Author: Andrew Saroch

Part three has none of the charm of the original and doesn’t even stack up well against the second part; this is a lazy, charmless affair that had me looking at the clock every couple of minutes.

Each of the protagonists has their own trial to overcome, each has a solid character arc, and each contributes to the infectious enthusiasm created herein.

While not without some dry humour, Jack Ng’s courtroom drama is a mostly sober look at a theme that pops up in cinema worldwide, namely how the legal system tends to favour those with money and influence.

‘River’ might not reach ‘Beyond the Infinite Two Minutes’ heights of loopy brilliance, but it’s another mixture of Japanese invention and wit that is sure to please those looking for an antidote to bloated Hollywood excess.

A hard slog for some, but a beautiful appreciation of the ordinary for many, a look at how day-to-day life can have a worth all of its own.

The same lead duo and director had given audiences the wildly uneven ‘Fast Fingers’ the year before, but whereas that was entertaining, ‘I Will Finally Knock You Down, Dad!’ is a bit of a slog.

Despite its flaws, ‘The Goldfinger’ is an entertaining and well-acted piece of cinema with the highlights being the face-to-face meetings of Lau and Leung throughout the film.

You will probably have to be in a certain mood to watch a film as pessimistic as this, but the reward is an excellent piece of entertainment with plenty of food for thought.

It may be a throwback, perhaps an antiquated one to some, but in an era of uninspiring cinema, it’s strangely welcome.

‘Life Must Go On’ is not a cavalcade of hilarity nor is it remotely original, but it is a pleasant surprise and another reminder of the life left in Hong Kong cinema.

It’s not intended to be a stinging critique, but more an affectionate look at something that weaves together every culture on the planet: the way we mourn.

Scenes are chopped at strange junctures, the plot jumps all over the place and the simple act of allowing actors to have proper reaction shots to the drama unfolding is mostly absent.