruel to have watched this after My Heart is that Eternal Rose, but I was expecting more than a high-class soap opera.Was this review helpful to you?
Eurocrime with a jolt of Michael Mann's visual design
Given his more famous body of work and especially the title, you'd probably be expecting Men from the Gutter to be another one in a long line of incredible Lam Nai-Choi horror. It is not. Instead, trading the classical Shaw wuxia sheen for street-level desperation, it's an outstanding, gritty, hard-edged action thriller. One that gives a neon-lit glimpse into Hong Kong's grimy underbelly of smoke-filled gambling joints and roach-infested tenements filled with grubby, desperate lowlifes. It's all conceived in a way that combines elements of gritty Eurocrime with a jolt of Michael Mann's visual design. It crams a lot into its tight 88-minute runtime, with excitingly staged action that's rough, pragmatic and rather splat-tastic at points and all complemented by Lam Nai-Choi's own slick photography, intense direction and even a cool cod-Tangerine Dream electronic score. This isn't heroic bloodshed yet, but you can feel it forming in the margins. The characters are defined less by archetypes than by exhaustion. These are men with no illusions left; every alliance is temporary, every moral line negotiable with the cast selling that weariness well. Lo Meng and Jason Pai Pao deliver earthy, impassioned, and downright menacing performances that are far more morally ambiguous than the stoic archetypes they usually played, especially in the quieter moments where ambition gives way to fear or resignation. As a Shaw Brothers production, it's fascinating precisely because it doesn't feel like a classic Shaw film. The studio trappings are present, but the spirit belongs to what comes next. While Men from the Gutter may not be as iconic as what followed, it serves as a raw and compelling bridge between eras. A tough, unsentimental crime film that captures a moment when both its characters and its studio were fighting not to be left behind.Was this review helpful to you?
Rider Jump! Rider Kick!
Giving birth to one of the most endearing pieces of tokusatsu media on the planet, the influence of the original Kamen Rider is impossible to overstate. Its themes of identity, sacrifice and resistance against oppressive power still resonate even today, giving rise to the idea of the tragic, masked hero in one of its most enduring forms. Despite initially starting as a more mature option for tokusatsu fans, the show truly finds its stride when it stops taking itself too seriously and starts having fun with its pulpy premise, treating it with a surprising earnestness. Granted, some pretty notable factors have unfortunately dated the show in its accessibility, being an excruatingly 98-episodes long, it's very easy to get burnt out with how repetitive it can be, with some episodes showing their age more than others. While the show's adamant refusal to explain itself and sudden shift in tone due to Hiroshi Fujioka's injuries is jarring, the overall look and stylings of the show are so endearingly charming, visually rich and all around exciting. Rarely does it feel like the budgetary limitations get in the way of telling a good story. The fights are dynamic, the motorcycle action is aplenty, and the sound of the opening theme is more than enough to get the blood pumping as the Riders face off against a swarm of Shocker grunts or in a showdown against the monster. While certainly rough around the edges, everything about Kamen Rider is done with such infectious enthusiasm; throughout its ups and downs, its message never falters. Human life is more important than even peace and justice, and your humanity is not defined by your body alone.Was this review helpful to you?
