In the opening minutes of Initial D, we watch as a street legal sports car “drifts” down a narrow mountain road – the driver accelerating into the tight corners, then gliding around the glasslike hairpin bends. All shot under moonlight, this short sequence captures the sublime and surreal beauty of pure auto power.
Infernal Affairs 2, as the second act of the trilogy, starts the race with a handicap. Second acts are traditionally more down beat and less popular they either the first or third acts. Also, it follows up the enormously popular first part of the series, starring two of Hong Kong’s most popular A list actors. Nonetheless, it’s still a good film in its own right.
This is partly because the cast includes some seriously good dramatic actors, such as … (read more)
After the quiet reflective tone of Sandy Lives, I was jolted into hyper reality by this Miike Takashi double trouble celluloid gross fest.
My only other dalliance with Miike is The Happiness of the Katakuris so in my well-informed and knowledgeable opinion, after viewing a mere three films by Miike-san, I have come to the conclusion that his films always open with a bang.
The first 10 min always kicks arse — in Happiness of the Katakuris, it … (read more)
Andrew Lau, director/cinematographer of this film, has previously brought us such classics as the Young And Dangerous series, and the special effects fest Stormriders. However, he should also be held responsible for films such as the confusing Bullets Of Love (which I can’t help thinking of as “Bullets Urve Lurrrrve”) and the utterly tosspottish Wesley’s Mysterious File, in which the only mystery was how such a respectable cast were persuaded to show their faces in such drivel.
So … (read more)
This is nothing more nor less than a promotional effort for The Twins, that ebullient Cantopop duo made up of Gillian Cheung and Charlene Choi. But for all that, it’s not a bad piece of froth, provided you disengage your brain while you watch.
One of the highlights, for cinema aficionados, is the presence of the consummate actor Anthony Wong. Although he has a reputation for sleepwalking through roles which fail to engage his interest, here he adds sparkle as … (read more)
I want to begin by pointing out that, were Project: Sex With Jordan Chan any higher on my personal agenda, I would probably enjoyed Spy Dad a whole lot more. But it’s not, so I didn’t. Don’t get me wrong. This isn’t because I’m a redblooded Australian male with a complete intolerance of any and all homosexual practice — it’s just that I don’t find Jordan Chan — or Jordan Chan’s naked backside, which also features in this film — … (read more)
Moving Targets delivers on the promise of its title: it keeps moving, and hits most targets. This pot-boiling, lead-slinging, father-hating police yarn is based on the legendary 1980s TVB series Police Cadet (which, Ching Yee informs me, is where Tony Leung Chiu Wai and Lau Ching Wan became stars). I can’t speak for how faithful the adaptation is, but that would explain why the movie feels like it is cranking many hours of plot into 90 blink-and-miss-it minutes.
Fer instance: … (read more)
Andy Lau conceived this film as an antidote to the general spiritual malaise that swept the world in the wake of the World Trade Centre bombings: it went together fast, and was intended to make people in Hong Kong smile and feel good again. Andy himself was stuck in Toronto, having gone there with Johnnie To to promote Fulltime Killer, and didn’t make it to Australia in time for the Melbourne concert to which I had a damn good … (read more)