Author: Andrew Saroch

In just over 90 minutes so much action, story and style is effortless woven together that it shows the brilliance of one of the genre’s finest minds.

Even though I was eager to like the film and the trailer helped make this seem a possibility, this is a major disappointment – even for the most forgiving fans of the Samuel Hui/Karl Maka classic.

If any viewer has been brought up on the Hong Kong musicals that Jeff Lau’s work alludes to, this will be highly recommended.

With a welcome big screen appearance by Anita Yuen and an all-star rendition of Sam Hui’s beloved ’Private Eyes’ theme, this celebration of Hong Kong is an unpretentious distraction.

While Derek Chiu’s latest film is an acceptable blockbuster, the wit and style of the director’s earlier works is sadly fading away from him.

This film has been elevated to cult status in recent years and has become a huge favourite with a world-wide audience. All of this is thoroughly deserved.

Liu Chia Liang’s ‘The 36th Chamber Of Shaolin’ is an important cinematic moment and remains influential not just in Hong Kong film-making, but also globally.

Though containing enough reasons to warrant a viewing, ‘The Master’ is still not as polished as the better films being made by the studio at the time.

A typically operatic Korean rom-com where subtlety is elbowed aside in favour of ‘My Sassy Girl’ style emotional fireworks.

Full of negative characterisation, sloppily handled sentiment and rudderless direction, this is a film that drags along like the walking dead and manages to smother its noble intentions with complete indecision.

One of the better mainland films of recent years and probably the best of the ones that focus on the revolution.

Kuo lets the odd moment of peculiar editing affect an otherwise slick kung-fu drama; the final twenty minutes in particular seems far too rushed in comparison to the majority of the film.