Author: Andrew Saroch

Joseph Kuo can be credited with providing the genre with much to savour, but ‘World Of Drunken Master’ is a very routine kung fu comedy.

Those expecting the typical Tsui Hark flair and innovation may be disappointed by this straight-forward comedy, but it still shows his ability to add something to even the most well-trod narratives.

‘Wonderful Radio’ is less than the sum of its parts and, in a crowded genre, just doesn’t stand out. Pleasant, but instantly forgettable.

The drama that fills the narrative asks that Leung is capable of giving a mature, at times necessarily understated performance, something the actress resoundingly provides.

Unfortunately, just as you find yourself warming to his style, Wong Jing falls prey to the failings that would long be associated with him.

Melodramatic, beautiful, witty, hilarious, tragic, heavy-handed, overlong… ‘Windstruck’ is an enjoyable enigma that has enough virtues to make even a stoic critic a little more forgiving.

Kent Cheng gives the best performance of his career in a role that always manages to avoid histrionics.

A few moments allow you to think you’re watching a better film than you actually are and Jingle Ma utilises his former skills as a choreographer to make Beijing look as splendid as possible.

It may have weaknesses that wreak of uneven handling by the director, but its two main cast members courageously battle through such obstacles and help this topsy-turvy film achieve a certain charisma.

‘White Vengeance’ – in keeping with the generic expectations of recent years – has big, bruising conflict aplenty and it’s those moments that tend to have the greatest impact.

‘Whiplash’ may not be a particularly well known film, but with such a skilful blend of characterisation and robust fight scenes it really should be.

This is an above par HK action comedy and would please all fans of the genre – especially fans of Sammo like myself.