Project A is a highlight of Jackie Chan’s filmography, and the movie I use to introduce those unfamiliar with Hong Kong cinema to the many and varied delights it delivers. However, Project A: Part II is my favourite Jackie Chan movie. It is perhaps one of the purest displays of Jackie’s talent for creating intricate action and comedy scenes, displayed so clearly that the skill behind their construction is almost invisible.
As if as a reminder of the high bar … (read more)
Have you noticed how the last few years have seen South Korean cinema fall under the influence of the great Hong Kong crime thrillers of the 1980s and early-’90s? Whether it’s in a stylistic and/or thematic shout-out or a straight-up remake of a classic — like Son Hae-sung’s A Better Tomorrow or the upcoming 3D remake of The Killer (nooooooo!) starring Jung Woo-sung — the Korean industry owes a lot to the trail blazed by John Woo, Ringo Lam and … (read more)
Days of Being Wild is one of the early films by renowned Hong Kong director Wong Kar-Wai. It has all the trademarks of Wong’s later works, such as Chungking Express and In the Mood for Love. But despite being less well-known in the West, Days of Being Wild is certainly no less impressive than any other film by Wong. It is a beautiful movie that features unforgettable characters played by some of Hong Kong’s best actors and actresses working … (read more)
Of all the films I saw in 1997, The Soong Sisters was my favourite movie of that year. It soon became the most awarded Chinese film of the late 1990s.
A Hong Kong-China co-production and distributed by the Golden Harvest company, The Soong Sisters is a biopic of three Chinese-born and American-educated young women, who each played an important part in modern Chinese history. It’s a triumph of ensemble acting and superb direction which weaves these three lives together.
Michelle … (read more)
As I see it, there have only been two rolled gold masterpieces of the Cantonese cinema since the late 1980s: John Woo’s bloodstained Vietnam odyssey Bullet in the Head and Wong Ka-Wai’s Ashes of Time. Both were produced within three years of each other and are poles apart in content and style, but they remain shining examples of a film industry at its peak.
Ashes of Time is based on a popular Chinese martial arts novel The Eagle Shooting … (read more)
They say you can’t have it all and in Ming Dynasty China the eunuchs certainly didn’t! OK, I must apologise for that lapse in comedic judgement. But the ball is in my court. Oh, please make me stop. Anyway this lack of a certain, um, something may explain why they were mad for power and painted Evil Eyebrows on their noggins to give them that extra mad-as-a-cut-snake villain look. Certainly works here for Donnie Yen’s character!
Yen is part of … (read more)
Well it’s been about two years since I first saw Zhang Yimou’s Hero and, at long last, I am getting around to writing a review. Sure this has to do with finally seeing it on the movie screen and it finally receiving a general release but my point is that I am in no way vain-glorious enough to believe that whatever audience this may very well reach is in anyway exclusive to HC and it is likely that that those … (read more)
Astonishingly lush images lend 2046 a surface beauty unparalleled in previous Wong Kar-wai films, giving it a distinctive grainy ‘look’ that is difficult to faithfully describe. Production designer (and film editor) William Chang and cinematographers Chris Doyle, Lai Yiu-fai (Love Will Tear Us Apart, Infernal Affairs) and Kwan Pun Leung (Lavender, director of The Making of Happy Together) create textured, absorbing visuals that envelop the screen and make it shimmer, suffocating 2D space. This … (read more)