Jackie Chan puts on a rare snarly front as a framed police officer out to clear his name in this terrific spectacle of death-defying stunts and goofy comedy, still regarded as one of his finest achievements.
This notorious Hong Kong Cat III cult classic is either one of the most offensive movies ever made—or a hilarious ‘feel-good’ romp made more relevant with an ongoing pandemic.
The China that you won’t see, as Wang Bing observes with tenderness the daily lives of a young girl and her siblings in a poor rural village in Yunnan province.
Wang Bing’s extraordinary observational documentary shows us what it’s like in a mental asylum in China—for four gruelling hours, we find ourselves full of human empathy and incapable of rendering judgment.
Chow Yun-Fat and Cherie Chung sparkle in Mabel Cheung’s earnest and easy-going romance, shot in the grimy streets of New York.
John Woo goes into light-hearted (but still heroic bloodshed) mode in this rather pretentious heist-comedy with jarring tonal shifts.
A Japanese man and a Hong Kong schoolgirl try to find meaning in their lonely existence as they are faced with uncertainties of the future in this thoughtful and introspective drama.
China’s turbulent 20th century history is captured sweepingly in Mabel Cheung’s effective if straightforward film about the contributions and exploits of three pivotal sisters.
Pales in comparison to the first movie, Woo’s sequel (which suffered tremendously in post-production) has excellent action but a poorly-constructed story.
One could maybe marvel at its storytelling efficiency with a 90-minute narrative spanning decades of tumultuous modern Chinese history, but it doesn’t quite know whether to be epic or cheesy in its treatment.
