Shadows Review 2020 Hong Kong 殘影空間

Shadows 殘影空間

Year: 2020
Director: Glenn Chan
Writer: Felix Tsang, Kiwi Chow
Cast: Stephy Tang, Philip Keung, Tse Kwan-ho, Ben Yuen
Running Time: 94 minutes

Country: Hong Kong

The UK Premiere is on July 25th at BFI Southbank as part of the Chinese Visual Festival (Tickets)

Shadows is a dark psychological thriller with nightmarish imagery and some supernatural elements. Featuring another excellent lead performance from Stephy Tang. This has been hailed as one of the best Hong Kong films of the year.

Revolving around a sinister murder case in which a social worker is compelled by an inner voice to kill his family and commit suicide. Shot in atmospheric noir style and with a taut, twisting narrative that keeps the audience on the edge of their seats, the film features a commanding lead performance by popular actress Stephy Tang, who was herself traumatised by the emotionally gruelling shoot and the film’s delving into the darkness of the human psyche. (Chinese Visual Festival)

Glenn Chan makes his Hong Kong film debut with an ambitious thriller that will make an impression with its uniqueness and inventiveness. Out of recent Hong Kong films, it's hard to think of one that is similar. And while not everything about this film works, there is plenty to celebrate and admire.

Stephy Tang is a revelation. Over the years, she has managed to shake off the pop star image and establish herself as a serious actress. Stephy is now known for acting in challenging and dramatic roles, her most prominent being The Empty Hands and My Prince Edward. Both of these roles got her a nomination for Best Actress at the Hong Kong Film Awards. After watching Shadows, it feels like she could receive a third nomination as she delivers another show-stealing performance.

This film is incredibly stylish. Featuring slick camerawork and great cinematography to give it a noir feel. There is brilliant use of lighting throughout to create the dark mood and unsettling atmosphere. When Dr Tsui enters into a patient's subconscious there is often an impressive use of imagery and visual effects on display to capture how anxious and terrifying the whole process is. It's all handled excellently.

Unfortunately, the scenes inside the patients subconscious is an intriguing idea, and it looks fantastic, but it feels like an idea that was never fully realised. This was a concept that deserved more time to be explored before the film reached its exciting and somewhat bemusing conclusion. While this gimmick might have borrowed ideas from other films, they manage to make it work and still feel fresh and it feels like more screen time should have been spent on this. 

Philip Keung co-stars as detective Ho and injects some fun into the story. Ho and Dr Tsui team up in an almost buddy-cop style trope as they investigate the crime together. His character of Ho is pretty simple and wants to work within the law and catch the bad guys, but the way he plays off of Dr Tsui is a neat contrast. There's also a side story involving his daughter which is often touching and charming.

At a trim 94 minutes, the film is a breeze, and it is entertaining from start to finish. Some extra time to fully develop the ideas and plot could have benefited the overall story, as well as more time exploring how much actual power the psychiatrists have over the patient's free will. Parts of the film are pretty ambiguous which suits the style and genre of film, but some viewers might think it's too open-ended.

Overall, Shadows is a good thriller that is visually stunning and entertaining even with its flaws.

7/10

Reviewed as part of the Chinese Visual Festival / Focus Hong Kong

Drifting 2021 Hong Kong 濁水漂流

Drifting 濁水漂流

Year: 2021
Director: Jun Li
Writer: Jun Li
Cast: Francis Ng, Loretta Lee, Tse Kwan-ho, Cecilia Choi
Running Time: 112 minutes
Country: Hong Kong

"I may be homeless. But I am not worthless."

The excellent Francis Ng is almost unrecognisable as he delivers one of his finest performances in this powerful drama about a group of homeless people. One of the very best Hong Kong films of the year.

Jun Li follows his acclaimed trans drama Tracey with a socially conscious story focusing on the plight of the homeless in Hong Kong, based on a real life incident. Taking place against a contrasting backdrop of luxury and extreme poverty, the film follows Fai (Francis Ng), just out of jail and stuck in an endless cycle of nomadism, coming up against an uncaring government and a police force whose actions are antagonistic at best. A stunningly frank film about Hong Kong’s socio-political and economic divide, Drifting confirms Jun Li as a passionate filmmaker committed to bringing the stories of the marginalised to the screen. (Chinese Visual Festival)

Jun Li wrote and directed Drifting and based it on a 2012 court case that involved homeless people in Sham Shui Po. But rather than focusing on the court case, Li puts the characters at the forefront. Their stories, daily life and struggles are explored much deeper than surface level. There's also not too much attention on the reasons that they ended up homeless. There's a memorable scene with Fai chatting to reporters, and he explains that the media is only interested in talking about this drug use or his time spent in prison. This is an intriguing piece of social commentary on not only how the media sometimes view homeless people, but also some of the general public share a similar view. Li often makes it clear that it's not important why they are homeless, it's about their hardships and how other people treat them, even those with good intentions.

Hong Kong is a beautiful country, and the film captures this with excellent cinematography by Leung Ming-kai. The high-rise flats and skyline are on full display and often suddenly juxtaposed with the homeless camps and temporary accommodation. It's a startling contrast showing off the living conditions of the rich versus the poor, especially in Hong Kong, where apartment prices are sky-high. With more and more high-rise apartment buildings springing up anywhere there is vacant land, it makes the characters wonder where the homeless people are supposed to go.

The cast are all splendid in these often challenging roles. Francis Ng has always been a superb actor but doesn't always get the chance to show his full potential as he does here in his role as Fai. Ng has undergone a transformation of sorts and plays an extremely convincing drug addict. It's a powerful performance that easily could have gone too far, but they know exactly when to dial it back. Elsewhere, Cecilia Choi and Pak Hon Chu also shine in their supporting roles. It's always a treat to see Loletta Lee in a modern Hong Kong film especially with a film that allows her to sink her teeth into the role. Tse Kwan-ho almost steals the show with one particularly heartbreaking scene involving a video call which is sure to have award shows and festivals buzzing.

Drifting captures a true sense of realism while still being visually stunning and cinematic. The film feels almost like a docu-drama at times, with the viewers standing at the side and watching the character's lives unfold. This emphasises the helplessness as you watch this heartbreaking tale unfold. Jun Li manages to craft all of this wonderfully without the film ever becoming "poverty porn." Drifting is one of the most affecting Hong Kong films to come out in years, and it will leave you thinking about the characters and their situation long after the credits have finished rolling.

8/10

Drifting has it's UK premiere at the Chinese Visual Festival on the 15th of July 2021.

Beyond the Dream Review 2019 Hong Kong 幻愛

 

Beyond the Dream 幻愛
Year: 2019
Director: Kiwi Chow
Writer: Felix Tsang, Kiwi Chow
Cast: Cecilia Chow, Terrance Lau, Nina Paw, Chan-Leung Poon
Running Time: 120 minutes
Country: Hong Kong

Based on the award-winning short film Upstairs (2006), which was also directed by Kiwi Chow, Beyond the Dream became the highest-grossing domestic film in Hong Kong in 2020 since the COVID-19 pandemic. The film also won awards and nominations at a long list of festivals, including Best Adapted Screenplay award at 57th Golden Horse Awards, which is Taiwan's equivalent to the Academy Awards.

Lok (Terrance Lau) is a recovering schizophrenic who yearns for love. One day, he encounters the young and beautiful Yan (Cecilia Choi) and quickly falls in love with her. Just when he struggles whether to tell her about his illness, he has a relapse and becomes delusional. Little does he know that she’s a psychological counsellor who has a hidden agenda. The pair develops a relationship that is beyond their wildest dreams. (Focus Hong Kong)

The film opens with a woman having a mental breakdown on a busy street and rather than anyone trying to help her, most people laugh and take photos. This is an extremely raw and powerful scene that sets the tone for an emotional drama focusing on mental illness and a romantic relationship. Upon initial viewing, this plot might start off seeming predictable, but it quickly twists and turns into something else entirely. The film becomes more complicated as Lok's psychosis worsens, and it definitely requires your full attention to completely understand what is happening in reality, and in his delusions.

Both lead actors give award-worthy performances, with Terrance Lau being a huge surprise. Lau is a former TV actor and he plays this part spectacularly. Portraying someone that is mentally unwell can be a massive challenge, But Lok never takes it too far or turns the character into a stereotype. In fact, it feels like a very honest portrayal which can also become scary at times. Cecilia Choi is also wonderful and plays her roles with a subtle charm, innocence and mystery that still allows you to root for this flawed human being. Whether they are sharing a romantic moment together, or having a full-blown argument, they have great natural on-screen chemistry that enthrals your full attention.

 

  

While the cast and plot are rightfully praised, the production aspects also need commending. The camerawork is rich and varied. And the cinematography and pale colour palette are stunning. The look and feel of this film gel perfectly together, and it's honestly a visual treat. And the shallow depth of field enhances the dream-like nature of the story. The production values raise the expectation of this from another independent film to something greater.

Beyond the Dream is a Hong Kong film through and through, but it's also unique in its film-making methods. The locations used on-screen aren't what people have come to expect in their Hong Kong cinema. They don't spend time glamorising the neon lights and busy shopping streets, and instead, they use their time to build up a real-world that locals actually live in. The use of trains as a plot device is marvellous at separating these characters from one another, or for bringing them closer together. Similarly, the cramped and confined high-rise apartment buildings add to the notion of not having anywhere to escape in moments of need, and that everyone knows all of your business.

While the film can be dark and challenging at times, and sometimes it becomes convoluted, intentional or not. Overall, it's an ambitious film that deserves the attention and accolades it has received thus far.

7.5/10

Beyond The Dream is streaming as part of the Focus Hong Kong Film Festival from the 31st of March until the 6th of April.

 

My Prince Edward Review 2019 Hong Kong 金都

My Prince Edward 金都
Year: 2019
Director: Norris Wong
Writer: Norris Wong
Cast: Stephy Tang, Chu Pak-hong, Jin Kai-jie, Nina Paw, Eman Lam
Running Time: 91 minutes
Country: Hong Kong

The directorial debut of Norris Wong has been one of the most popular and acclaimed Hong Kong films of recent years, winning multiple Best Film, Best New Director and acting awards and screening at festivals around the world.

My Prince Edward is set in Prince Edward district’s Golden Plaza, a shopping mall in Hong Kong best known for bridal shops and cheap wedding supplies. Fong (Stephy Tang) is a clerk at one such bridal shop. She has been with Edward (Chu Pak Hong), the owner of a wedding photography shop in the same mall, for seven years. Everyone sees Edward as Fong’s Prince Charming, destined to head to the altar. The problem is that Fong must first sort out the sham marriage that she was paid to take part in years ago before she can get married for real. (Focus Hong Kong)

My Prince Edward is a clever play on words, set in the Prince Edward district and one of the main characters being named Edward. This small detail made me think the film was going to be a fun Rom-Com, similar in tone to something like My Best Friend's Wedding. But I was pleasantly surprised. My Prince Edward has the romance angle, but there's much more to it than that. This is a very well written story dealing with complicated topics, such as the stigma around divorce, and political issues between Hong Kong and China. The film is very honest, heartfelt and touching. This could easily have become another familiar story, but it's tackled in such an interesting and fresh way, and it leaves many parts of the story up to the viewer's interpretations.

This is not a fairy tale by any means. Stephy Wong's character Fong deals with a lot of problems that are deeper than surface level tropes. It shines a spotlight on Hong Kong marriage culture and questions who is it really for. Is it for the happy couple? Or is it to please the family? Or maybe it's a contract to stop you from leaving each other? Or maybe it's for a VISA or residency? There are clever metaphors and imagery sprinkled throughout to drive these ideas home. Fong is also feeling pressure to get married because of her age, even though she is still in her early thirties. The film is packed full of ideas that viewers can relate to.

My Prince Edward is wonderfully directed, especially for a debut director. The film has snappy pacing and editing. And at a trim 91 minutes, it never outstays its welcome. It also takes its time with the characters and gives them time to develop and breathe. There's some stunning camerawork and cinematography placed throughout. Their apartment has a massive neon sign attached to the building which often illuminates the street and their bedroom with a pink haze. One shot that stood out, in particular, involved an overhead camera while both characters lay in bed with the neon shining in the window to light their faces. There's also a subtle nod to a famous shot from In The Mood For Love if you really pay attention.

 

The small cast were excellent and their character differences made them all stand out from one another. Stephy Tang has turned into a brilliant actress, and this comes across as a very natural performance for her. She received a nomination for Best Actress at the Hong Kong Film Awards for this role, which is well deserved. Chu Pak-hong plays the role of Edward, and during half of the film, you will spend your time wanting to strangle him. His character is overprotective, a tad annoying and even sometimes disinterested. But deep down you can tell that he honestly loves Fong. None of the characters in this film are perfect, and it doesn't ever try to pretend they are. 

My Prince Edward is a modern and uniquely Hong Kong story. It's made specifically with Hong Kong in mind, and it wouldn't quite work if it was set anywhere else. But, the story and the characters are completely universal, and everyone could get something different out of it. Norris Wong has cemented her name as a new director to keep an eye on.

8/10

My Prince Edward is streaming as part of the Focus Hong Kong Film Festival from the 31st of March until the 6th of April.

 

Till We Meet Again Review 2019 Hong Kong 生前約死後

Till We Meet Again 生前約死後
Year: 2019
Director: Steven Ma
Writer: Steven Ma
Cast: Steven Ma, Josephine Ku, Jennifer Yu, Himmy Wong
Running Time: 97 minutes
Country: Hong Kong

Steven Ma directs this extremely personal story dealing with mental illness, which might be almost too dark and realistic.

Mui leaves her family after an irreversible mistake made by her son Ka-wai. Years have passed, and Ka-wai is living a solitary life, now working as a salesman, still trying to look for an explanation for it all and desperately hoping to see his mother again. As the truth is gradually unveiled, Ka-wai’s own world begins to crumble.

It's clear from the start, this is a story based on real experiences. Steven Ma, who wrote, directs and stars in this film, based it on his own battles with mental health and how he dealt with his mother's death. He literally wears his heart on his sleeve for this film and doesn't shy away from showing how scary it can be to live with a mental illness, especially if the help you are getting is not working. Steven Ma does a decent job acting throughout, he shines more in the mental breakdown scenes rather than the emotional moments with his family.

The film doesn't focus on a plot, it's more about showing how dark the world can seem when you are dealing with grief and depression. And this is something the film is extremely successful at. There are moments throughout that are so troublesome and realistic, that it was tough to watch. The way they depict panic attacks is downright scary. This is eye-opening for someone that hasn't experienced this themselves. The sheer realism and not shying away from these elements, no matter how dark it gets, is something that needs to be applauded.

While the story is a little bumpy, between the psychosis and the flashbacks, the film never becomes too confusing. In part this is due to the flashbacks being colour-graded differently from the rest of the film. If it wasn't for this subtle touch, it could become confusing as some of the flashbacks so long that you might forget as you slowly adjust to the visual style.

Oddly, there is something else going on which leads to a twist later on in the film. This feels like it was added to give the film more of a cinematic feel. It's not clear if they thought the writing was more clever than it actually is, because everyone can see this coming. It's not bad, just very predictable. However, after the twist, they spend too much time explaining what happened, but it's already crystal clear to viewers. They could have cut out most of the explanation and the film work have flowed better overall. Although the film is only 97 minutes, it could have used a bit of a trim to fix some pacing issues.

Problems aside, this feels like an important film and story. It's one of the most realistic portrayals of mental health issues problems that we have had on screen. And while it might feel dark and depressing at times to watch, that is how it keeps up its accuracy. Till We Meet Again might not be for everyone, but if this is a topic of interest for you, then there is plenty in here to digest.

6.5/10

Till We Meet Again is streaming as part of the Focus Hong Kong Film Festival from the 9th of February at 10:00 GMT until the 15th of February at 23:59 GMT.

Memories to Choke On, Drinks to Wash Them Down Review 2019 Hong Kong 夜香・鴛鴦・深水埗

 
Memories to Choke On, Drinks to Wash Them Down 夜香・鴛鴦・深水埗

Year: 2019
Director: Leung Ming-kai, Kate Rilley
Writer: Leung Ming-kai, Kate Rilley
Cast: Leong Cheok-mei, Mia Mungli, Zeno Koo, Lam Yiu-sing, Gregory Wong, Kate Reilly
Running Time: 78 minutes
Country: Hong Kong

Four stories (three fictional, one documentary) show how fiction and fact, humour and drama, the personal and the political are contemporary facets of the same ever-fascinating, complex, challenging realties that constitute Hong Kong. Leung Ming-kai and Kate Reilly’s delightful anthology captures the rich mix of cultures that defines Hong Kong in lively and gently provocative fashion, following a diverse set of characters from different backgrounds as they reminisce on the past while looking to the challenges of the future. (Focus Hong Kong)

Memories to Choke On is an anthology film from two directors Leung Ming-kai and Kate Rilley. They work together to tell four different contemporary stories about life in modern Hong Kong. What is impressive about this film is how each story is completely different but they all feel incredibly real. It's basically a slice of life anthology.  Each story focuses on a different aspect of Hong Kong life, ranging from immigrants, family, food and politics.

The first film depicts the story of an Indonesian caretaker looking after an elderly Hong Konger. The story could use a little more urgency, but by the end, it all comes together. The relationship between the characters is simple but charming. They have good chemistry and begin to form a bond over the fact they both came to Hong Kong as immigrants. This story might be the weakest of the bunch, but that does not mean it was bad per se.

The second segment is arguably the best of them all. It's a simple story of two brothers hanging out in their mother's toy shop before she sells it to a new owner. The brothers browse through old toys and reminisce on memories of growing up and their mother's expectations of them. The style of this film stands out massively compared to the first. It's shot incredibly well, and they manage to capture the iconic urban city life. There are some stunning images of the characters walking by stalls and independent shops that looks like high-class night photography.

The third segment features the director Kate Reilly acting as an American living in Hong Kong as an English teacher. She meets another teacher on her first day, and they form a will-they-wont-they relationship. This story focuses on the differences between different races making Hong Kong their home, and it does this through a series of realistic and natural conversations. It's no secret to anyone that Hong Kong has some of the best food in the world. And if you are a foodie, this film will be a treat, as we get to see the characters going to eateries and sampling some of the best local dishes while their relationship blossoms. The structure of this film being non-linear can throw you off if you don't pay attention to the inserts explaining when it is taking place, and if you aren't familiar with when some of the Hong Kong holidays and events occur.

Surprisingly the fourth film is a documentary, which was a little jarring at first, but quickly becomes apparent on why it was chosen. The final film follows Jessica Lam as she runs for a job on the district council. This documentary works incredibly well because Jessica is such a charming and likeable person. She seems almost out of her depth running for a political office job, as she feels like a regular everyday person. But there is something fun and interesting about the way that she speaks and carries herself, that you can't help but cheer her on. It was a bit of a gamble finishing on a documentary, but it feels like the rightful ending.

Memories to Choke On, Drinks to Wash Them Down works effectively as depicting Hong Kong today, for locals and for outsiders. While the film in total only runs for 78 minutes, the plot of some of the films, especially the first one, might be a little too breezy for some viewers. The stories can be a little challenging with their subtlety and require some thinking about what the true meaning behind them is. But for a film like this, that is part of the fun. Now, where can I find some Hong Kong style French toast?

7/10

 

Memories to Choke On, Drinks to Wash Them Down is streaming as part of the Focus Hong Kong Film Festival from the 9th of February at 10:00 GMT until the 15th of February at 23:59 GMT.

A Witness Out of the Blue Review 2019 Hong Kong 犯罪現場

A Witness Out of the Blue 犯罪現場
Year: 2019
Director: Andrew Fung
Writer: Andrew Fung
Cast: Louis Koo, Louis Cheung, Jessica Hsuan, Cherry Ngan, Philip Keung
Running Time: 104 minutes
Country: Hong Kong

Louis and Louis deliver great performances in this sleek crime thriller.

An offbeat award-winning Hong Kong murder mystery that’s part police thriller and part Freudian psychodrama. After a criminal is found dead, police suspect that the murder is linked to an earlier violent jewellery store robbery, with the only witness being a talking parrot. Also known as a screenwriter for Stephen Chow and Johnnie To, Fung Chih-chiang has previously tackled the western, musical and media satire genres, and continues to surprise with his highly entertaining fourth directorial outing, which offers a fresh, fun perspective on the detective noir, and boasts a fantastic ensemble cast.

Writer/Director Andrew Fung is back, and this time he dips his toes into the crime genre. While the script might seem a little convoluted, the mystery and performances are strong enough to keep the film entertaining throughout.

The ever-reliable Louis Koo shines once again and proves to the haters why he seems to be in nearly every commercial Hong Kong film released in the past two years. Koo plays the character Sean Wong, a criminal with some heart. He's bad, but he's not all bad. Right? Wong is an intriguing character that has his faults but is still likeable. There is a side story with him living in an apartment with elderly people and a partially sighted woman that seems tonally different from the majority of the film. The main story is often pretty dark but they managed to provide some laughs and heartwarming moments with the introduction of these characters. The change in tones might be jarring for some people, for others it might be a welcome break.

The rest of the main cast are all great in their roles. While Louis Cheung plays Larry Lam as a a good-guy cop, he's also not exactly good at his job. And this is something that works in the film's favour. Lam is constantly getting into bother or getting one-upped by criminals. But because they have established him as a nice guy, you end up anxious and fearing the worst for him. Philip Keung is another extremely reliable actor and he keeps viewers on their toes in his role as the Police Inspector. And last but not least, the parrot. The parrot is an interesting plot device that really starts to have more purpose later on, but it definitely has charm and made me laugh more than once.

The cinematography is good, but also plain. The film looks polished, but also kind of flat. Some of the shots look great, but then some look repetitious. This might seem like nitpicking, but from a thriller like this, you would expect more style. The look is very similar to a bunch of recent Hong Kong films such as The White Storm 2 or Integrity. They look fine overall, maybe even good at times, but it feels like they could do more stylistically.

While the plot might be a little convoluted, it's also intriguing and full of twists to keep you engaged. Some viewers might be able to guess what is going on, but they throw enough at you to make you question yourself. There are some fun set pieces throughout to keep the action fans happy, and the conclusion of the film is very memorable. They manage to go out with a bang rather than a whimper.

7/10

A Witness Out of the Blue is streaming as part of the Focus Hong Kong Film Festival from the 9th of February at 10:00 GMT until the 15th of February at 23:59 GMT.

The Empty Hands Review 2017 Hong Kong 空手道

The Empty Hands 空手道
Year: 2017
Director: Chapman To
Writer: Chapman To, Erica Li
Cast: Stephy Tang, Chapman To, Yasuaki Kurata, Dada Chan, Juju Chan
Running Time: 87 minutes
Country: Hong Kong

Mari is a Hong Kong girl with a Japanese father, a karate instructor who turned their home into a dojo to train his pupils, forcing her to practice as a child. Despite demonstrating great skill, Mari quits after being pushed too hard, growing up to be a directionless and angry young woman drifting through life. After her father dies, Mari decides to sell the dojo, though her plans are ruined when it turns out that he has left a controlling 51% share to former pupil Chan Kent, recently released from prison. At odds with Mari over the fate of the dojo, Chan Kent offers her a deal – if she returns to training and can survive three rounds in an upcoming match, he promises to sign his share over to her. (Focus Hong Kong)

The Empty Hands is a difficult film to explain and truly do it justice. This is not a standard martial arts film. It's not even really a karate film. On one hand, it's an atmospheric arthouse character study that only uses karate as a way to connect and explore the characters. But on the other hand, the entire film works because it hinges on the meaning and discipline of karate. Similar to The Karate Kid and the popular Cobra Kai series, karate can be used as a form of motivation to improve your entire wellbeing. This is one of many ideas that this film explores.

Chapman To has always been a great comedic actor. His roles in films such as Vulgaria and Men Suddenly In Black are hilarious and that's what he has become known for. I don't think anyone was expecting him to write, direct and act in a film as complex and sophisticated as The Empty Hands. Chapman is a blackbelt in karate and has always wanted to make a film featuring this martial art. You can sense this is a passion project from him in every aspect.  

The main star Stephy Tang is outstanding in her role as Mari, she delivers a critically acclaimed, award-winning performance. Stephy trained in karate for six months and boxed 2 to 3 times a week to prepare for the role and it shows with her physicality and screen presence during the action. She is completely believable in the training and karate fights. But, Stephy also carries the emotional weight of the film. Her character has many layers and a lot of baggage. The relationship with her father is made heartbreaking at times by her excellent performance. For an actress that is known for starring in rom-com roles, she knocked this one out of the park.

There are some moments and tropes that you've come to expect from martial art films such as the training scenes. They feel extremely effective and realistic here, and they never quite verge into a full-blown Rocky montage. The fight scenes are not the main focus of the film, and they are not as flashy as Hong Kong's kung fu films, but they deliver something real. The fights are shot up-close and personal, but often the composition is artsy and unusual. It's an exciting mix of techniques. The sound design is also superb throughout and they succeed in making you feel every single hit.

The film is shot beautifully. There are stunning cinematography and subtle camera movements used to constantly keep the film moving and equally be visually pleasing. Some shots really stand out, such as gorgeous scenes of the actors performing karate katas in empty fields. The lighting style for some scenes might seem pretentious in another film, but it does not seem out of place here at all. 

The dramatic themes but down to earth storytelling, championed by Stephy's performance are executed so well, that by the time it gets to the finale, you are emotionally involved for every single beat. At a neat 87 minutes, the film is incredibly brisk and appealing. Chapman To does a fantastic job controlling the structure and pacing of the film, it's remarkable to think this is only his second time directing. Hopefully, we can see more films like this from director Chapman To, and more performance like this from Stephy Tang. Superb.

8.5/10

The Empty Hands is streaming as part of the Focus Hong Kong Film Festival from the 9th of February at 10:00 GMT until the 15th of February at 23:59 GMT.

City of Glass Review 1998 Hong Kong 玻璃之城

City of Glass 玻璃之城
Year: 1998
Director: Mabel Cheung
Writer: Mabel Cheung, Alex Law
Starring: Shu Qi, Leon Lai, Daniel Wu, Nicola Cheung
Running Time: 110 mins
Country: Hong Kong

City of Glass was another commercial success for the tried and tested team-up of director Mabel Cheung and writer Alex Law. But can it match up to their other hits such as An Autumn's Tale, Eight Taels of Gold and The Soong Sisters?

Raphael (Leon Lai) and Vivien (Shu Qi) tragically died in a car accident on their way to a New Year's celebration in London, England. They met and fell in love during their days at the University of Hong Kong in the 1970s, but many challenges and obstacles would often come between them. In the present day, after their funeral, Raphael's son, David (Daniel Wu) and Vivien's daughter, Susie (Nicola Cheung) met for the first time and go on a journey together to discover more about their parent's secret lives.

Following two extremely different love stories, a nostalgic romance in the past and a fresh romance in the present. One story is about destiny and tragedy while the other is more uplifting and positive. Although the film is well written and the characters are extremely likeable, the shifting between stories and time affects the overall drama and impact that the film could have had. It also somewhat hinders the authenticity of the story as Shu Qi and Leon Lai's characters appear to age extremely well. With that being said, Shu Qi is thoroughly engaging and possibly one of the most beautiful screen actresses of all time.

The film is full of stunning still moments with excellent cinematography, dazzling art direction and gorgeous locations, especially capturing the nostalgia of the seventies. Mabel Cheung manages to brilliantly take this period of energetic youth and excitement and frame it all beautifully. The musical soundtrack fits the film perfectly, the choices of songs really set the mood and feelings of the scenes. Leon Lai's rendition of Try to Remember will be lodged in your brain after watching and no doubt you will be humming it for days.



David and Susie are played very well by Daniel Wu and Nicola Cheung. Both are fun characters with a story which unfortunately doesn't receive as much time to blossom. With more development, their romance and side story could have really felt more important. Even with less screen time, the young actors manage to showcase and capture the self-doubt of the Hong Kong youth, some of which is still prevalent to this day.

City of Glass has a lot going on, some of the side-stories and plot devices add to the story, like the Diaoyu Islands dispute, but you are left wondering if it was really needed for the overall story. But in contrast, the Hong Kong handover is used during the story with Wu and Cheung's characters and it embodies the feeling of the whole film. Both sets of love stories can be used as a metaphor for the end of British rule in Hong Kong and the handover to China with an uncertain future ahead.

Overall, it's a flawed film but definitely worth watching. The story, romance and light melodrama are commendable but it's more of a stunning cinematic showpiece with exquisite performances from Shu Qi and Leon Lai that really makes the film feel significant.

6.5/10

Wolf Warriors 2 Review 2017 China 战狼2

Wolf Warrior 2 战狼2
Year: 2017
Director: Wu Jing
Writers: Wu Jing, Dong Qun, Liu Yi
Cast: Wu Jing, Celina Jade, Frank Grillo, Hans Zhang, Wu Gang
Running Time: 121 Minutes
Country: China

2017's surprise blockbuster hit Wolf Warrior 2 is one of those rare cases of the sequel not only being better than the original but surpassing the film in every single way.

After the events of Wolf Warrior, Leng Feng (Wu Jing), China's deadliest special forces operative settles into a quiet life on the sea. When sadistic mercenaries begin targeting nearby civilians, he must leave his newfound peace behind and return to his duties as a soldier and protector. A Chinese destroyer arrives to evacuate strictly Chinese civilians caught up in the middle of the civil war, but after overhearing guards talking about needing someone to rescue workers at a factory and an important doctor who knows the vaccination for Lamanla, Leng Feng volunteers.

Viewers will realise within the first few minutes if this film is for them. Kicking off with an immense fight scene between Wu Jing and Somali pirates which takes the fight into the ocean. Cleverly orchestrated, they are submerged underwater into one of the best underwater-fight scenes ever filmed, which is neatly edited to look like one take. It's fun, ridiculously over the top and sets the tone for what's to follow for the next two hours.

Many viewers and critics had issues with the original Wolf Warrior, mainly due to its propaganda feel and the fact it came across like a recruitment video for the Chinese army. This sequel essentially strips all that away. While still being highly Nationalistic, it actually works to the plot and doesn't feel quite as contrived. The film has less in common with The Founding of a Republic and it's more in line with a Chinese version of Rambo. Wu Jing directs the film, as well as starring once again. Wu has improved leaps and bounds as a director and this time he keeps the plot simple and straight to the point, which allows the story to flow without the need to ever over-complicate things. If at any time your mind starts to wander during some of the character development scenes, don't fret because there is another exciting action scene right around the corner.

The location of Africa is also a fresh setting for the series, while not explicitly stating which country the film is set in, it's only ever mentioned as Africa. The setting emerges the viewer right into the heart of Africa. Full of wild interesting locations, including the slums which play host to an exhilarating car chase. There's also the introduction of some very fun African characters. There is a touching relationship with a boy that Wu Jing becomes a godfather too. The boy and his mother are both hilarious characters and inject some humour into the violent action story. The stereotypes of some of the Africans may be bordering on offensive to some, but it all seems in good fun.

Wolf Warrior 2 is probably the best action film of the year thus far! It's filled to the brim with some breathtaking action scenes and set-pieces throughout. The action is on a huge scale and with great stunt work that would make a Hong Kong stuntman proud. There are highly intricate martial arts hand-to-hand fights which Wu Jing shines throughout. There are also plenty of shoot outs full of a wide variety of guns and tanks, topped off with knife fights and loads of explosions. Some of the action scenes are ridiculously over the top, such as Wu Jing stopping a bazooka in the most ridiculous yet entertaining way possible. But that's all part of the fun! Suspend your disbelief and have some fun. Although Scott Adkins is missing from the film, Frank Grillo steps up and plays an excellent villain. Grillo also helps deliver a brutally skilful final fight-scene with Wu Jing which doesn't disappoint at all.

Remain in your seat after the film is finished for a mid-credit Marvel-esque teaser scene that reminded me of a Coors Light commercial... And will give fans of the series something to look forward to.

Wolf Warrior 2 is a highly entertaining film. If you like your old school action films, this is for you. It's fun from start to finish and the action never lets up. Given all of this, it's really not a surprise that the film is doing so well at the box-office. As a side note; this is the first time in years, outside of festivals, that I've watched a film in the cinema that received a round of applause.

7.5/10

Once Upon A Time 三生三世十里桃花 Review 2017 China

Once Upon A Time - Shi Li Tai Hua - 三生三世十里桃花
Year: 2017
Director: Zhao Xiaoding, Anthony LaMolinara
Starring: Liu Yifei, Yang Yang, Luo Jin, Yan Yikuan
Based on: Three Lives, Three Worlds, Ten Miles Peach Blossoms by TangQi Gongzi
Running Time: 110 mins
Country: China

Once Upon A Time is the latest Chinese CGI-heavy fantasy-romance drama. Big budget Chinese films brimmed of CGI have become increasingly popular over the years but with many previous films not having special effects up to Hollywood's standard, how does Once Upon A Time compare?

This is the story of Bai Qian, a goddess and monarch from the Heavenly Realms. In her first life, she was the disciple of Mo Yuan. Due to a devastating war, Mo Yuan’s soul was destroyed while sealing the Demon Lord. Seventy thousand years later while Bai Qian was trying to reseal the Demon Lord, she was sent to the mortal realm to undergo a trial to become a High Goddess. There, she meets Ye Hua with whom she falls in love and eventually married. However, their love ends tragically. Many years later, the two star-crossed lovers meet again as deities but all her memories have been erased due to her request. Ye Hua, who is now a crown prince black dragon 90,000 years younger than Bai Qian, gets a second chance at love with her.

Sounds confusing? Well, it is. Prior knowledge of the original book "Three Lives, Three Worlds, Ten Miles Peach Blossoms" or maybe even the TV series would have helped. But with this being my first time discovering this story, I was left scratching my head a few times. The confused identities, the forced romance and the convoluted plot would work better over the 58 episode TV series. The enormous task of trying to cram all of this story into under 2 hours was always going to be tricky. That being said, the 2 directors almost manage to pull it off, with only a few of the ideas not entirely clicking. The story revolves around two seemingly star-crossed lovers who continue to encounter each other over numerous lifetimes, in its simplicity. Keep telling yourself that.

Surprisingly Once Upon A Time is actually beautiful to look at. Shot almost entirely against green-screen with limited physical sets and props, the visuals are stunning! Being co-directed with visual-effects artist Anthony LaMolinara, whose credits include Hollow Man and Spider-Man 1 and 2, appears to have certainly helped in that department. The backdrops all look mesmerising and seem to go on for miles; the visual-effects creatures look more real than what most Chinese films have to offer. The costumes are also exquisite with many remarkable embroidered outfits and complex hairstyles which are worthy of recognition. The same praise can be given to the music which is full of traditional sounding Chinese instruments and reminiscent of big blockbuster scores from films such as House of Flying Daggers.

The two lead characters Liu Yifei (Bai Qian) and Yang Yang (Ye Hua) are both great in their respective roles. There is good on-screen chemistry between them and their love story is charming, even if it does seem a little contrived at the beginning. Once you discover more about these complex characters and their stories unfold with twists and turns, it ultimately results in some emotional and heart-warming scenes delivered from the pair.

Another exciting aspect of the film is the action scenes. There is more action in the film than the trailers and advertising would lead you to believe. Some of these are executed fairly well with fun wire-fu sword fighting magic and battles with CGI monsters including a tiger, a dragon and some bizarre giant earth-tree creature. All of these are a welcome break from the drama and they give your brain time to recover.

The film is flawed but still enjoyable overall. With many good elements to it, especially being a treat for your eyes and ears. The plot is bewildering but eventually, the main points become clear and allow you to relax and soak it all in. If you like big fantasy fairy tales then you will enjoy this one, but make sure you keep your thinking cap on!

6/10

Money Kills Review 2004 Hong Kong 錢殺人

Money Kills 錢殺人

Year: 2004

Director: Wong Ka Fai

Writer: Aric Lung

Cast: Ken Wong, Lam Suet, Elle Choi

Running Time: 84 minutes

Country: Hong Kong

Wong Ka Fai directs this extremely low budget drama which looks like an American made-for-television movie. And it's about just as exciting.

Lam Suet, Ken Wong and Elle Choi are 3 best friends staying in a small village and living a relativley enjoyable life. After stumbling upon a dead body and a large bag of cash, they decide to hide the cash and keep it for themselves without informing the police. Unfortunately they can't keep their secret for long and trust issues start to develop between the friends which results in other villagers finding out about the loot.

Money Kills is meant to be a dramatic story looking at how money can change people and ruin friendships but unfortunately it doesn't actually get exciting until about an hour in. When it finally starts to pick up, it's over. On paper the idea works, but the idea just wasn't executed properly, mainly due to budget constraints.

The film essentially has a no name cast and Lam Suet, who actually delivers a fine performance, but even he can't help make the film more than painfully average. Elle Choi is another high positive to this film, she lights up the screen any time she is on and gives the story credibility.

The film is short and breezy at under 85 minutes, it never feels like a chore to get through. If you are looking for some fun nostalgia, the film transports us back to days of wearing baggy jeans and loose fitting Quicksilver or South Park tshirts. Everything was much simpler back then... Until you come across a large sum of money that is!

Not really recommended. But there is far worse out there. It killed 90 minutes of my time and I ultimately don't regret watching it. Although, I am in no hurry to watch it again.

4/10

Born Wild Review 2001 Hong Kong 野獸之瞳

Born Wild 野獸之瞳
Year: 2001
Director: Patrick Leung
Writer: Chan Hing-ka, Amy Chin
Cast: Louis Koo, Daniel Wu, Patrick Tam, Jo Kuk
Running Time: 109 minutes
Country: Hong Kong

A dramatic boxing tale that has over stylized fight scenes, a messy plot, uninteresting characters and very bizarre musical choices. But, it's still mostly enjoyable and slightly above average.

Daniel Wu and Louis Koo star as fraternal twins Tide and Tan. After not seeing each other for 8 years, the police show up at Tide's (Wu) home to inform him that his brother Tan (Koo) has been found dead. Tide goes on a mission to discover what happened to his brother, and on his way he befriends Tan's best friend Mann (Patrick Tam) and his girlfriend Sandy (Jo Kuk) before discovering he was involved in underground boxing. Now Tide wants to avenge his brother against the man that murdered him, the undefeated Arion (Wrath White).

On paper this sounds like a pretty generic action storyline, but compliments to the writers, they delve deeper into the plot and motivations for each character. Unfortunately, the characters come off as a bit bland. It is really hard to relate to, or care about the characters, even though none of them deliver a bad performance. Daniel Wu and Louis Koo are both adequate in their roles, Patrick Tam is better. Acting as their best friend, Tam plays Mann, who is one of the most interesting parts of the whole film.

If you are expecting the usual style of Hong Kong action, you are in for disappointment. The fight scenes aren't bad per se. But they hardly even exist. Most of the underground boxing matches are shown in quick clips or montages and they are all heavily edited. Lots of quick cuts, close ups, motion blurs. It's often hard to tell what is actually going on in most of the "fight" scenes. Not too sure if these scenes were shot that way for artistic purposes, or to hide the actors boxing shortcomings. Daniel Wu can more than handle himself in Hong Kong action films.

There is plenty of Daniel and Louis topless on show, if you are into that sort of thing...

All of these issues aside, Born Wild is still bafflingly entertaining. Rather than the action being the high point, it's the dramatics. The side-stories and developing relationships between Tide and Mann, and Tide and Sandy are what drives the narrative. This is what makes the film charming and these are what sticks with you when it's all over.

The film is very stylish, it's just really great to look at, style over substance is very evident. Part of the enjoyment of these types of films is that you can just switch off, not take it too seriously, and look at the pretty pictures. Oddly, some of the musical choices are completely bonkers. Random heavy guitar riffs kicking in with no purpose. Or a random ballad getting belted out by Sandy while a supporting character plays along with the piano. A little jarring, but enjoyable!

Not exactly a film that will change your life or stay with you. But possibly worth a watch if you are a big fan of Daniel Wu or Louis Koo, or ultimately Patrick Tam. An above average Hong Kong film, but only just.

5.5/10

See this if you liked:

Boxing Hero

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Unbeatable

10 Upcoming Hong Kong Films You Should Be Excited About!

The golden age of Hong Kong cinema is clearly long gone. And although they still produce some great films every now and again, it's nothing compared to the amount of brilliant films they used to churn out regularly in the 80s and 90s.
However, it looks like that could all be about to change. With lots of exciting new information coming out of this years Filmart, it looks like the next couple of years could be filled with great films. I thought I would focus on some that I am most looking forward to.

Shock Wave (拆彈專家)

An action crime thriller directed by Herman Yau (The Mobfathers) and produced by and starring Andy Lau. Released in Hong Kong in April 2017.

Cheung Choi-san (Andy Lau) is a senior inspector of the Explosive Ordnance Disposal Bureau (EOD). Seven years ago, he went undercover and became the protege of Hung Kai-pang (Jiang Wu - A Touch Of Sin), a top wanted criminal specializing in bombs. Cheung successfully disintegrated Hung's criminal gang, but during the operation, Hung manages to escape while his younger brother and allies were captured. To seek revenge for Cheung's betrayal, Hung comes back seven years later and prepares to plant a series bombs in Hong Kong, which creates public panic.

The Brink (狂兽)

Upcoming Hong Kong action thriller directed by newcomer Jonathan Li, and produced by Soi Cheang and Paco Wong.

The Brink follows an ex-cop who gets caught in the line of fire when a smuggler launches a revenge attack on his godfather. Featuring the cast of Max Zhang (Ip Man 3), Shawn Yue (Wild City), Gordon Lam (Trivisa), Janice Man (Helios) and Wu Yue (Cold War 2).

Paradox (貪狼)

Another upcoming action film this time from Hong Kong action director Wilson Yip(Ip Man/SPL). With Sammo Hung handling the action choreography and Louis Koo (Call of Heroes) and Tony Jaa (SPL 2) starring, there is plenty to be excited about.

A police negotiator travels to Bangkok to search for his teenage daughter and is aided by local detectives played by Tony Jaa and Wu Yue. Along the way, he encounters the mastermind of an organ trafficking gang (Chris Collins), leading to a series of hot pursuit.

Drug Warn aka The Fixer (毒。诫)

Lawrence Lau directs Drug Warn previously known as The Fixer. Starring Sean Lau (Mad Detective), Louis Koo (Line Walker), Max Zhang (Ip Man 3) and Gordon Lam (Trivisa).

Drug Warn is a crime drama based on a true story about a Hong Kong gangster due for release later this year.

Taste of Crime (低压槽)

Nick Cheung's (Hungry Ghost Ritual/Keeper of Darkness) third time as a director will be action crime thriller Taste of Crime.

Starring Nick Cheung (Line Walker), Xu Jinglei (The Warlords) and Yu Nan (Wolf Warriors), the film tells the story of an undercover cop who unveils collusion between the highest level of government and the triads.

Love Off The Cuff (春嬌救志明)

Director Pang Ho-Cheung returns with his romantic comedy Love series. The follow up to Love In A Puff and Love In The Buff, is the third in the series Love Off The Cuff. Released in April 2017 in Hong Kong.

Miriam Yeung (Little Big Master) and Shawn Yue (Wild City) return and this time the couple go to Taiwan, their relationship gets tested when Jimmy’s(Yue) childhood friend asks him to donate sperm for her artificial insemination.

Chasing The Dragon (追龍)

Director Wong Jing brings real life 1970s gangster Crippled Ho (Donnie Yen - Ip Man) to life in a new crime drama. Andy Lau (The Great Wall) also stars, reprising his Lee Rock character.

The film follows Ng Sek-ho (aka Crippled Ho) as his days from an illegal immigrant through his rise to becoming one of Hong Kong's most powerful drug lords.

The Invincible Dragon (Made in Kowloon)

Director Fruit Chan (Dumplings) brings us The Invincible Dragon, formally known as Made in Kowloon.

Starring Max Zhang (Ip Man 3), Juju Chan (Sword of Destiny) and MMA icon Anderson Silva, this is an action film which was filmed in Hong Kong and Macau. The story follows a detective on the trail of a serial killer who may have abducted his fiance.

Cheung Tin-Chi

More Max Zhang! Oh Yes!

A spin off from the Ip Man series. Max Zhang's character from Ip Man 3 'Cheung Tin-Chi' gets his own film. Also starring Michelle Yeoh (Crouching Tiger, Hidden Dragon), Tony Jaa (Skin Trade) and Dave Bautista (Guardians of The Galaxy). And being directed by legendary Yuen Woo-Ping, there is plenty to be excited about!

Going in to production later this year!

Ip Man 4

Wow! Donnie Yen is back as the legendary Ip Man!Wilson Yip is returning as director and Yuen Woo Ping is on fight choreography.

Probably wont be out until late 2018.

There is plenty to be optimistic about and the future of Hong Kong cinema is looking extremely positive!