Hark Tsui

The film offers up yet another part of the famous Journey to the West book. I honestly lost track of how everything connects and what bits I've seen. It doesn't really help that the film feels very episodic. In any case, the monk and his disciples continue their journey, while facing the dangers they encounter on their travels.

This film is first-class entertainment made with a sizeable budget. Tsui knows how to keep everything in check, the pacing is absolutely mental (with every five minutes something new and crazy happening), the comedy is decent and the CG is solid. It's what I want from this kind of film, as long as you don't expect anything too out of the ordinary, you'll be good.

Like his two previous films, Zhi Qu Weihu Shan (The Taking of Tiger Mountain) was shot in sprawling 3D. Reportedly Tsui is quite capable of handling 3D imagery in his films, it's just that I'm not a very big fan of the whole 3D/live action thing. Instead I settled for the boring yet pleasantly comfortable 2D version, which I believe was the right decision. Even while watching the 2D version it was pretty easy to spot the 3D effects, something that would've bothered me no end if I'd seen the film in 3D. To each his own though, I'm just glad the choice was there.

Zhi Qu Weihu Shan feels like Tsui's answer to Wen Jiang's Let the Bullets Fly. Both films are extremely light-hearted action flicks with an unmistakeable tongue in cheek approach. Tsui's film may not be as balanced and accomplished compared to Jiang's and it's clearly geared at a more forgiving audience, but the link between the two is definitely there.

The plot is pretty convoluted, but the film's premise is actually quite simple. A gang of criminals has its stronghold on top of a snowy mountain, a small but dedicated police force is tasked with breaching the stronghold and capturing the leader. Start with some espionage and people double-crossing each other, add a couple of long-running, high octane action scenes, finish of with a touch of drama and there you go: two hours of shameless entertainment.

Two things stand out. First of all there's Tony Leung Ka-Fai as the lead criminal. His character may be a silly caricature, but Ka-Fai has so much fun playing him that he quickly became one of the funniest villains I've come across the past few years. Then there are the crazy, over the top action sequences that take up a pretty big part of the film. Tsui clearly didn't aim for realism here, leaning heavily on CG (just check the crazy antics of that plane during the finale) to support some outrageous action scenes. If that's not your kind of thing, it's probably best to stay away from this film.

Sadly the parts in between are a little less entertaining. The drama and the espionage bits are decent enough, but they still needlessly slow the film down. Tsui also misses the raw talent to rise above the commercial foundation of the film, failing to bring that little extra which is needed to give a film like this a more lasting impression. Still the action is fun and exciting and while it lasts, it's a wildly entertaining experience. If you're okay with that it's hard to go wrong with this one.

A young Dee arrives in the capital, hoping to make it big. Eager to prove himself, he latches onto a rumor about a sea monster that attacks the city at night. The empress has hired Yuchi, her own investigator, to get on top of the problem. Yuchi isn't looking for any help, but Dee isn't willing to simply back down and let someone else solve the case for him.

This could've been another Hong Kong blockbuster classic, were it not for some overambitious CG. The sets, costumes, and action all look incredibly lush, but the CG cannot match that level and comes off as cheap and distracting. There's still quite a bit to look forward to, including a sprawling finale, I just wish Tsui had shown a bit more restraint where needed.

The plot is pretty negligible, but that's not a big worry. It's basically one big build-up toward a face-off. Li plays Chow, a skilled sword fighter with noble intentions, his adversary is a crafty eunuch with more malicious plans. The two cross paths and their fate becomes intertwined until they come together for a final confrontation in the legendary Dragon Gate Inn.

There's not enough physical action with Li involved and there are too many CG-powered projectiles flying around. The editing is also a little awkward and not as fluid as similar films from the 90s. The budget was clearly there though and the finale is still a very worthy spectacle, it just isn't quite as good as it could and should've been.

When the trusted subjects of empress Wu are taken out one by one, she worries that her inauguration might be postponed. She pardons detective Dee and allows him to assemble a crew to investigate the murders. Dee jumps at the opportunity and finds a few capable men who will assist him with his quest to uncover the culprit and his motives.

The veteran actors (Andy Lay and Tony Leung Ka Fai most notably) are perfect for their parts, ChainDeng is an impressive newcomer, the martial arts scenes are spectacular (Sammo Hung says hi) and the sets look lush and mysterious. Tsui's direction is fine too, but there's nothing that truly dazzles. Very capable and amusing cinema, but no masterpiece.

Chen is a romantic soul, who once buried a wedding ring in an old ruin, his all-time favorite spot. When he finally finds the girl he wants to marry, he takes her with him, hoping to dig up the ring and propose to her. When they arrive, Chen suddenly disappears. Not much later a body is found, but it is impossible to identify. Chen's sister and his future fiancee start an investigation, hoping to learn what happened to him.

The first hour is pretty good, the second a bit wobblier. Hark switches too much between different genres and while every segment works well enough in its own right, the succession is a little distracting. The cast is pretty stellar though and the film looks slick and contemporary. I also appreciated the effort to do something different, especially in an industry that is extremely formula-based, but Hark may not have been the right guy for the job.

Marcus Ray represents a jeans brand in Hong Kong. It's a pretty ordinary job, but things are about to heat up when it is discovered that Russian criminals are making counterfeit jeans and are padding them with experimental war tech, hoping to sell them to interested parties. Ray is the only one who is able to recognize the counterfeit jeans.

So yeah, the plot is crap, but it's not that much worse compared to some of its peers. What makes this film fun is the fact that every scene is made to be as spectacular as possible. Hark is overcompensating like a madman, and somehow it works. Van Damme isn't at his worst, the action is pretty spectacular and the pacing/runtime are on point. Not at all on par with Hark's best Hong Kong work, but very amusing regardless.

Yan-Yan is desperately looking for a man to marry, but no good options are available to her. The only one who takes an interest is Kong, but he has more fun teasing her. But then Kong dies, and he returns to her as a ghost, hoping Yan-Yan can save him. They both travel back in time to keep their former selves from fighting, but if their mission fails it will cost their lives.

Hong Kong comedy is an acquired taste, but at its best, it is so wacky that is hard not to laugh. And that's what Hark is going for here. There are some very inventive scenes (even though they may not make all that much sense), the pacing is pretty crazy and the cast does a solid job. It's not what I'd call a masterpiece, but it sure is funny and entertaining.

The fight with the old pirate is great and what I expect to see from a film like this, the rest of part five never really reached that same level. The comedy has its moments and the action is nice enough, but the bar should be higher for Hark. There's also a bit too much padding, adding 15 pointless minutes to the runtime. Still good, just not as great as I remembered it to be.

Chu's dad wants his daughter to get married, but there are no interested parties. As a last resort, he disguises his daughter as a boy and sends her to school. There she meets Liang, who slowly falls for Chu's charm. Liang is confused though, as he doesn't know that Chu is actually a girl, and she is afraid to reveal her true identity to him.

If you don't care for Hong Kong comedy The Lovers won't convert you, otherwise this is a film that holds a few nice surprises. The actors do a solid job, the comedy is fun, and the pacing is on point. It's typical genre work with a little twist, the thing I've come to expect from Hark's better films. Not a true masterpiece, but enjoyable genre filler indeed.

Hung arrives in Beijing, right on time to participate in a big tournament, organized to get people interested in martial arts again while teaching them the value of local traditions. A villainous clan also enters the tournament with less noble intentions, and they make a real effort to get rid of their competitors well before they have to face them in the arena.

The dream team is still very much present in this third part, but the new direction didn't really warrant the longer runtime anymore. 90 minutes suffices for a film like this. The comedy is nice enough, the lion dances/fights are lovely to watch and the production quality is definitely on point. It's just not quite as good and distinctive as the first two films.

Mong is the leader of a group of rebels who want to bring the current reign to its knees. When he is hit by a gas attack, doctor Choy does what he can to save Mong. He is unsuccessful, but Choy himself wants to join the fight of the rebels. They believe he is too old, Choy doesn't want to back down and assembles a group of fighters who want to help him prove his worth.

The Raid is an acquired taste, certainly when you're only used to Western cinema. The comedy is bold, the performances are well over-the-top and the action scenes are extremely dynamic. The film hardly slows down and the plot is almost impossible to follow, but all of that is just part of the experience. The Raid is goofy, wacky, and impressive, the perfect filler in Hark's extensive oeuvre.

The plot is quite intricate and detailed, but at its core, it is really very easy to follow. An important document is stolen from the Imperial Library. The guards are fired right away and the emperor employs the services of Ling to retrieve the document. Ling accepts his mission, but he isn't the only one looking to get his hands on the stolen pages.

Swordsman is a fun blend of the old and the new. On the one hand, it's easy to see the Shaw Bros legacy, but you can also find clear indications of what 90s HK martial arts would grow into. The action scenes are on point and the plot is solid, it's just that the runtime is quite long and the pacing a little lacking. Good fun though, and essential viewing before watching the two sequels.

Mark travels to Saigon to meet up with his nephew, who was just been released from prison. He makes him a deal he can't refuse, and together with Chow, they start a little weapon smuggling business that will make them rich in no time. But then Chow's husband gets out of prison and he isn't too happy with the competition. Mark and his new companions will have to stand their ground.

The lead trio is pretty good, the action is stylish (not quite the same as Woo, but Hark is a pretty capable action director himself) and the drama is a lot easier to stomach. It's not trivial to take over a respected series like this, but Hark did very well and delivered a film that is closely related to the first two but does carry the director's signature marks.

The army takes over Beijing in 1913, and immediately some of its citizens band together to revolt. Yin, the daughter of a general, returns to her home country to join the resistance. She is tasked to deliver a secret document at the opera. There she meets two other women who join her in her quest, but a confrontation with the police forces them to flee.

The action scenes are lovely (the ending, in particular, is great), the cinematography is on point and the performances are lively and fun. The film isn't best in class, but that's only because others have copied and improved on the originals. If you care about Hong Kong cinema, this is an essential watch and one that would cement Hark's further career.

The plot is a veritable train wreck though. The premise is pretty simple, a young soldier is lost and finds himself wandering in magic mountain territory. There he meets some honorable masters who are wrapped up in a dangerous battle between good and evil. The young soldier decides to join their cause. When it gets to the details of the plot, things get way more confusing.

I'm not a big fan of the handcrafted effects, the comedy, the performances, and the chaotic nature of the plot are also very much an acquired taste. I was really surprised to see it executed this well in such an old film. It doesn't happen that often, but I liked this better than the remake. Hark certainly didn't steal his reputation, great genre fun.

When Capone is released from prison, he plans to seek out the private detective who put him away. Capone feels he was trapped, and he wants revenge for the time he wasted in jail. The detective gets help from a close friend who warns him about Capone's plans, but Capone gathers some friends of his own to track down the detective.

The first half hour, the plot and comedy aren't all that great. Then follows a pretty cool bar scene where Hark shows he can do better. And from that point on, the film grows funnier and more entertaining by the minute. The performances are solid, the cinematography is on point and the finale is pretty damn awesome. Hark showcases his potential, and the rest is history

When a corpse is discovered in a local shop, a journalist assembles his own ragtag team to start up a proper investigation. After some digging, the traces lead to a castle further down the road, where a community lives separate from the rest. They are dealing with some problems of their own, as strange butterflies are bothering the inhabitants of the castle.

The martial arts is probably the weakest part of the film, but that's not a big issue as it isn't the main focus here. Instead, we get a pretty straight-faced mystery/thriller. No inappropriate comedy, surprisingly solid and earnest performances, and impressive, moody cinematography. A perfect calling card for Hark, and one of the best Hong Kong films of the 70s. Well-recommended.

You can't escape propaganda in a film like this, and if that triggers you, it's probably best to ignore this film altogether. If on the other hand you just see good guys smashing up bad guys, the film certainly delivers in spades. The scenes with the tank in the little village are superb, the rest of the action is on point too, but three hours is a little much. It's not a great film, certainly not up to the level of the names attached, but I had fun with it.

I'm not a fan of nostalgia and sentimentality, many of the directors present aren't really equipped to deal with these themes either. It would've been a lot better if they'd stayed closer to their signature craft, that's what the anthology concept is for. A little disappointing, though I can't say I'm all that surprised. Hark deserves lots of props for his short though.

All about Women tracks three young Beijing women and their dating problems. The first one has a proper job in a bank, but to her own surprise, she falls for a much older professor. The second one works in a hospital where she loves digging into patients' personal files, unknowing there is someone else checking her out. And the final girl loves Internet dating, only her prospective partner has no interest in the online world.

The film has proper cinematography and the first half is pretty funny. Then the mood switches and things start to go downhill. The cheesy Canto-pop doesn't help, the romance and drama element miss their target and the runtime begins to work against the film. It's still pretty decent filler I think, it's just that I expected a bit more from Hark.

The 2001 Zu is an unapologetic CGI fest. The quality is pretty hit-and-miss and it looks gaudy as fuck, but there's a level of dedication that gives the film its unique vibe. The cast is pretty cool too, the pacing is insane and Hark goes full out on the plot. It's not a film that made a whole lot of sense (though people versed in Chinese folklore and literature may have a different experience), but I sure had a good time with it.

Right before being shipped off to war a young recruit meets a lovely girl underneath a bridge, looking for shelter from the Japanese bombs. They make a deal to meet again after the war, but they don't know each other's names, so they have no clue where to look. Ten years later, they will meet again, unaware of their past together.

Hark relies a bit too much on situational comedy, which isn't my favorite. Only when he takes it to extremes does it become properly funny, but those moments are a little too sparse. The plot and performances are decent, but the pacing is a little slow for the amount of predictability present. It's certainly not a bad film, it's just that I expect to see a little extra in Hark's work.

Three youngsters like to make trouble, though most of their pranks are harmless. When they set off a small bomb in a local theater they're spotted by a peculiar woman. She goes after the boys and blackmails them so that she can enter their little group. Slowly but surely they are forced to do increasingly dangerous stunts, and in no time they have the police and the Triads on their neck.

The setup is a little odd (more so for a Hong Kong film) and it took me a while to get a handle on the vibe Hark was going for. The film is a lot more direct and violent compared to similar films of that era, but I'm not complaining. The cinematography is a little basic, but the restoration definitely helps. Add some solid performances and a few surprising twists, and you have a pretty good film.

A detective and a thief travel together in chase of a wanted criminal. They follow him to a remote island, where they hope to corner him. Once they arrive on the island they quickly notice something is off. They landed on an island full of cannibals, so survival suddenly becomes the number one priority.

I expected a little more after Hark's previous film, but this is still good fun. The martial arts stand out as the best part, but the comedy is pretty funny too. The music is quite loud and crazy, but it does add something unique to the film, which doesn't happen too often in Hong Kong cinema. Far from his best work, but if you're looking for something frantic and entertaining, you could do a whole lot worse.

The action is pretty spectacular, but it does get quite messy, and the film doesn't really let up. And when it does stop, it's only to make room for some sentimental drama. It's a shame, as these directors are capable of making way better films. Let's just hope they're not turning this into a trilogy.

Quinn is part of an anti-terrorist unit and he's one of the best there. On his last job he fucks up and when he awakes, he finds himself on a well-guarded prison island. When he hears that the criminal he was after now has it out for his pregnant wife, he has no choice but to escape his holding place. He teams up with Yaz, but time is ticking.

When Mickey Rourke delivers the best performance of the entire cast, you can imagine what the rest looks like. The action scenes are decent (though the actual fight choreo is a bit lacking), Hark brings a little visual HK flair to the production and there's a level of self-awareness that gets you through the worst parts rather safely. Not a good film in any way, but I got a few solid laughs out of it and it was never boring.

Two identical twins have been separated a birth when a criminal tries to escape the hospital. One of them ends up in the US and becomes a lauded classical music director. The other one remains in Hong Kong and becomes a capable mechanic. Years later they finally meet up again, where a case of mistaken identities will make both their lives a lot more complicated.

Two roles for Jackie Chan, helmed by Hark Tsui. It all sounded very nice on paper, but the reality is that I felt like I'd seen it all before, done better too. Chan is his usual quirky self, but the action choreography is a little plain. The comedy is fun but not quite zany enough, and the presentation looked a little rushed. Not bad, just not up to snuff.

The Prince of Kuwait is coming to Hong Kong, and a slick realtor sees his chance to make a deal of a lifetime. The Prince is planning to sell quite a bit of land, but to prove his worth the realtor will have to convince the Prince he has a strong bond with his father. The problem is he hasn't seen his dad in years. He pretends to have cancer in order to convince his dad to move in with him.

The cast is pretty phenomenal, everybody with any kind of presence at the time of shooting seems to have been included. Their roles don't always make sense, sometimes they even get a completely unrelated throwaway scene just to make an appearance, but at least the comedy remains the film's number one priority. Not great in any way, but this was pretty light and amusing Hong Kong comedy fare.

Our master thief is back at it again, this time he's after a precious gem that's in the hands of Queen Elisabeth II. He is bested in his efforts and sees the gem being stolen by some crafty imposters. Together with the police he has to figure out who got to the gem before him, only then will he be able to make a proper move himself.

Part 3 is a pretty typical heist/thieving comedy, the kind that was very popular at the time. Hark usually fares well doing a mix of crime and comedy, and while there is some funny daftness on display, it's not quite as over-the-top or silly compared to the previous film. Decent filler, but nothing more.

A young prostitute goes to church to make a confession, where she tells the priest she faces an enormous debt. The priest is shocked when he hears her story. Later on, he finds her address on a piece of paper she left behind, and he decides to help her out. He observes the woman from a distance and wants to make her life a little better without her noticing.

There is potential here, that's for sure. There are some fun ideas and the setup is interesting enough, but the rest is simply insufficient. The film looks cheap, the soundtrack is incredibly poor and the performances are way below the norm. The once so well-oiled machine is visibly unraveling, but there are some remnants of Hark's former glory to ease the pain, if not by a lot.

A young swordfighter seeks out the killer of his father. When he has finally located him, a bloody battle ensues and the boy loses his arm in the fight. People believe he didn't survive the bout, but the boy is only temporarily retreating, learning himself how to fight properly with just the one arm. With his newfound skills, he hopes to avenge his father's death.

Hong Kong martial arts films are known for their spectacular choreographies and smart editing, and that's where The Blade failed for me. The action looks incredibly messy and random. The performances aren't that great either and the plot is as basic as it gets. I expected a lot more from Hark, who delivered quite a few great action films in his career. The Blade is one of his rare misfires.

Kit is a small-time gangster who moves to Canada to start his life anew. As an added bonus, he can spend more time with his girlfriend. He wants to become a cook, but Kit won't get much time to learn the tricks of the trade. In Canada, he meets a woman who enters him into an ultimate cook-off, and Kit is forced to seek out the help of a renowned chef to uphold his honor.

While a cook-off doesn't sound too cinematic, Hong Kong directors tend to get quite crafty when it's time to spice up the battle. The dishes are pretty gross, and films like God of Cookery did a much better job pimping the food-based fights. It's still somewhat entertaining and there are some funny moments, but we all know Hark can do a lot better.

A criminal gang is terrorizing Hong Kong with the help of Pioneer I & II, two lethal robots. When Pioneer II gets damaged during a mission she falls into the hands of a skilled programmer. He reprograms the bot to help him fight the gang, but when he teams up with an ex-gang member, both the police and the criminals are on his tail.

I Love Maria offers a basic mix of crime and comedy, which is ruined by some terrible sci-fi elements. Hark fares well in front of the camera, adding some welcome comical notes, but as a director, he is incapable of finding the right tone. Don't expect too much from Tony Leung either, in the end, I felt almost sorry for his involvement in this project. Not the worst, but hardly a film worth recommending.

Yan loves football and women, but keeping a girlfriend is tough when he can't even keep a job. Then he meets Amy, and he falls madly in love with her. So much that he vows to better his life. Amy doesn't dare tell him she comes from a wealthy family, as Yan hates the rich. The problem is that Yan's boss is actually Amy's father, and her little white lies are starting to catch up with her.

There's enough comedy talent present to make for a successful Hong Kong comedy, it's just that Hark's direction feels a bit lazy. The film is never as weird or quirky as it could've been, and the plot has been done so often before that it hardly held my interest. The light vibe and solid pacing salvage a little, but unless you're a big Hark or Hong Kong comedy fan, there's not much here.

Ching is an ad guy hired to boost the ratings of a television station. He finds a psychic kid and pitches him against a chess champion, but once the tournament is underway Ching starts to question the ethical implications of his actions. He is reminded of the time he met a legendary chess master in the 60s, during the Cultural Revolution.

The film is too silly to be taken seriously, but it's also way too dry and serious in its delivery. The two stories seen separately aren't too bad and they kept me engaged but combined they just didn't make any sense. The film lacks focus, proper dramatic performances, and a sensible structure. This is one of Hark's weaker efforts.

The Black Mask is still around, his identity still hidden from the world. This time, he has to face an evil organization that is threatening to set off a bomb. Not any kind of explosive though, a DNA bomb that will turn all people into hideous mutants. To dismantle the bomb, he'll need to get by a group of mutated professional wrestlers.

Sure, the plot is incredibly silly, but it also holds more than enough potential for a fun and cheesy action flick. The abhorrent performances, poor action choreography (Yuen, what were you thinking), and cheap, campy presentation made this film a slog to sit through. This is without a doubt one of Hark's worst films.

Tak is an old kung-fu master who moved away to the US. A former student wants to kill Tak to prove to the world that he is the strongest fighter. Tak wants his best student to protect him, but he has never set foot outside of Hong Kong and when he finally makes it to the US, he has trouble getting used to the American way of life.

The US actors are laughable, and the fight choreographies are dull and uninspired. Even the finale feels like some mid-film fight sequence inserted to add a few minutes to the overall runtime (it's still the film's best scene, though). Hark's presentation is cheap and even Li appears defeated by the lack of quality in this production. For true Hark fanatics only, others shouldn't worry about skipping it.

The plot is as generic as can be, but that's not at all uncommon for this type of film. Inspector Wong is ready to resign from the force when his longtime partner is suddenly found murdered. Wong assembles a team and starts an investigation, which leads to some very unexpected (but not really though) revelations.

I'm not the biggest fan of the genre, but with a proper cast and/or with some extended action scenes, these films can still be quite fun. There's none of that here. The styling is also completely rubbish and even though the film is on the shorter side, it hardly matters since most of it serves no purpose beyond simple genre filler. Disappointing.