Tag: Hong Kong

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A Light
Never Goes Out
(Deng Huo Lan Shan,
Dang Fo Laan Saan,
燈火闌珊,
lit. Waning Light)

Director – Anastasia Tsang – 2022 – Hong Kong – Cert. 15 – 103m

****

The widow of a Hong Kong neon sign maker attempts to fulfil his last wish in constructing a specific neon sign, despite new regulations outlawing them – out in UK cinemas on Friday, May 12th #ALightNeverGoesOut

Mei-heung (Sylvia Chang) hangs around an amusement arcade coming to terms with the loss of her husband Bill (Simon Yam) who died just six weeks ago. He believed in luck and wishes coming true, and once won on a machine she thought a scam by inserting a coin whilst facing away from the machine. In their younger days, he proposed to her by fixing various neon lights on timers so that every time she’d make a wish, a switched off neon street sign would light up. Discovering her hard-nosed, go-getter daughter Prism (Cecilia Choi from Detention, John Hsu, 2019) has dumped Bill’s effects at the local communal recycle bin, she tries to retrieve them, falling foul of a cop more interested in enforcing rules than community spirit.

Bill was a much better craftsman than businessman, and packed in his business ten years ago so as to obtain a university grant for Prism.… Read the rest

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Infernal Affairs II
(Mou Gaan Dou II,
無間道II)

Directors – Andrew Lau, Alan Mak – 2003 – Hong Kong – Cert. 15 – 119m

***

Prequel in which a cop begins undercover in the triads and a triad undercover in the cops – reviewed for What’s On In London to coincide with UK cinema release, Friday, August 6th 2004

Set mostly in 2002, Infernal Affairs detailed the power struggle between undercover triad member Ming (Andy Lau) in the police and undercover cop Yan (Tony Leung Chiu-Wai) in the triads. Neither star appears second time round, younger versions of their characters played instead by Edison Chen (Ming) and Shawn Yue (Yan). This strategy’s success is debatable since neither is as watchable.

More successfully, Eric Tsang and Anthony Wong reprise their roles as police inspector Wong and triad member Sam, with the original’s directors Andrew Lau and Alan Mak wisely placing these two rather than the youngsters centre stage. Hong Kong buffs will recognise worthwhile bit parts from Carina Lau (Days Of Being Wild, Wong Kar-wai, 1990) and Roy Cheung (City On Fire, Ringo Lam, 1987).

On one level, the film plays out as a buddy movie between honest, good-natured gangster (really) Sam and driven law enforcer Wong.… Read the rest

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Infernal Affairs
(Mou Gaan Dou,
無間道)

Directors – Andrew Lau, Alan Mak – 2002 – Hong Kong – Cert. 15 – 98m

*****

Two moles: a cop undercover in the triads and a triad undercover in the cops – reviewed for What’s On In London to coincide with UK cinema release, Friday, February 27th 2004

Hong Kong thrillers are known less for clarity of plot than for bravura action sequences popularised by The Matrix (Larry and Andy Wachowski, 1999). But this latest cops and triads entry manages an interesting twist on the theme of the undercover operative. Or rather, in this case, two undercover operatives.

Ming (Fulltime Killer’s Andy Lau) is a triad member commanded at age 18 by Triad boss Sam (Eric Tsang) to become a mole on the police force. The latter’s tip-offs about rival gangs have over a decade taken Ming’s career through Criminal Intelligence Bureau sergeant to possible head of Internal Affairs investigating… informational leaks to the Triads. Himself!

Yan (Tony Leung Chiu-Wai from every other Hong Kong movie you’ve ever seen) is Ming’s nemesis: Sam’s enforcer and a Triad member since his teenage years. But Yan is actually an undercover cop, a fact known only to his recruiter Superintendent Wong (Hard Boiled’s Anthony Wong).… Read the rest

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The Dead
And The Deadly
(Ren Xia Ren,
人嚇人)

Director – Wu Ma – 1982 – Hong Kong – Cert. 12 – 99m

*****

A couple planning an inheritance swindle convince their victim to play along then kill him, after which he comes back as a ghost to take revenge – classic and seminal HK kung fu comedy is out on UK Blu-ray in a 2K restoration.

Made three years ahead of Mr. Vampire (Ricky Lau, 1985), this puts all the elements of that film in place, apart from the vampires. Actually, they’re not so much vampires as hopping ghosts (jiangshi). There’s no hopping in The Dead And The Deadly, but there are ghosts.

Chu (Sammo Hung) becomes suspicious when best friend Ma Lucho (Wu Ma) dies, suspecting Mrs. Ma (Leung Mei Hei) and her priest companion (Chung Fat) of poisoning him. As becomes clear from an early scene in a brothel, Ma is not gifted with women, so Chu is surprised that his surviving wife is pregnant. What he hasn’t realised is that Ma is actually in on the scam and is only pretending to be dead.

But that changes about an hour in when Ma’s two co-conspirators kill him for real to get his money, as Mrs.… Read the rest

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Over My Dead Body
(Seisi Seisi Seisapsei,
死屍死時四十四)

Director – Ho Cheuk Tin – 2022 – Hong Kong – Cert. 15 – 119m

**

Confronted with a naked corpse, the residents of three separate flats in a tower block try to get shot of it before its discovery can reduce their apartments’ selling prices – out in UK cinemas on Friday, April 21st

One of two films about living in a high rise released this week.

Hong Kong movies have a long tradition of knockabout and very silly comedy which are something of an acquired taste. Many of them are enjoyable enough. This particular entry, however, doesn’t travel outside the Hong Kong Chinese culture very well. To an English, non-Cantonese speaker, it doesn’t really work, coming over largely as irritating. (I suspect that, for Cantonese speakers, it may well play far more successfully.)

Half watching a TV show on his dashboard phone about the problems Hong Kongers face around ever-escalating real estate prices, Ming To (Wong You Nam from Ip Man, Wilson Yip, 2008) makes the journey in his VW van through gridlocked traffic, past the building’s SG (security guard) Lee (Sheung-ching Lee) of the tower block Seaside Heights to Flat 14A and the bedroom of sexy air stewardess Yana Chung (Jennifer Yu Heung-Ying from Shadows, Glenn Chan, Bure Li, 2020; Tracey, Jun Li, 2018) for some horizontal refreshment under the sheets.… Read the rest

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Animation Documentary Features Live Action Movies Top Ten

Top Ten Movies
(and more,
excluding re-releases)
2022

Work in progress – subject to change. Because I am still watching movies released in 2022, so it’s always possible that a new title could usurp the number one in due course. Before that, I have a lot more movies still to add.

All films received either a theatrical or an online release in the UK between 01/01/22 and 31/12/22. Prior to 2020, I’d never included online releases (well, maybe the odd one or two as a special case) but that year saw the film distribution business turned upside down by COVID-19. The movie business is still changing, and the dust hasn’t yet settled.

This version excludes re-releases (Psycho, Paris, Texas and Pickpocket, not to mention the first six Bond movies, would top everything here). It has been an amazing year for re-releases including one or two incredible, old movies being released in the UK for the first time on Blu-ray. This is the year I get to rank all 25 Eon Bond movies, and why not? A link to that longer list will be added here in due course.

In addition to re-releases, this version also excludes films seen in festivals which haven’t had any other UK release in 2022.… Read the rest

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Mama’s Affair
(A Ma You Zuo
Di Er Ge,
阿媽有咗第二個)

Director – Kearen Pang – 2022 – Hong Kong – Cert. PG – 127m

**

A former music business exec tries to get back into the game managing a boy singer while her jealous teenage son takes his exams – out in UK cinemas on Friday, August 19th

Essentially a three-hander, this centres around middle-aged mother Mei-fung (Teresa Mo Shun-kwan from Hard Boiled, John Woo, 1992; Over My Dead Body, Ho Cheuk Tin, 2022), her son, Jonathan (Jer Lau) who is doing exams and hopes to study at the UK’s Cambridge and similarly aged youth Fang Ching (Keung To). The two teenagers are played by members of phenomenally successful Cantopop boy band Mirror, arguably the production’s main selling point. It also has an unashamed music industry focus. Mei-fung, whose marriage is on the rocks, is a former record label executive who has decided to go back to the workplace now that her son is on the verge of going abroad.

She originally got out of the business at the insistence of her husband following a miscarriage. She was something of a workaholic, necessitated by her job of looking after talent, babysitting stars to the extent that juggling career and potential motherhood was well nigh impossible.… Read the rest

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Documentary Exhibitions Features Live Action Movies

Making Waves
– Navigators of
Hong Kong Cinema

A virtual exhibition of Hong Kong movie unit photography stills

*****

Accessible from Friday, July 8th to Sunday, August 14th in the UK as part of Focus Hong Kong 2022 Making Waves

The online platform hosting the exhibition

Funny things, virtual exhibitions. Like online platforms for viewing movies, they can take a bit of getting used to. In a real life exhibition in a museum, you wander from room to room, either looking at everything or, perhaps, looking at particular exhibits that take your fancy or that you want to study in further depth.

All that happens too in an online exhibition. I guess they can be viewed on a smartphone, but I was looking at this on my PC. There are help instructions on the menu, but I, like many others I suspect, ignored them and worked out how it all worked as I was going round.

I must have seen quite a bit of the whole before I realised that the best way to proceed might well be the ‘previous’ and ‘next’ buttons taking you from exhibit to exhibit. Before that, I’d worked out that if you clicked on a photographic image hanging on the gallery wall, your viewpoint / the screen / the camera would zoom in on the exhibit and frame it perfectly.… Read the rest

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Chilli Laugh Story
(He Jia La,
闔家辣)

Director – Coba Cheng – 2022 – Hong Kong – Cert. 12a – 94m

****

A young man successfully markets his mother’s chilli sauce in the pandemic lockdown until the lucrative business it unexpectedly generates is taken off him– out in cinemas in the UK on Friday, July 15th and in the US and Canada on Friday, July 22nd

This starts off with a very sweet – no, make that spicy – memory of 2002 when Coba Cheng (Edan Lui Cheuk-On) was a small boy of five and visited his mum’s village where he tried her chilli sauce for the first time. It burned his mouth, but was always a part of his life from then on.

Jump to mid-2020. Hong Kong, like everywhere else, is in the middle of the pandemic. Coba is now working his job from home, and he and his parents are struggling to live with each other in the same enforced space. His dad Alan (Ronald Cheng) is engaged in a no-way forward argument with a delivery man in a surgical mask who won’t tell him what the unknown package is until dad has paid the delivery fee, which dad won’t do until he knows what it is, which Mr.… Read the rest

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Breakout Brothers
(To Yuk Hing Dai,
逃獄兄弟)

Director – Mak Ho-pong – 2020 – Hong Kong – 12 (Camden Council) – 90m

****

Three prison inmates attempt to escape so that they can attend to various pressing, personal issues– online in the UK as part of Focus Hong Kong 2022 Making Waves from Friday, July 8th to Sunday, July 10th

The generic side of Hong Kong movies (kung fu, supernatural, swordplay, gangster, horror, comedy) has long been one of the strengths of that territory’s film production. This one has already spawned two sequels (Breakout Brothers 2, 2021 and Breakout Brothers 3, 2022, both Mak Ho-pong). In essence, it’s deceptively simple: three inmates in prison attempt to break out. This is hardly an original concept, however two elements makes it different.

One, it’s conceived and shot as a caper movie. It’s not really a comedy, but it most definitely has a lightweight feel. This is brilliantly established from the get-go with the introduction of the score by Pong Chow and Noel Li, which follows a long tradition of themes in caper movies and TV series typified by Mission: Impossible (composed by Lalo Schifrin, 1966) with its driving yet off-kilter bass-line. In Breakout Brothers, this is accompanied by a striking, graphic,opening title sequence as good as that for Collectors (Park Jung Bae, 2020), the difference here being that Breakout Brothers lives up to the promise of its superlative title sequence whereas Collectors doesn’t.… Read the rest