In a Nutshell. Mini reviews of movies old and new. No fuss. No spoilers. And often no sleep.
Showing posts with label Danny Lee. Show all posts
Showing posts with label Danny Lee. Show all posts

Friday, 7 December 2018

City on Fire (1987)

Chow Yun-fat plays Ko Chow, an undercover cop in a violent Hong Kong setting. He's tired of the work and wants to retire, but his superior, inspector Lau (Sun Yueh), wants one last job from him: infiltrate and help bring down a gang of jewellery thieves, one of whom killed a fellow cop.
Ko is, it must be said, a bit of an ass-hole who's difficult to sympathise with, despite much of the running time given over to characterisation. But he gets a little less unlikable as the story progresses.
The closing act is fantastic — it also happens to be the part that QT ripped off for Reservoir Dogs (1992) — but overall the film is too uneven for my tastes.

2½ bleeding heads out of 5

Monday, 29 February 2016

Infra-Man (1975)

aka The Super Inframan

Shaw Brothers Studio wanted a piece of the sweet profit that imported Japanese tokusatsu movies were generating in their native China, so they produced their own movie and filled it with their well-established form of SB Chinese style martial arts. The result is a dynamically engaging slice of madness that feels familiar but different at the same time.
To become the hero, Lei Ma undergoes a dangerous surgical procedure involving super-human DNA (that just happened to be lying around). The self-sacrifice turns him into the agile Infra-man. Hooray!
The studio didn't half-ass it when it came to the sets either; the lair of the campy villainess Demon Princess Elzebub is amazing.

3 pointy metal titties out of 5

Sunday, 21 February 2016

The Killer (1989)

Chow plays a skilled assassin with a level of morality that the current Triad leadership deems outdated. When an attack of conscience weighs heavily on the killer's sense of right and wrong he quickly becomes a liability for the organisation and much bloodshed follows.
The typically black and white nature of cop and criminal is shaken up and given a new lease of life; it's bold but still within the realms of believability.
Parts of the story go directly for the heart strings with a sentimental song and subtly stirring themes but it never once compromises on the stylish, violent and balletic gunplay that Woo is famous for.

4 bullet discrepancies out of 5