Wong Kar-Wai Movies
While a product of the fertile Hong Kong filmmaking community of the '90s, writer/director Wong Kar-Wai did not traffic in the over-the-top action blowouts favored by the likes of John Woo and Tsui Hark. Instead, his films took their inspiration from the seminal work of Jean-Luc Godard and the French New Wave, painting idiosyncratic and romantic tales of the young and disenfranchised uniquely representative of the myriad cultural influences which distinguish his native land.Essentially, Wong restructured a sector of the entertainment genre that thrives on action in a way that would allow him to use its traditional themes in order to make art films, proving himself to be a rarity within the genre. Equally unique is Wong's bold style, which thrives on pixilated slow motion action scenes, distorted close-ups, and fight sequences shot from several disoriented angles.
Far from being alienated within the film community, Wong has become a favorite among both critics and the Honk Kong acting circuit. Drawn to his fascination with mood and texture over a more straightforward narrative approach, action favorites including Maggie Cheung, Tony Leung Kar-Fai, and Brigitte Lin Ching-hsia have enjoyed working with Wong, claiming that it gave them a rare opportunity to play meatier, less conventional roles.
Born in Shanghai in 1958, Wong studied graphic design at Hong Kong Polytechnic. Fostering an interest in photography, in particular the work of Robert Frank, Henri Cartier-Bresson, and Richard Avedon, Wong enrolled in a TV drama training program sponsored by Hong Kong Television Broadcasts Ltd shortly after his graduation in 1980. After being recognized for his initial work as a production assistant on a number of serials, he quickly progressed to scriptwriting, most notably for the popular soap opera Don't Look Now. After exiting HKTVB's ranks in 1982, Wong became a noted screenwriter, scripting close to a dozen films over the course of the following five years. While working on Patrick Tam's 1986 feature The Final Victory, Wong conceived his directorial debut, the gangster picture As Tears Go By; released two years later, the film was a sensation on the festival circuit, winning raves for its gritty portrayal of the mean streets of Hong Kong. 1991's Days of Being Wild cemented his reputation as a talent to watch, garnering a number of international awards.
In 1992, Wong mounted Ashes of Time, an ambitious martial arts epic filmed with an all-star cast. During a break in the picture's lengthy editing process, Wong began working on another project dubbed Chungking Express, writing the screenplay in a Holiday Inn coffee shop by day and shooting each night wherever there was enough light. Debuting in 1994, the quirky romantic thriller emerged as the director's international breakthrough when it was selected by rabid fan Quentin Tarantino as the first product of his Rolling Thunder distribution company, becoming the first of Wong's features to receive proper American release. After resurfacing in 1995 with Fallen Angels, two years later Wong premiered Happy Together at the Cannes Film Festival, going home with the jury's Best Director award. Wong followed its success with the well-regarded In the Mood for Love in 2000. ~ Jason Ankeny, All Movie Guide
Master Hong Kong filmmaker Wong Kar-Wai directed this lyrical, dream-like martial arts epic. A famously troubled shoot, the film took two years and 40 million dollars to produce (a shocking sum for a national cinema populated with low-budget quickies) and features a virtual who's who of the Hong Kong film world. Conceived as a prequel to the popular martial arts novel The Eagle-Shooting Hero by Jin Yong, the movie is less a straightforward action thriller than a visually striking meditation on memory and love. It nominally centers on Ouyang Feng (Leslie Cheung), who ekes out a lonely existence as an itinerant hired sword. Getting on in years and tormented by memories of a lost love, he also works an agent for other mercenary assassins from his remote desert abode. Ouyang's old friend and fellow swordsman, Huang Yaoshi (Tony Leung Kar-Fai, who starred in the The Lover) drowns his lovelorn misery in a magical wine that makes him forget. Later, a mysterious young man named Murong Yang (Brigitte Lin) hires Ouyang to kill his sister's unfaithful suitor, Huang Yaoshi. The following day, that spurned sister, Murong Yin (Lin again), hires Ouyang to protect her dearly beloved. Meanwhile, Hong Qi (pop star Jacky Cheung) finds some redemption for a life of killing by accepting a poor girl's offer to avenge her brother's death -- a task that Ouyang brusquely shunned. In another subplot, a master swordsman (Tony Leung Chiu-Wai) is slowly going blind. He agrees to defend a village from horse thieves so that he can afford to go home and see his wife before his eyesight fails completely. This film is one of the most celebrated examples of 1990s Hong Kong cinema: it won multiple awards in its native Hong Kong, along with a Golden Osella for Best Cinematography at the 1994 Venice Film Festival.
In the years following Ashes of Time's initial theatrical release, the original negatives were lost and multiple versions of the film began to crop up all across the globe. As a result, director Wong Kar-wai longed to compile these various versions into a restored, remastered, and definitive final cut. With Ashes of Time Redux, the director restructures the film according to seasons, effectively clarifying the central narratives, and digitally colorizes the film to render cinematographer Christopher Doyle's masterful imagery all the more lavish and intoxicatingly gorgeous. ~ Jason Buchanan, All Movie Guide
In the years following Ashes of Time's initial theatrical release, the original negatives were lost and multiple versions of the film began to crop up all across the globe. As a result, director Wong Kar-wai longed to compile these various versions into a restored, remastered, and definitive final cut. With Ashes of Time Redux, the director restructures the film according to seasons, effectively clarifying the central narratives, and digitally colorizes the film to render cinematographer Christopher Doyle's masterful imagery all the more lavish and intoxicatingly gorgeous. ~ Jason Buchanan, All Movie Guide
- Starring:
- Leslie Cheung, Tony Leung Kar-Fai, (more)
Legendary filmmaker Wong Kar-Wai directs Jude Law, Natalie Portman, Rachel Weisz, and Norah Jones in his first English-language feature film -- a romantic road movie detailing the cross-country journey of a woman who sets off across the United States in hopes of mending her broken heart. Elizabeth (Jones) has just been through a particularly nasty breakup, and now she's ready to leave her friends and memories behind as she chases her dreams across the country. In order to support herself on her journey, Elizabeth picks up a series of waitress jobs along the way. As Elizabeth crosses paths with a series of lost souls whose yearnings are even greater than her own -- including a troubled cop (David Strathairn), his estranged wife (Rachel Weisz), and an embittered gambler (Natalie Portman) -- their emotional turmoil ultimately helps her gain a greater understanding of her own problems. ~ Jason Buchanan, All Movie Guide
- Starring:
- Jude Law, Norah Jones, (more)
- 2007
At the time of its production, To Each His Own Cinema represented the latest arrival in a tidal wave of internationally oriented omnibus films, with no official relation between them but all produced within a few years of one another. Few could claim a roster of talent comparable to this one, which boasts contributions by 33 of the most acclaimed directors in world cinema,
each responsible for three minutes of celluloid. Gilles Jacob, president of the Cannes Festival, devised the project as a "gift" to commemorate the festival's 60th birthday, and recruited many Golden Palm winners in the directorial selection process. Simply put, Jacob asked each director to express, cinematically, his or her "state of mind of the moment as inspired by the motion picture theater." Featured filmmakers include Joel and Ethan Coen; Olivier Assayas; Atom Egoyan; Walter Salles; Lars von Trier; Nanni Moretti; Roman Polanski; Theo Angelopoulos; Chen Kaige; Andrei Konchalovsky; and many, many others. Many of the initial entries (by Angelopoulos and others) involve the neglect or disrepute into which contemporary cinema, as a collective viewing experience, has fallen; a few segments, such as the Coen Brothers' short, about a cowboy (Josh Brolin) who attempts to determine which movie he should go see in sunny Los Angeles, employ a light and whimsical approach. At the other end of the spectrum sits David Cronenberg's piece -- a brutal short in which he prepares to commit a very public and graphic suicide on television before millions of viewers. Other highlights include Moretti -- offering a typically witty divertissement on what cinema means -- and Zhang Yimou, who lyrically depicts the gathering of numerous rural children for a screening at a movie theater. ~ Nathan Southern, All Movie Guide
each responsible for three minutes of celluloid. Gilles Jacob, president of the Cannes Festival, devised the project as a "gift" to commemorate the festival's 60th birthday, and recruited many Golden Palm winners in the directorial selection process. Simply put, Jacob asked each director to express, cinematically, his or her "state of mind of the moment as inspired by the motion picture theater." Featured filmmakers include Joel and Ethan Coen; Olivier Assayas; Atom Egoyan; Walter Salles; Lars von Trier; Nanni Moretti; Roman Polanski; Theo Angelopoulos; Chen Kaige; Andrei Konchalovsky; and many, many others. Many of the initial entries (by Angelopoulos and others) involve the neglect or disrepute into which contemporary cinema, as a collective viewing experience, has fallen; a few segments, such as the Coen Brothers' short, about a cowboy (Josh Brolin) who attempts to determine which movie he should go see in sunny Los Angeles, employ a light and whimsical approach. At the other end of the spectrum sits David Cronenberg's piece -- a brutal short in which he prepares to commit a very public and graphic suicide on television before millions of viewers. Other highlights include Moretti -- offering a typically witty divertissement on what cinema means -- and Zhang Yimou, who lyrically depicts the gathering of numerous rural children for a screening at a movie theater. ~ Nathan Southern, All Movie Guide
Three of the world's most gifted filmmakers offer their own unique perspectives on love and lust in this omnibus film. The initial episode, "The Hand," was directed by Wong Kar-Wai, and tells the story of Zhang (Chang Chen), a young, virginal dressmaker's assistant who finds it difficult to control his desire when he is sent to the home of Hua (Gong Li), a beautiful and refined prostitute, for a fitting. Steven Soderbergh directed the film's second story, "Equilibrium," in which Nick Penrose (Robert Downey Jr.) spends a session with his analyst (Alan Arkin) discussing a recurring dream of a beautiful naked woman in his apartment, but he keeps wandering off on tangents about alarm clocks and hair loss. Finally, Italian virtuoso Michelangelo Antonioni brings his short story The Dangerous Thread of Things to the screen, a story of a jaded couple, Christopher (Christopher Buchholz) and Chloë (Regina Nemni), whose relationship comes to a crossroads when both husband and wife become infatuated with the same woman, Linda (Luisa Ranieri). ~ Mark Deming, All Movie Guide
- Starring:
- Gong Li, Chang Chen, (more)
- 2004
The budding romance between a girl blinded in a childhood accident and a dating agency owner who has inexplicably lost his own eyesight is contrasted against the tender relationship between a heartbroken young woman and the man who was mysteriously guided to her by forces he cannot comprehend in this life-affirming romance starring Tony Leung. As a young girl, Cheung (Miriam Yeung) was left blind following a tragic accident. But although she has since led a contented life with her doting father, it's obvious that she still longs for true companionship. One day, when Cheung's father happens across an ad for a dating agency, the girl decides to take a chance and sign up. Though scheming agency owner Ho (Leung) remains doubtful that he will ever find Cheung a date, he accepts the challenge regardless and tries every means at his disposal to find the girl a suitable mate. Despite his repeated failures, however, Ho gradually feels himself growing closer to Cheung over time. Then, one morning, Ho awakens to realize that he has suddenly lost his sense of sight. Though no doctor he talks to can explain why Ho has suddenly gone blind, sympathetic Cheung does her best to help him adjust to his sightless new world - her optimism proving an indispensable source of support for the once swaggering matchmaker. Meanwhile, across town, a young man faces his own set of romantic hurdles as he makes his way to a woman with a broken heart. Perhaps, somehow, both couples will find the strength to overcome their fears and finally make love work. ~ Jason Buchanan, All Movie Guide
- Starring:
- Tony Leung Chiu-Wai, Miriam Yeung, (more)
Hong Kong-based filmmaker Wong Kar-Wai moves back and forth in time as he reexamines and amplifies the themes from his film In the Mood for Love in this offbeat romantic drama. Opening in the year 2046, in which a man named Tak (Takuya Kimura) attempts to persuades wjw 1967 (Faye Wong) to travel back in time with him, the film soon shifts to the year 1966, in which Chow Mo-wan (Tony Leung Chiu-wai), a struggling author, asks the woman he loves, Su Lizhen (Gong Li) to sail with him from Singapore to Hong Kong on Christmas Eve. She declines, and over the next three years, we return to Chow Mo-wan on December 24 as he finds himself with another woman each year -- lighthearted Lulu (Carina Lau) in 1967, eccentric hotel heiress Wang Jingwen (Faye Wong) in 1968, and Bai Ling (Zhang Ziyi), a high-class prostitute, in 1969. In time, Chow Mo-wan and Wang Jingwen become reacquainted, and a love affair blooms, but the fates are not on their side. 2046 had its world premiere at the 2004 Cannes Film Festival. A re-edited version featuring an additional 4 minutes of footage, but minus sequences by martial arts coordinator Tung Wai) premiered in late 2004. ~ Mark Deming, All Movie Guide
- Starring:
- Tony Leung Chiu-Wai, Gong Li, (more)
Chinese Odyssey 2002, produced by Wong Kar-Wai, is writer-director Jeff Lau's energetic parody of Chinese kung fu epics, with a bit of Shakespeare thrown in. Chang Chen (Crouching Tiger, Hidden Dragon) plays the Emperor, who, desperate for the free-spirited life of a wanderer, tries to escape from the royal palace with his sister, the Princess (Faye Wong, little seen since starring in Wong's Chungking Express). He's caught and returned to his angry mother by the royal guards, but the Princess, disguised as a man, manages to escape. Meanwhile, King Bully (Tony Leung, who also starred in Chungking Express) has returned to his hometown, where he is widely despised for his bullying ways, to run a restaurant with his tomboy sister, Phoenix (Vicki Zhao of Shaolin Soccer). They have a very close relationship. In fact, King Bully mistakenly believes that he can read his sister's mind. When the Princess arrives in town, King Bully finds himself drawn to her, but, believing she's a man, decides that his attraction is some kind of empathy with Phoenix. King Bully and the Princess spend a night eating and drinking together. In the morning, the Princess leaves. King Bully, determined that the Princess will marry Phoenix, vows to bring the charismatic young "man" back. She does return, but soon realizes that the royal guards are following her. Meanwhile, the Emperor convinces his mother to let him leave the palace to go look for the Princess. By the time he gets to town, the Princess has been carted off by the royal guards, with King Bully in hot pursuit. He's immediately attracted to Phoenix. More confusion ensues. Chinese Odyssey 2002 had its U.S. premiere at the 2003 Tribeca Film Festival. The film was awarded Best Film, and Faye Wong Best Actress, by the Hong Kong Film Critics Society. ~ Josh Ralske, All Movie Guide
- Starring:
- Tony Leung Chiu-Wai, Faye Wong, (more)
- 2001
A driver-for-hire (Clive Owen) is asked to spy on the wife (Adriana Lima) of an obsessively jealous husband (Mickey Rourke). The third of the five films in the BMW promotional series, The Follow was directed by Hong Kong filmmaker Wong Kar-Wai and written by Seven scriptwriter Andrew Kevin Walker. ~ All Movie Guide
- 2000
Stand-up comedian Eric Kot directs and stars in this drama about love and artistic originality. Produced by auteur Wong Kar-wai, the film shares both a similar sumptuous look, thanks to Christopher Doyle's brilliant cinematography, and a familiar bifurcated narrative as that of the Hong Kong master. The first half concerns Kot who, after getting the green light from Wong, is trying to direct a film called First Love in which a love-smitten garbage collector (Asian heartthrob and Wong veteran Takeshi Kaneshiro) follows around cute young kleptomaniacal somnambulist (Lee Wai-wai). Realizing that he is too influenced by Wong, he quits that production and starts another film called After Love, in which a spurned girlfriend (Karen Mok) stalks her ex-boyfriend. This film was screened at the 2000 Berlin Film Festival. ~ Jonathan Crow, All Movie Guide
- Starring:
- Takeshi Kaneshiro, Eric Kot, (more)
For his first film since the 1997 Hong Kong handover, auteur filmmaker Wong Kar-wai directs this moody period drama about unrequited love that, like his earlier work, swoons with romantic melancholy. Set in a Shanghaiese enclave in Hong Kong in 1962, the film centers on two young couples who rent adjacent rooms in a cramped and crowded tenement. Li-zhen (Maggie Cheung) works as a secretary in an export company while her husband's job at a Japanese multinational keeps him away on extended business trips. Across the hall, Chow (Tony Leung Chiu-wai) works as a newspaper editor and is married to a woman who is also frequently out of town. Neither respective spouse is ever shown in full, instead they are shot from the back or obscured by walls and furniture. Li-zhen and Chow soon strike up a cordial -- if tenative -- friendship. Chow begins to suspect that his wife's long absences are not entirely business related when he stops in unannounced at her office to discover that she is not there. Later, a colleague tells him that he saw his wife with another man. The icing on the cake comes when Chow notices that Li-zhen's handbag is identical to his wife's while Li-zhen discovers that Chow is wearing a tie that she gave her husband; it doesn't take long for them to realize that their spouses are sleeping together. Drawn together by shame and anger, Chow and Li-zhen reveal nothing of their discoveries to their partners. While working through their guilt by imagining how their adulterous spouses first hooked up and rehearsing interrogations, the pair slowly fall in love in spite of their determination to uphold their end of their marital vows. In the Mood for Love, which was screened in competition at the 2000 Cannes Film Festival, barely made it to the fest's final slot; Wong Kar-wai was reportedly shooting scenes in Cambodia a week prior to the festival. ~ Jonathan Crow, All Movie Guide
- Starring:
- Tony Leung Chiu-Wai, Maggie Cheung, (more)
Hong Kong filmmaker Wong Kar-Wai directs the strange, intimate drama Cheun Gwong Tsa Sit (Happy Together). Australian cinematographer Christopher Doyle employed multiple film speeds and different color film stock during the shooting. Ho (Leslie Cheung) and Lai (Tony Leung) are lovers from Hong Kong who have run away to live in Buenas Aires, Argentina. However, Ho is immature and unwilling to settle down, which makes Lai depressed. When they break up, Lai works as a doorman in a tango bar in order to save money and go home. The restless Ho becomes a prostitute. After Ho is beaten and injured in an attack, Lai takes him to his apartment to recover. Ho tries to rekindle the romance, but Lai isn't interested. He leaves the tango bar and works in a kitchen, where he meets the young Chang (Chang Chen) from Taiwan. ~ Andrea LeVasseur, All Movie Guide
- Starring:
- Leslie Cheung, Tony Leung Chiu-Wai, (more)
Wong Kar-wai's Fallen Angels is a sequel of sorts to the director's 1994 U.S. breakthrough Chungking Express. Expanding on the latter's style, themes, and mood, Fallen Angels is set in the surreal milieu of urban, nighttime Hong Kong. As with the filmmaker's other features, plot takes a back seat to mood. The wisp of a narrative intercuts two story lines. The first follows a hitman (Leon Lai) who finds that the assassin's life has slowly lost its allure. Complicating his life is his beautiful contact (Michele Reis, a former Miss Hong Kong winner) who pines after him with fetishistic ardor, although the two have never met in their nearly three-year partnership. In another part of the city, He (Takeshi Kaneshiro), a mute, boyish ex-convict, makes a living by sneaking into and running businesses after hours. Still living with his father who runs the Chungking Mansions hotel, the restless Ho falls for Cherry (Charlie Yeung), a woman getting over her breakup with the offscreen Johnny. The movie follows these episodic romances almost half-heartedly as with Wong's other films, and digressionary moments attract much of the camera's distracted gaze. This visually stylish and unabashedly effusive work is considered by some critics to be the quintessential Wong film. ~ Elbert Ventura, All Movie Guide
- Starring:
- Leon Lai, Michelle Reis, (more)
- 1994
Master Hong Kong filmmaker Wong Kar-wai directed this lyrical, dream-like martial arts epic. A famously troubled shoot, the film took two years and 40 million dollars to produce (a shocking sum for a national cinema populated with low-budget quickies) and features a virtual who's-who of the Hong Kong film world. Conceived as a prequel to the popular martial arts novel The Eagle-Shooting Hero by Jin Yong, the movie is less a straightforward action thriller than a visually striking meditation on memory and love. It nominally centers on Ouyang Feng (Leslie Cheung), who ekes out a lonely existence as an itinerant hired sword. Getting on in years and tormented by memories of a lost love, he also works an agent for other mercenary assassins from his remote desert abode. Ouyang's old friend and fellow swordsman, Huang Yaoshi (Tony Leung Kar-fai, who starred in the The Lover) drowns his lovelorn misery in a magical wine that makes him forget. Later, a mysterious young man named Murong Yang (Brigitte Lin) hires Ouyang to kill his sister's unfaithful suitor, Huang Yaoshi. The following day, that spurned sister, Murong Yin (Lin again), hires Ouyang to protect her dearly beloved. Meanwhile, Hong Qi (pop star Jackie Cheung) finds some redemption for a life of killing by accepting a poor girl's offer to avenge her brother's death -- a task that Ouyang brusquely shunned. In another subplot, a master swordsman (Tony Leung Chiu Wai) is slowly going blind. He agrees to defend a village from horse thieves so that he can afford to go home and see his wife before his eyesight fails completely. This film is one of the most celebrated examples of 1990s Hong Kong cinema: it won multiple awards in its native Hong Kong, along with a Golden Osella for Best Cinematography at the 1994 Venice Film Festival. ~ Jonathan Crow, All Movie Guide
- Starring:
- Brigitte Lin, Leslie Cheung, (more)
A Hong Kong fast food restaurant acts as the link between two unusual stories of police officers in love in this eccentric, stylish comedy-drama. Director Wong Kar-Wai plays freely with traditional narrative structure, dividing his film into two loosely connected segments. The first centers on a depressed cop struggling to come to terms with a recent break-up. His sad isolation is transformed when he encounters a beautiful, mysterious femme fatale, whose involvement with the criminal underworld proves troublesome for both. The second story explores the odd relationship between a female restaurant worker and another recently jilted police officer. The strange woman decides to regularly clean and redecorate the man's apartment in his absence, allowing the two to form a close intimacy without meeting face to face. Both stories present a beautifully atmospheric look at modern urban life and romance, with its combination of isolation and casual, unexpected meetings. Chungking Express came to the attention of American audiences thanks to the efforts of director Quentin Tarantino, whose own brand of fractured storytelling and urban cool owes a debt to Wong Kar-Wai. ~ Judd Blaise, All Movie Guide
- Starring:
- Brigitte Lin, Tony Leung Chiu-Wai, (more)
- 1993
Jeff Lau Chun-wai spins this wild and woolly parody of Wong Kar-wai's martial arts epic Ashes of Time, which was actually produced by Wong himself and features many of the same cast members as Ashes. This loosely plotted film centers around the misdeeds of a pair of royals (Tony Leung Chiu-wai and Veronica Yip) looking to usurp the throne. Also appearing in this film is the bubble-headed Third Princess (Brigitte Ling Ching-hsia) who martial arts ability is dubious at best, a mysterious flying head (Tony Leung Kar-fai), and the dreaded kung fu form "Toad Has a Pee Pee." Because of Ashes' notoriously difficult production, Dong Cheng actually beat the film to the theaters. ~ Jonathan Crow, All Movie Guide
- Starring:
- Leslie Cheung
Following up on his debut As Tears Go By, master filmmaker Wong Kar-Wai directs this dark, brooding tale about identity and unrequited love. Set in 1960, the film center of the young, boyishly handsome Yuddy (Leslie Cheung), who learns from the drunken ex-prostitute who raised him that she is not his real mother. Hoping to hold onto him, she refuses to divulge the name of his real birth mother. The revelation shakes Yuddy to his very core, unleashing a cascade of conflicting emotions. Two women have the bad luck to fall for Yuddy. One is a quiet lass who works at a sport arena named Su Lizhen (Maggie Cheung), while the other is a glitzy showgirl named Mimi (Carina Lau). Perhaps due to his unresolved Oedipal issues, he passively lets the two compete for him, unable or unwilling to make a choice. As Lizhen slowly confides her frustration to a cop named Tide (Andy Lau), he falls for her. The same is true for Yuddy's friend Zeb (Jacky Cheung), who falls for Mimi. Later, Yuddy learns of his birth mother's whereabouts and heads out to the Philippines. This film won a armful of trophies at the Hong Kong Film Awards, including Best Director, Best Actor for Leslie Cheung, and Best Picture. ~ Jonathan Crow, All Movie Guide
- Starring:
- Leslie Cheung, Maggie Cheung, (more)
Hong Kong auteur Wong Kar-wai makes his feature film debut with this gritty romantic crime-drama inspired by Scorsese's Mean Streets. The film opens with young gangster Wah (Andy Lau) getting a visit for the day from his beautiful cousin Ah-Ngor (Maggie Cheung), who is coming into Kowloon from the remote outlying Lantau island to receive medical treatment for a lung condition. At first, the short-fused gangster and the quiet country girl have little in common, but gradually the two start to form a bond of sorts. Meanwhile, Wah's buddy Fly (Jacky Cheung), who has an absolutely volcanic temper, is always getting Wah into hot water. Even though Wah knows that Fly is bound to end up dead soon, he stands by his foolhardy friend. After some hesitation, Wah -- who has fallen for Ah-Ngor -- visits his cousin on Lantau, hoping to make their relationship more than family. Fly later infuriates a psychopathic mob boss, Tony (Alex Man Chi-leung who, along with his henchmen, beats and degrades Fly and Wah. This induces Fly make amends with Tony by undertaking the outrageously difficult task of rubbing out an informant who is in the custody of the cops, before the man has the opportunity to testify in a court hearing.
~ Jonathan Crow, All Movie Guide
~ Jonathan Crow, All Movie Guide
- Starring:
- Andy Lau, Jacky Cheung, (more)
- 1987
A city is plagued by vampires, ghosts, and zombies that eat their living victims. A specially trained unit of government troops is sent to eliminate the creatures and are told to use whatever means necessary. This wild film tries to be a cross between Dawn of the Dead and Ghostbusters, but it wavers uneasily between suspense/horror and slapstick comedy. ~ Brian Gusse, All Movie Guide
- 1985
Guy Lai Ying-chau directs this romantic crime yarn about a pair of sibling thieves named Pretty Eyes (Joyce Ngai Suk-kwan) and Slanty Eyes (played by pop star Sandy Lam Yik-lin). When the two make the mistake of lightening the wallet of a mob assassin who just got paid for a hit, they find themselves in dire trouble. Pretty saves herself by getting arrested. When she gets out of the clink, she is pursued by handsome Taiwanese Interpol officer Simon Tang (Billy Lau Nam-kwong). When Pretty finally manages to lose the cop, Tang finds himself the target of the vengeful hired gun. Later, Tang, his Hong Kong police associate Chan (Leslie Cheung Kwok-wing), and the two sisters unite against the killer. Wong Kar-wai who would latter direct some of Hong Kong's finest films co-wrote this script. ~ Jonathan Crow, All Movie Guide
- Starring:
- Joyce Ngai, Sandy Lam, (more)
- 1982
As Fong (Chu Kit, aka Hsu Sye), a successful television star goes back to spend some time at the center where she learned the acting profession, she thinks back to her friend Angie (Chong Jing Yee) who was blessed with a wealthy home, but suffered from neglect as her divorced father devoted himself exclusively to his personal and professional life. After their reunion has rekindled their friendship, Fong and Angie feel a growing attraction for the same classmate, Cheung (Manfred Ng aka Ng Siu Kong) who is himself drawn to Angie. Although Angie rebuffs him once she learns that her friend Fong is interested in Cheung, she cannot resist the man's charms and ends up sleeping with him. Afterwards, beset by guilt she refuses to have anything to do with Cheung, and also falls deeper and deeper into the drug scene. Her father has remarried and she is more alone than ever. As the drama builds to the final performance of the graduating class, Angie is nowhere to be found and Fong continues with her part, in despair over the missing Angie. Both the final death scene of the class's performance and the fate of Angie are interwoven, as Fong learns the truth and changes as a result. ~ Eleanor Mannikka, All Movie Guide
