Jun (sans make-up, plus a few pounds) plays Soo-Jung, a chain smoking, world weary reporter who’s made a career from human interest stories. Tired of work and people in general, she intends to quit and take a trip to Mongolia to be with her wayward boyfriend, using the money from her latest article (an expose on a man who thinks he’s Bruce Lee) to fund it.

Having barely set foot inside the train station, a thief makes off with her camera and her screams for help fall on deaf ears. All except except for one mans. Rushing to her aid is a local loon in a Hawaiian shirt who chases down the perp in a selfless act of heroism. He retrieves her camera with personal physical cost, but when Soo-Jung tries to thank him, the odd man replies that he was only doing his duty as Superman. She is suitably tickled at his obvious delusion, but eyeing a chance to make one last quick buck, she asks him for an interview.

He tells her that he is Kal-El, last son of Krypton, and that the evil villain Lex Luthor has placed a shard of kryptonite in his brain. He informs her that although it stops him from using his superpowers he can still help old ladies cross the road, rescue cats from trees and even stop robbers and that it is his dream to one day remove the Kryptonite and soar through the clouds once again. Soo-Jung and her crew cynically follow Superman for days on his unending quest to help people. As he subdues perverts outside the local school he seems quite happy and never notices the fun poked at him by many passers by. At first the film crew too can’t help but laugh at him, but when her curiosity gets the better of her, Soo-jung takes him to the hospital to have an X-Ray, and the discovery that he has something sharp lodged in his brain tells her she could be sitting on the story of her life.

Anyone who enjoyed Marathon will be in familiar territory here and the fact that A Man Once A Superman is based on real life events only heightens this beautiful, uplifting, tragic but humorous tale of the kindness of one mans soul. Jeong shoots the film in a refreshingly non-glossy but assured way and as mentioned before, some fans may not even recognize Jun in her stripped down, overweight real life image which is a million miles away from the idealized characters she essayed in Windstruck or My Sassy Girl. The beating heart of the picture is undoubtedly Hwang Jeong-Min, and he embodies his character completely with a range which is duly tested over the course of the film. Whether as the happy go lucky local weirdo, savior of the people Superman or a normal guy stripped of all life can take, he captures the viewers hearts and minds in a way few actors are ever able to achieve. He also has superb on-screen chemistry with Jun leading to an implied romance that is eons away from usual Korean melodrama.

To talk too much about the plot would only serve to give away the films wondrous ending but the script is refreshingly simple and surprisingly knowledgeable in Superman lore. DC fans will get a kick out of everything from the implied Lois (chain smoking, cynical, bad grammar) of Jun, to the definite Clark (bumbling, caring, phone booth loving) of Hwang. Indeed, at one point, when asked where he lives our hero explains “I used to live at the North Pole, but global warming melted the ice”. Ultimately though, the film touches on notions of inspiration, just like Jeong’s Marathon, and of how we each have a great gift and responsibility as beings who can inspire those around us to achieve more than they think possible. This is something film-maker Bryan Singer tried to touch upon in the recent Superman Returns. It is ironic however, that a non official, special effects-less Korean drama can put this notion across better than even his assured directorial hand.

In all areas I found A Man Once A Superman to be a resounding success. The acting is marvelous and fans of Jun will certainly go home happy as the young starlet adds yet another string of variety to her already impressive bow. I would also be shocked if it didn’t win new fans for Hwang as he too is truly mesmerizing. Credit, of course, must go to writer-director Jeong who doesn’t sensationalize the moving moments and manages to keep an ostensibly simple script moving at a rapid pace. At times it is laugh out loud funny, at others horrifically saddening but it never once drops the ball on what it is saying or where it is going. The destination will probably be inevitable to you 5 minutes into the movie, but that is unlikely to stop the tears rolling down your cheeks come closing credits and the journey, not the destination is the thing of greatest importance. Ultimately, the most powerful effect a film can have on a viewer is to make you reflect upon the gift we all have of being alive. As I write this review, a good 6 hours after seeing it, I feel like I took something away - a tiny piece of warmth - something I can use in real life. That has to be worth the price of admission.

Lee Byung Hun is Sunwoo, a resourceful and intimidating “hotel manager” for mob boss Mr Kang( Kim Yeong-cheol), sorting out any “problems” for the gangster when needed. Skilled to the extreme in taking care of himself and his employer’s problems, Sunwoo has honed himself to perfection and is loyal to the end. When asked to keep an eye on Kang’s new young girlfriend while he is away, Sunwoo soon finds emotion stirring within himself, falling for his boss’ mistress Hee-soo (Shin Min-a). However, she is in love with a different man and, after some emotional struggle, Sunwoo decides to give Hee-soo and her new lover a chance and to help them get away from Kang. But as is always the case, Kang has eyes and ears everywhere and discovers Sunwoo’s deception. Hunted down, Sunwoo is tortured, tested and given a chance to prove his worth to Kang and make up for his mistake. Yet Sunwoo has other plans: plans that involve killing pretty much everyone who has turned against him.

For a change, style and substance merge perfectly, the cool, crisp look never over shadowing the tumultuous events the characters are put through. Lee Byung Hun brings an understated intensity to his character, able to defend his life at one moment and then lost for words when presented with a beautiful woman the next. His Sunwoo character is the picture’s heart, a man once turned cold now warming up to life again. Never cocky but confident, never showy but capable of getting “the job” done, Sunwoo brings an emotional core to the film and to the type of character that rarely gets the chance to be human. Kim Jee Woon is the other star, keeping an assured hand all the while, expertly switching from scenes of quiet intensity to ones of ferocious violence. The flick never loses its gritty edge no matter how crisp the visuals become, Sunwoo’s journey keeping momentum pulsing as we eagerly await what he is going to do next.

Woon also stages some impressive battles as Sunwoo takes on various groups and gangs. An extremely tense set piece that involves being buried alive, a phone battery to the eye and an escape by using a piece of wood on fire, is staged with such verve and convincing realism you begin to wonder if Sunwoo will actually make it out alive. Same goes for the epic gun battle come the finale, the best set piece since John Woo quit making eastern films. Violence is often brutal and in your face but, along with action, spaced out and always important to the narrative.

There is so much to say about A Bittersweet Life but the best thing to do is to just see it. Ignore anyone that complains the story is too simple as that is part of the charm and why the film works so well. It will probably be unfairly overshadowed by the likes of Oldboy and misleadingly compared to the likes of Scorsese, Leone and such likes. No offence to that great film or those great directors, it’s just that A Bittersweet Life is just as good if not better and ultimately a beast all of its own. A true gangster epic with brilliant performances, direction and action and not a mockney geezer or wideboy in sight. Simply: great.

This review is of the HK Edko DVD and therefore the Theatrical cut. A Director's cut version is due out shortly, but will not be seen in theatres, as a film like this deserves. Unfortunately, a cinema release of this cut in the West is not even certain, since Miramax hold the rights and are infamous for their disgraceful treatment of Chinese films. I just hope they don't dub it if it does get released.

The visual style of this movie is what impressed me the most, as each set of events or fight sequences has its own unique colour scheme wonderfully captured by cinematographer Christopher Doyle. You really have to see it for yourself. The narrative is predominantly told in flashbacks, with each sequence often being retold from a different perspective. Although this method has been done before, it should not be seen to compete, and works very well for this film as our perception of the truth - and who is right or wrong - changes throughout. Jet Li's portrayal of "Nameless" is very well done, and shows a side to his acting ability that Hollywood has not yet allowed. The one criticism would be that not enough time is spent on developing other characters, particularly Flying Snow (Maggie Cheung) and Broken Sword (Tony Leung). Fortunately, this should be elaborated upon in the forthcoming directors cut. Their scenes are still emotive and strong, while the inclusion of Donnie Yen and Zhang Ziyi play more as extended cameos getting a bigger bite at the action.

The action scenes within the film have clearly divided people. Those most critical were those who expected a more traditional ground-based style in the mould of Yuen Woo Ping, but in this instance, the chief choreographer Ching Siu Tung elects for a more aesthetically flamboyant approach straight from the traditional Wuxia novels. Here, characters can literally fly and walk on water while delivering their attacks, taking the abilities seen in previous movies to a higher level. What we gain in the visuals, we lose in the choreography and only Jet Li's encounter with Sky (Donnie Yen) contains true martial artistry. That is not to say they are not exciting because they are, and I personally loved them, even though I am the biggest fan of the 80's modern day style! Some of the fight scenes do incorporate CGI and while it is not always convincing, it does not ruin them in the same way that Andrew Lau has done in recent films such as 'The Avenging Fist'. In this case they are an enhancement and not just a cover up for talent.

I should remind the reader that this is not a film for everyone, and I doubt most western audiences would take to it very well. In this reviewer's opinion 'Hero' has shown that an exquisitely photographed film does not always have to be a case of style over substance. I eagerly await the extended version to see if some of the characters and flashbacks are built upon. In the meantime, I heartily recommend this DVD to any fan of Wuxia flicks as the action and pacing is still very good, and a fabulous advert for Chinese filmmaking. With Korean cinema getting all the plaudits at the moment, it is nice to see that the HK/Chinese can still compete.

Directed by Katsuyuki Motohiro who was also responsible for the ace 'Bayside Shakedown' movies, 'Summer Time Machine Blues' is at once a fresh and familiar take on the time travel genre. Its freshness comes in the form of a sarcastic wit which permeates the entire two hours. Yet when all's said and done, the fate of the world really does hang in the balance and what's really neat is that there isn't some 'Back To The Future' style epic mission to accomplish. The entire film takes place in and around the grounds of the school, and every beat and moment adds up to a bigger picture. In fact the realistic continuity is one of the defining factors of the picture, and it will certainly warrant repeat viewings just to see, for instance, a flash of light signifying the time machine being used, or the children watching the day old versions of themselves from the corner of the frame. The narrative has a sharp and snappy structure and stays focused on the important, albeit silly idea that the children just want their air conditioning back. It's hot in sci-fi 101.

As mentioned before, the cast is mostly occupied by the actors who portrayed these roles on stage, and it shows. Eita Nagayama ('Memories Of Matsuko') plays Takuma, straight man to his merry bunch of oddly likeable friends. Much of the comedy kind of 'happens' to him, whereas the rest of the gang actually create comedy. He's a sensitive sort of character who seems vulnerable and real, even amongst the bizarre shenanigans which ensue, and Nagayama certainly deserves credit in creating sympathy. The added bonus of the film for me was Juri Ueno's ('Swing Girls') Haruka who is a seemingly unreachable love interest for Takuma. His ongoing attempts to ask her on a date to the cinema give the film a romantic kick, and lead to a whimsical but sobering end which may just shock and surprise you.

Visually the film is marvellous, and it is here that I usually find a lot of modern Japanese cinema lacking. The sweltering heat can be seen and almost felt in each and every scene, which helps in creating a sense of desperation. Costumes and production design are both suitably bright and colourful and the special effects are of an incredible standard, but they never overshadow the heart of the story. Laughs come thick and fast and Katsuyuki Motohiro's trademark measured plot but punchy pacing are once again in full force, revealing detail upon detail until the overall story takes a satisfying shape. Along the way there are references to everything from HG wells to 'Back To The Future'. Fun digs at 'Star Trek' and a fair bit of nostalgic video game history. Nearly every scene is ended with a commodore 64 style jingle.

I can't say enough about how fresh, fun and vibrant this film feels. It takes the staples of the time travel genre and spins them in unexpected, humorous and at times even sad directions. The cast are uniformly excellent and the director seems to be happy to take risks and most importantly treats his audience with respect: there are no gaping plot holes ala 'Returner' in this one. I'm happy to have taken the plunge with 'STMB' and I advise anyone with a funnybone who isn't allergic to science fiction to check it out. After the 'Bayside Shakedown' movies, this marks director Katsuyuki Motohiro out to be one to watch, and a possible future leading light of the Japanese film industry.

Shaolin remains a constant thorn in the side of the Manchus and their dominance is threatened by this possible enemy. One Ching warlord (Wang Lung-Wei) devises a fiendish plan to get rid of the threat of Shaolin forever. He organises a battle between fighters from North Shaolin and South Shaolin, but he stacks the odds against one side, resulting in a tragic death. His scheme works very well and the perceived aggression is countered by South Shaolin who organise their three top fighters to train under different masters and exact justice. When the training is complete and the avenging force is ready, they travel up to the Manchu palace to take on the wronged North Shaolin men. After a furious battle the plot is finally exposed and the separate forces combine to take on the Manchu powers. However, there is tragedy for all concerned.

'Invincible Shaolin' looks, on paper, to be a tightly plotted, but not exactly incredible kung fu flick. What makes this such a significant classic though is Chang Cheh's handling of the material; if there were ever doubts as to Cheh's credibility as a serious director, 'Invincible Shaolin' will dispel them for good. Chang Cheh weaves intrigue into the plot along with a clear sense of humanity and even humour. Each character is well-defined by the style they use and each stands out as an individual within the framework. Rarely have the Venoms been given such a chance to show off the full range of their underrated thespian skills; the tragic, the humorous and even the romantic are all displayed in this extraordinary epic. It's also a unique opportuninty for every one of the team to shine in the action scenes and the drama, with the usually villainous Lu Feng finally playing a more heroic role.

Vitally, 'Invincible Shaolin' takes all of the aforementioned qualities and combines them with exceptional choreography. True movie buffs will appreciate the former, but kung fu fans will certainly be impressed by the latter. A number of different styles are highlighted and each Venom impresses in equal measure. The sometimes underused Sun Chien makes the most of his more substantial role while Chiang Sheng, Lo Meng, Lu Feng and of course Kuo Chui are equally assured.

'Invincible Shaolin' is another Shaw Brothers masterpiece and will stand as an timeless reminder of Chang Cheh's excellence.

Released from prison after thirteen years for a shocking child murder, Geum-Ja (Lee) plots revenge on the man who put her there. That this man is Choi Min-Sik, Oldboy himself, should be proof that 'Sympathy for Lady Vengeance' (released in the UK as 'Lady Vengeance') matches the first two instalments blow for blow.

Together with the female inmates Geum-Ja helped and manipulated in prison, her plan of revenge begins to take shape when she is released. Matters complicate when Geum-Ja's daughter, living with adopted Australian parents, insists on returning to Korea. And Choi Min-Sik's abominable Mr Baek harbours a secret far greater than being responsible for the botched kidnapping Geum-Ja did time for.

The restrained visual style of 'JSA' and 'Sympathy for Mr Vengeance' has now been replaced with the directorial pyrotechnics of 'Oldboy'; digital effects, a rich white and red colour scheme and the most fluid camerawork since David Fincher's, this is a feast for the eyes. However, there is more than CGI-candy: 'Sympathy for Lady Vengeance' is loaded with religious imagery, but Geum-Ja's dark wardrobe and a subtle use of hellish crimsons suggests she is not solely on the side of the angels.

Park's storytelling audacity outdoes his other Vengeance movies: using an intricate flashback structure the first hour recalls Geum-Ja's prison time and the formation of her plan, which isn't revealed until near the halfway point, and then only to a minor character. The playful, kinetic style of the first hour alters midway to a far darker, more upsetting second hour when Geum-Ja carries out her plan to kidnap Mr Baek and discovers the situation is more extreme than she imagined.

Park risks losing his audience with this abrupt shift, but those willing to stay the course can expect a thrilling, rocky journey. Although containing less onscreen violence than 'Sympathy For Mr. Vengeance' or 'Oldboy', here it is far ghastlier. Accusations of bad taste will be fired from some quarters, but Park is not afraid to morally assault his audience.

Lee's hungry performance as Geum-Ja is far removed from the nice-girl roles that made her famous in Korea, but as the beautiful avenging angel (and devil) she gives a career best. Choi Min-Sik belies his sympathetic performance in 'Oldboy' or 'Crying Fist' with a portrayal of pure evil.

Providing meat for the mind as well as fireworks for the senses 'Sympathy for Lady Vengeance' is one of the best films of 2006. Park's next film, the tentatively titled I'm a Cyborg, But That's Okay will prove whether he can serve warm dishes as well as cold.

Adapted from Miyazaki’s own epic fame-bringing comic strip, the film is confidently told in broadstrokes, unfolding one thousand years in the future where a Sea of Decay (known as the Toxic Jungle in the English dub), comprised of man-made pollutants, threatens to engulf the world. Huge insects dwell in the toxic sea while in unpolluted regions nations are divided between agriculture and militarism.

Nausicaa is the Princess of the Valley of the Wind, whose peace is shattered by the arrival of the warring Tolmekian army, attempting to steal a huge warrior beast away from a rival army in order to destroy the Sea of Decay. Nausicaa becomes locked into this conflict, desperate to prove that understanding differences is more preferable to total war.

With breathtaking ease 'Nausicaa' creates its world and populates it with vividly animated alien creatures. Tackling difficult and potentially preachy themes, the plot’s imagination and breathless pacing turns a merely interesting film into a riveting experience, a world away from deathly literal 'Harry Potter' adaptations.

As with 'Princess Mononoke' and other Miyazaki films, 'Nausicaa' has its cake and eats it, being a pacifist's warning about conflict and conservation while cramming in edge-of-the-seat thrills and excitement, blending antiquated and up-to-date military technology in a unique vision of warfare. Battles above in the clouds in Miyazaki’s beloved flying machines inspire genuine awe, as does the finale when an army of beserking ohmu (giant bugs that spread the Sea of Decay) stampede on the Valley of the Wind. But, careful attention to character and expertly orchestrated suspense elevates this above empty spectacle.

Nausicaa herself is a spunky lead, while secondary and peripheral characters are also sketched with warmth and insight. A sense of giddy exhilaration bristles in the film every time she climbs aboard her glider and takes to the skies.

Watching 'Nausicaa' it becomes clear how conventional Western animation is, and how thought-provoking-cum-enjoyable storytelling is badly needed in family films. Yet, in 1985 for the American market New World Pictures took 'Nausicaa' and re-edited and re-christened it Warriors of the Wind (way to miss the point, guys) and famously had Miyazaki decreeing he would never allow Western hands to tamper with another of his films.

For anyone interested in their anime, this is a must-have.

Set in Tai Pei, 'Turn Left, Turn Right' follows the story of aspiring violinist John (Kaneshiro) and shy translator Eve (Leung). The two go about their daily lives blissfully unaware that they live next door and only meet accidentally in the park one day. As their meeting progresses, both of them realise that they have met previously; a long journey on the train saw their two respective schools meeting and John and Eve slowly falling for each other. Unfortunately, neither of them knew the other's name and so they have drifted apart until this fateful day. Determined to stay with their soulmate, John and Eve exchange numbers and resolve to meet again for another date soon. Yet again though, a cruel twist means that both of them lose contact and are frustrated that they have no obvious means of meeting again. Broken-hearted, John and Eve try desperately to find the other in Tai Pai and, ironically, the incidents that occur along the way are almost identical. To add further stress to the situation, John and Eve are then the respective subjects of unwanted affection: John is 'stalked' by a feisty young woman who works at the local fast food outlet while Eve is targeted by an amorous doctor who she went to college with. The search continues despite these obstacles, though things continue to look bleak for the young lovers ever meeting again.

On the surface, 'Turn Left, Turn Right' is a romantic comedy that is too preposterous and reliant on coincidence to succeed. The idea that two people could live next door for so long and be so determined to find each other without ever casually bumping into one another is difficult to swallow. However, to try to examine it with this line of thought is futile as much of the winning charm of the story is reliant on a feint touch of surrealism. The intention is to carve out a simple tale about the frustrations of meeting that someone special and in this area Johnnie To and Wai Ka Fai succeed with laudable aplomb.

The general premise of 'Turn Left, Turn Right' is given life by its sublime set of characters and, of course, the gifted performers behind them. John and Eve are an affectionate and thoroughly winsome couple of lovers, full of subtle inadequacies and quirks, yet always believable. Characters who are slightly nervy and, to some, neurotic are very difficult to write as the audience can often feel slightly bored by any overuse of 'kookiness'. John and Eve manage to avoid any of these difficulties and the results make 'Turn Left, Turn Right' the achievement it is. Beyond our heroes we can also savour two amusing supporting players who add a zestful energy to the storyline. Not only is the actual characterisation superior, but the performnces are especially noteworthy. Takeshi Kaneshiro has rarely been as fascinating as he is here; his performance is similar to the one he gave in 'Anna Magdalena', full of nuances that make him a very sympathetic individual. Gigi Leung also shines as Eve, managing to radiate vulnerability with a radiant beauty that she has only briefly succeeded in combining before.

'Turn Left, Turn Right' makes good use of its relatively exotic setting, utilising luscious photography and a pleasing use of its Tai Pei setting. The obvious fact that the narrative takes place away from the usual Hong Kong city landscapes gives everything a fresh feel that undoubtedly adds to the overall energy of Johnnie To/Wai Ka Fai's stellar efforts. There's also some sweeping crane shots to admire; these aesthetic strengths are further indications that this is a production that oozes quality and sophistication. 'Turn Left, Turn Right' excels in most departments and it's always comforting to see such care and attention taken in front of and behind the camera.

In the final analysis, 'Turn Left, Turn Right' is a minor miracle. It's difficult to avoid over-gushing praise, but this is a sweet, enchanting romantic comedy that has enough moments of genuine empathy to fill a dozen lesser films. In an age where 'sweet film' has almost become a derogatory term, 'Turn Left, Turn Right' is a cinematic joy that is touching, amusing and uplifting. Any film that can combine all of these virtues is worthy of praise - it's no surprise then that I have given this gem the highest mark I can bestow.

Su-Mi (Lim Soo-Jeong: 'Sad Movie',' ...ing') is returning home from an un-explained stay in hospital with her younger sister Su-Yeon (Moon Geun-Yeong: 'My Little Bride', 'Innocent Steps'). Arriving at the house, they first explore the beautiful garden and journey down to the small, nearby peer to dip their toes into the lake. Neither girl appears to be in a rush to enter the house. Finally they are called by their father and hesitantly, they make their way inside. There, a woman, their stepmother to be precise, greets them. We can tell instantly that all is not right. After a bitter argument with the woman, Su-Mi leaves the dinner table to head for her dark, lonely room. Slight goading and a shade of spite from the stepmother leaves younger sister Su-Yeon following suite. The sisters' father seems oblivious to all this however, and remains sat at the dinning table like nothing had happened. Later that night, ghostly noises can be heard throughout the creaky hallways of the house, scaring the younger sister into her elder siblings bed. But as Su-Yeon sleeps, a ghostly apparition appears before Su-Mi, climbing onto her bed and reaching down to strangle her. Both sisters are awakened by their father knocking at the door the next morning, only to find that they are safe and well, but the bed sheet is stained with blood. Su-Yeon had had her first period, and the girls are shocked to find that both they and their stepmother, all started on the same morning. What connection can this have to the eerie goings on in the house? Did Su-Mi really see what she thought she had that night? And why does the father seem to neither react nor respond, to any of this?

The questions posed all lead to answers that are probably best left buried. Tension mounts in the house as the two sisters try to unravel just what is going on, avoiding their evil stepmother as they go. If all this sounds anything like a fairytale, be prepared for a not so 'happy' ending. 'ATOTS' is a horror movie with a Difference. Yes, it does shock and scare the viewer, but it does something else that you'll likely not expect: it also touches you. Underneath the horror is a story of a broken family whose members are at war with not only each other, but also themselves. Their tale is a delicate puzzle, which is mysteriously pieced together by the audience under the guidance of master director Kim Ji Woon. For every time you jump, something will happen which will make you question the intention of all involved and, while the shocks are woven skilfully amongst the narrative, less patient viewers may be left itching for blood, guts and that creepy looking girl with the long black hair. I only hope that those people do find the merit in a different type of horror picture. In fact, as stated earlier, 'ATOTS' is more of a psychological thriller than straight out spook-fest. This is a film, which not only leaves you sweaty-palmed but also broken hearted at the pain and suffering of this once happy family. Personally, this for me leaves it running rings around, well, Ring.

Another area where 'ATOTS' stands head and shoulders above many other recent Asian horror films is in its design. The house itself is a beautifully constructed set, which has been designed and lit with remarkable detail. It almost takes on a life of it's own in it's brooding shades of purples and greens. Each area has been lit differently and so each room has it's own characteristics which are perfectly exploited by the wonderful cinematography. Many unique camera tricks and special effects are also used, though you'd be hard pushed to tell. These aren’t effects which are used to create 'otherworldly' sights, but rather to give the camera better movement and heighten pivotal moments. A moving pattern on an eerie piece of wallpaper is one such example, as is what is probably the most important revelation of the picture towards the end. It's a 360% camera movement in a confined space, which reveals the perpetrator of many of the wicked events, something that could have not been done if not for special effects. The music also follows the standard of these elements with a score which is both haunting and sad, but is never over used or simply ‘abruptly increased’ to scare the audience.

A film like this, where so much relies on character and interaction, lives or dies by its cast. Though not a large one (there are four main cast and only two other cameos) the cast of actors here are simply superb. Both sisters are very different in nature and though very young, come across strongly. 16-year-old actress Moon Geun-Yeong portrays the gentle Su-Yeon, perfectly capturing the essence of a helpless girl who is a pawn in the power struggle between her elder sibling and their evil stepmother. Lim Soo-Jung, who was also brilliant as the young girl with a terminal illness in '...ing', shines through with a performance showing skill beyond her years. She perfectly portrays the struggle of juggling her vendetta against the step-mom with wanting to care for and protect her sister. As the stepmother, Yum Jung-Ah is a wonder to behold, acting above her age and giving a suitably chilling performance of a woman who seems cold, vicious and manipulative one moment but rather helpless and fragile the next. She manages so much with the little screen time she has and is surely an actress we will see much more of in the future.

Kim Ji Woon brings all the various elements together into an intelligent, thought provoking whole. At it’s heart it is a story of a girl who was too petty minded to think of anything but her own silly grudge, and a family torn apart by the pain of change. Child abuse, suicide and mental illness are the real demons here and while that may put true horror fans off, 'ATOTS' more than makes up for lack of otherworldly goings on in beauty, intensity and a real sense of fear. If you are willing to substitute blood for brains and real heart for cheap scares, this movie will be one you will remember long after you see it.

When it comes to anime, Studio Ghibli is fast becoming my one-stop-shop for reference material from the genre. Their fascinating back catalogue of films span a multitude of subjects that utilise a variety of styles, all of which appear at their most engaging when Hayao Miyazaki is at the helm. 'Princess Mononoke' is considered by many to be Miyazaki's crowning glory and watching it now, it's easy to see exactly why it is so highly regarded. The film is littered with tremendously three dimensional characters that inhabit a lavish and realistic world, all of which are explored through the innocent eyes of a child (a common trait in Miyazaki's films). Although perhaps not quite as meticulously polished as 'Spirited Away', this is still a film that conveys numerous noteworthy messages and exhibits exciting action pieces along with a set of characters that are easy to empathise with.

There have been many arguments based around the true meaning behind 'Princess Mononoke' and it's often felt by enthusiasts that Westerners fail to grasp it's core concepts. Speaking for myself, the most important message appears to be an ecological one that reiterates the human mentality to destroy nature for our own development but it isn't without both sides of the argument. Before you panic though, this is not another exercise in "how to become a hippy" as perfected by Steven Seagal in 'On Deadly Ground', it is in fact a subtle approach at delivering a very real message that is often so restrained that it is possible to overlook it entirely. Obviously for the kids this will mean that they can enjoy the film without feeling forcibly educated and hopefully the message will slyly sink into the subconscious, giving everyone food for thought.

As has also become the norm with Ghibli productions, the animation here is second to none. The human characters, whilst maintaining the familiar artistic style seen throughout the Ghibli films, are a joy to behold and express a multitude of facial expressions that constantly amuse but are always capable of conveying the serious emotions when required. However, it's the bizarre creatures that inhabit Miyazaki's worlds that really provide his films with their true beauty. With 'Princess Mononoke' we are treated to the likes of the errie yet cute Kodama who dwell in the forests, the sublimely animated Deer God (Shishigami) and the monstrous boar Okkotu to name but a few. Each of these are so imaginatively created and unique that one wonders how it is possible to keep inventing such ingenious creations.

To attempt to categorise Miyazaki's films into a degree of quality would be unfair as each one maintains a distinctive charm of it's own but if pushed then 'Princess Mononoke' would easily be classed as one of the frontrunners (right up there with 'Spirited Away' for sure). This is a fantastical story filled with a meaningful narrative and superb characters and it is easily approachable for people of all ages. Truly another masterpiece from the mind of Miyazaki.

Park makes cinema with a vengeance. He loves studying the effects of vengeance. Although 'Oldboy' reportedly marks the second instalment of Park's Revenge Trilogy, begun with 'Sympathy For Mr. Vengeance' and presumably concluding with the upcoming 'Sympathy For Lady Vengeance', Park's contribution of 'Cut' to 'Three... Extremes', plus 'JSA', all depict characters who sacrifice their humanity for that cold dish.

'Oldboy's premise is irresistible: Oh Dae-su (Choi), a boorish white collar worker estranged from his wife and daughter, is kidnapped seemingly for no reason and imprisoned in a hotel-style room for fifteen years. On the eve of his escape, following madness and suicide attempts, he is suddenly released. Confronted by Lee Woo-Jin (Yoo), his kidnapper, he is told he has five days to discover the truth or his new close friend Mido (Gang) will die.

With a plot this mysterious and audacious, the danger lies in protracting the investigation and climaxing with disappointing revelations. Working from Tsuchiya Garon and Minegishi Nobuaki's original manga, Park and his two co-writers keep the plot steamrolling toward a terrible denouement with surprising twists, Lee finances Oh's investigation and reveals himself early in the game while the reason behind the kidnapping and the revenge is as vicious as Oh's claw hammer. Dreamlike flashbacks transform this revenger's tragedy into a study of memory and loss, blurring the distinction between the victim and the persecutor.

Definitely not to everyone's taste, but ink black humour and Choi's powerhouse performance prevent 'Oldboy' from becoming unendurable: Oh Dae-Suk hunts down Lee by searching for the dumplings he ate for fifteen years, he takes on an army of heavies in one brilliant shot (apparently shot over three days), tortures his jailer to the strains of The Four Seasons and eats a live octopus.

In Choi Min-Sik Park has an actor perfect for the demands of the role. An intense hulking bear of a man, he conveys both the fury that has honed his physique and the arrogant stupidity that dooms him. Yoo's Lee, slyly established as the Dr Frankenstein to Oh's Monster, also succeeds as a charming, intelligent and ruthless nemesis, while Gang's fragile performance is perfect to humanise the beast Mido is trying to redeem.

Park's handling of this explosive material is utterly assured and he also surrounds himself with first class collaborators. Cinematographer Jung Jung-Hoon's visuals, inspired by 'Se7en' DP Darius Khondji, create a darkly comic book noir, art director Ryu Seong-Hie's bizarre set decoration provides a near subliminal sense of unreality, and composers Park and Jo Yeong-Wook's mournful string based score echoes Hollywood thrillers from the forties and fifties.

With Tarantino screaming his praises and an 'Oldboy' Hollywood remake in the offing (that will inevitably buckle where this film refuses to compromise) Park Chan-Wook can take any direction he chooses. He has already declined an offer to remake 'The Evil Dead', so here's hoping he does not stray too far from his native Korea, which allows him to make radical and inspiring cinema such as this.

Every venom is brought together with the exception of Wei Pei. Also involved is earlier star Chen Kwan Tai and the late great Chaing Sheng to deliver what could be one of Chang Cheh's most memorable film, mainly due to it's unforgettable title.

In retaliation for an attack set up by the mentally disturbed Dao Tian Du (Chen Kwan Tai), the '3 Tiannan Tigers' (led by Dick Wei) storm his home to kill the guards and take advantage of his family. His wife dies in shock of having her legs chopped off. However, the boy survives but his arms are chopped off. Dao avenges their loss immediately as he discovers this situation. Dao promises to get the best blacksmith to attach iron arms for his deformed son.

Years later. His son grown up, now has iron arms that have the capability to extend outwards in close quarters battle whilst his fingers can shoot out darts. In the town, it is unofficially known that Dao's clan rule the town so no one dares to cross them. They also make it clear that if they were insulted in the slightest, the 'offender' would be tortured.

Sadly, 4 victims fall for this: Bystander Chen Shuen (Kwok Choi) is blinded, Blacksmith Wei Jia Jie (Lo Meng) is deaf and mute, an ex-worker (Sun Chien) is legless and fighter Wang Yi (Chiang Cheng) is brain damaged. Despite their disabilities, they are taught to enhance their other senses to optimum level. The heroic group are determined to avenge for what they got taken from them.

Sure, it maybe another revenge story. The finale delivers a breathtaking fight of father and son vs. all 4 warriors. What follows is the classic battle of such characters representing justice which in that era and place would not be visible.

Lo Meng's muscular physique may slow him down from performing. Sun Chien receives the least screen time, apart from throwing a few kicks he's mainly inert in the action side - Probably due to the limitations of his character. Because of this, the work of acting a cripple and fighting simultaneously will be complicated, viewers will expect maximum results for this title to live up to it's reputation - This certainly does not disappoint.

Of all characters, Kwok Choi's is probably the most entertaining as he receives such a complicated character and more screen time and he mainly takes over everything in the training scenes and the finale. With the departure of the only female character and useless henchmen, the main reason to watch this will be for the father & son vs. 4 warriors.

It would be hard and unfair for me to say what the best venoms movie was due to all their uniqueness and different value of martial arts and plot. It's either one has superior and faster action and a relatively easy-to-follow plot or the another; following the broadcasting of each actors skills equally.

Nobody does it better... than the poisons, and of course Master Chang Cheh!

Miyazaki's animation company, Studio Ghibli, produces animated features that eschew Disney cute in favour of realistic, whimsical stories of childhood ('Whispers of the Heart') or bloody, cautionary ecological fables ('Princess Mononoke'). Studio Ghibli's films embrace the excitement and dread of the best fairy tales, along with the mature themes that make them so timelessly enticing.

'Spirited Away' continues Studio Ghibli's triumphant, echoing 'Cinderella' and 'Alice in Wonderland' yet remaining a true original. From the dazzlingly detailed animation design to the unusual, compelling story, this is a sumptuous treat for all ages.

Chihiro (Hiragi), a sullen ten-year old, is abruptly plunged into the fantastical parallel world of The Land of Spirits when her parents stumble into a deserted, beautiful looking town. Ignorantly mistaking it for a theme park, Chihiro's parents eat a banquet intended for gods and are transformed into pigs, to be fattened for another feast.

To rescue her parents Chihiro requires the help of Haku (Irino), a mysterious young boy who becomes a dragon to do the nefarious bidding of Yubaba (Natsuki), an old crone managing a bathhouse for Gods. But, humans are unwelcome in this world of wonder and peril, so Chihiro must gain employment at the bathhouse to prove her worth, in the process "selling" her name to Yubaba and becoming "Sen", the Japanese number for 1000 (is she the thousandth person to have been trapped in the land?).

Like most Miyazaki movies, 'Spirited Away' is a rite of passage movie, with children forced to mature and accept responsibility in an alien adult world. Continuing Miyazaki's interest in the simple details of working, Chihiro learns the ropes, preparing the laundry at the bathhouse and scrubbing the grimiest bathtubs; discovering her worth through her labours.

So assured is Miyazaki's fantasyland, this mundanity rests neatly alongside the fanciful flights of imagination that illuminate the screen, including the eco-friendly sequence when Chihiro removes bicycles and detritus from a sickened, putrescent river god, Okutaresama, restoring him to his original resplendent self.

Miyazaki also has the confidence to climax quietly with Chihiro taking a magical train journey to right a wrong Haku made when under the control of Yubaba, aided by the timid "No-face", whom she rescues from the murkier side of his character brought out in the fevered atmosphere of the bathhouse (and which had some critics spying disguised messages of prostitution). Haku's true self (similarly robbed when he entered the service of Yubaba) is a surprise, although Miyazaki slyly slips in a clue midway through the film.

Criticisms of 'Spirited Away' claim the two-hour running time drags and the story is too opaque for younger viewers. Yet, into these two hours Miyazaki crams a treasure trove of incident and detail, while the story simply requires attention, although Miyazaki films are admittedly more rewarding on subsequent viewings.

The animation is uniformly superlative, from the character designs, particularly the gallery of gods and grotesques who populate the bathhouse, to the background details, notably the carpets and curtains, which are easy to miss but add immeasurably to the experience. The movie was hand-drawn and digitally enhanced to give it a glorious super-realistic look; check out the sequence when Haku and Chihiro run through a flower garden to marvel at the fruit of this process.

Humour, heart and high-level animation all combine to make 'Spirited Away' an overwhelmingly rewarding and endlessly magical experience.

Few films actually deserve the critical acclaim they receive or live up to the hype that surrounds them but 'Shaolin Soccer' certainly falls into a category that only an elite few occupy. The outcry from fans of all genres has been so great that even Hollywood movie companies have taken notice of the shining star that is Chow Sing Chi. Maybe it's the combinations of styles or just that Chow Sing Chi has finally crossed that gap into true mainstream pictures but whatever it is, this film has certainly been a hit worldwide.

First and foremost, this film is a comedy. Despite the fact that it has gained recognition from the special effects, it is Chow Sing Chi's unique humour and blend of unusual criteria that make this a front runner for his best film so far. For international audiences he has always been something of an acquired taste because comedy cannot bridge the language barrier easily, especially when a lot of it relies on word play or verbal wit. Slapstick can be appreciated world wide with no explanation or adequate translation required so this is always the best form of attack for a foreign film with this kind of material. 'Shaolin Soccer' has to be the first of Chow's films that contains an equal amount of visual and verbal humour which has allowed it to expand the appeal and make it more enjoyable for all cultures.

Although theoretically this is not an action driven film, the choreography for the Shaolin martial arts is superbly executed. Much of the inspiration has certainly come from Chow's true to life idol, Bruce Lee, with 'Fist Of Fury' style street brawls and a goalkeeper with an uncanny likeness to the great man himself. You also find that with the aid of the advanced CGI effects and some crafty wirework each of the unlikely looking Shaolin brothers are given physically astounding ball skills that look as impressive as most intricately created kung fu fights. Sadly, as with 'Storm Riders' and 'A Man Called Hero', the computer work is never seamlessly integrated and it is generally quite easy to spot an object or person that has been artificially inserted but in this comic book world it doesn't seem to matter as much as it does for the serious action pieces.

The one true criticism that has been hurled at this film is the lack of characterisation. Previous films from Chow like 'King Of Comedy' and 'God Of Cookery' ran along the same lines but certainly took the time to explore the characters fully. However, this film is pure eye candy and not meant to be a deep and meaningful drama by any means. The money has been invested on the special effects and the script is crafted with the intention of squeezing as many soccer matches in as possible. The love story and relationships between the Shaolin friends do enough to hold your attention and, despite lacking real emotion, it still manages to serve up a portion of entertainment greater than a lot of other films. Comedy is where the heart lies and with this as the intended outcome, Chow has certainly scored a real winner.

It doesn't seem to matter if you go into this film with or without high expectations, you are always bound to walk away with a positive reaction. This is certainly one of the best films I have seen in the last couple of years and one that every self respecting movie fan should add to their collection today.

The Hong Kong Critics Guild recently counted among the 100 best Hong Kong films ever and there's little argument against that decision. Jackie Chan opened up a completely new avenue in Hong Kong cinema with this 1983 classic. Using the conventions of the 30's Hollywood swashbucklers mixed with his insane stunts and sublime fight action, Chan produced one of his best ever films. The film has a big budget feel that really shows how well it had been produced and certainly directed. Sammo and Yuen are integral parts of the film with their vastly differing characters; Sammo especially relishes his role as a petty crook, a trait he often utilised after. However, Jackie remains the star of the show; whether he's hanging handcuffed from a clocktower or taking on a gang of heavies with a bicycle he blazes across the screen. Certainly one of the most important films in Hong Kong's cinematic development and a real classic.

The master/student story has been used by many different Hong Kong genres and remains a device that, when used well, can be an asset for the film. 'King Of Masks' takes the concept and creates a genuine masterpiece, full to the brim of a warmth and compassion that is rarely revealed in cinema. The narrative uses the aforementioned starting point and expands it beyond the usual restrictions; instead the viewer is treated to a poetic musing on the very nature of friendship. From the opening shots of gentle Chinese village life and the introduction of Wang, there is no doubt that something very special is about to unfold. By the time the end credits roll, this feeling is thoroughly proven and the viewer is struggling to find fault with such excellence. Chu Yuk as the eponymous 'King Of Masks' is superb, combining a genuine screen presence with a humble, understated performance that few would be able to achieve. Due credit must also go to co-star Chao Yim Yin as the young girl who joins Wang on his journey; her immaculate handling of the material adds significant resonance to an already masterful production. The only possible quibble is so minor that it only deserves a brief mention; some may consider the metaphor of the masks as somewhat heavy-handed and certain moments to be too sentimental, but these are very picky criticisms. The fact of the matter is that 'King Of Masks' represents what is sadly lacking in so many films that pretend to have a social conscience i.e. this actually has a heart beneath its surface instead of Hollywood's frequent emotional sign-posting. A film that comes very highly recommended, especially to those who enjoy watching cinema that stirs the heart.

PICTURE: A sometimes murky print that also proves to be dull in scenes that need some colour. The odd scene shows wear, but the real problem is this lack of depth. Having said this, it should be understood that this is still fairly good for most of its duration. Average print.

Cao Cao may have lost the last battle, but his vast forces seem to indicate that he will win the war against the rebels. As he relaxes with his advisors, Sun Shangxiang (Zhao) infiltrates his camp and begins to note all of his strategems before she can be detected. When an epidemic of typhoid hits his kingdom, Cao Cao fiendishly ties the bodies to rafts and drifts them down the river to the enemy, decimating their forces and morale. Their ebullience has been crushed and Cao Cao has successfully divided their forces as Liu Bei takes his demoralised army away from combat. A lack of manpower and a severe lack of arrows leaves Zhou Yu and Zhuge Liang teetering on the brink of collapse.

What Cao Cao's oopposers lack in sheer force they make up for in dogged determination and Zhuge Liang devises a way of getting the arrows needed in an ingenious way. Meanwhile Zhou Yu concocts a way of turning the antagonists against one another to regain the upper hand, cleverly breaking up the naval intelligence that Cai Mao and Zhang Yun provide. With intelligence about Cao Cao's tactics to assist them, the stage is set for a monumental battle on two fronts to end the war: the hopelessly outnumbered fleet using the information to their advantage while Zhou Yu leads his fellow generals to a final assault on Cao Cao's heavily defended fortress.

'Red Cliff' left the story of the Three Kingdoms deliciously balanced and so a way of concluding all of the plots and intrigues would take special effort from a director who we had forgotten had that ability. Starting with an uneasy CGI dove that reminded me of the beginning of 'Clash Of The Titans', the opening implied a worrying regression back to the Woo cliches we all chuckle over now. Yet any fears of the conclusion to 'Red Cliff' not proving to be a fitting sequel are soon abolished as the director rolls back the years to when his name was uttered in hushed tones. To tell a complex story with such clarity, while also successfully orchestrating some of the greatest battle scenes in history, is a feat that John Woo achieves with aplomb. In nearly every way, part 2 is better than its predecessor and an event not to be missed.

The international print has been criminally truncated to 148 minutes in total, a whole half chopped away for easier consumption. To Chinese audiences, this must seem as disrespectful to the source material as trying to condense the 'Lord Of The Rings' trilogy into three and a half hours. In so doing, John Woo's vision is compromised and two genuine 'epics' are needlessly thrown together, missing such wonderful scenes as how Zhang Liang acquires the 100,000 arrows he promises to deliver. For a director whose value has dropped from the heights of the international avant garde to the 'Poundstretcher' bargain bin, this must be hard to swallow. It is with this in mind that I implore you all to watch both parts in their entirety as they deserve 280 minutes of anyone's time (it might be good to have a break in between though).

'Red Cliff II' fleshes out its characters beyond their legendary status and a few sub-plots that threatened to overwhelm in the original suddenly slot in perfectly. All of a sudden, the revisionist inclusion of Vicky Zhao's Sun Shangxiang is justified and her part in the overall narrative superbly blended in. Tony Leung, Chang Chen and Takeshi Kaneshiro are every bit as good as could be expected though Zhang Fengyi's uncompromising portayal of Cao Cao leaves with the acting chops. Nevertheless, the 'Red Cliff' project is about the work of John Woo, his vast production and creative team and a record budget that is utilised so expertly that every last yuan can be seen in the mise-en-scene.

With Taro Iwashiro's beautiful score resonating in my ears long after the end credits have rolled and some of the greatest visuals ever committed to celluloid burnt onto my retina, its fair to say this project has been a resounding success. Part 2 is certainly the superior one, but both deserve individual credit for reviving the dying embers of John Woo's career. It's difficult to see how any future historical epic - and after 'Red Cliff' that that term will have to be reappraised - can hope to top this very special production.

Without going into too much detail as knowing as little about 'The Chaser's plot is beneficial to a first time viewing, Hong-jin Na’s film completely turns the conventional serial killer/cop drama on its head. The first 30 minutes or so are brutally tense and nerve shredding as the race to find Mi Jin before she is killed is on. They could easily be the last minutes of any conventional serial killer flick and you wonder where the film is going to go after this. Well it takes you on one hell of a dark trip as Joong Ho, the cop turned pimp, tries to convince everyone (including the police) that 4885 is actually the killer. His arrogance and bull headed nature do him no favours in trying to convince people he is not lying and the sheer calm and genuine evil that 4885 (the amazing Jeong-Woo) displays doesn’t help matters. We know he is the killer, Joong Ho knows he is the killer but through calmly admitting and denying the murder and then generally twisting around what is real and what is not, 4885 sends everyone on a wild goose chase. And then things get even crazier. Coincidence and some severe police ineptitude play a big part in what goes one but as in life, sometimes things happen or are solved by a mere chance, a factor that helps to imbue 'The Chaser' with fantastic cinematic tension.

All the cast are excellent, especially the three leads and it’s a testament to the Hong-jin Na that we come to care about Joong Ho as he really isn’t a sympathetic character despite being the closest thing we have to a hero. There is also an amazing performance from a young child actor who plays Mi Jin’s daughter, one of the few uncorrupted souls in the film, and shows that not all kids in movies are annoying little moppets. Tension is the name of the game here with Na Hong-Jin orchestrating several electrifying set pieces, not least a scene set in a dirty bathroom and involving the drastic use of a hammer and chisel. But despite the violence and blood, 'The Chaser' is not packed with gore more concerned with the dark side of humanity. The reason the killer kills is never fully explained either, the common idea that he is impotent therefore mad at women so kills them, given as a possibility but really just an excuse for the cops to have a reason to hold him. Police ineptitude plays a big part in the film as well, the murder case apparently based on real events. The director obviously has something to say about the police’s lack of professionalism as they are often shown being encouraged to fabricate evidence in order to pin the murders on their suspect. This may be the film’s only downfall as maybe a little too much time is spent on the police ineptitude and some ma also find the notion of coincidence hard to buy.

Other than that, 'The Chaser' is a true gob smacker. You may figure out the ending but the emotional impact is never lessened and will stick with you for some time afterwards. If Hollywood ever remakes it (which they will), there is no chance in hell they will keep what happens in the final third. A gripping often emotional rollercoaster of a thriller, 'The Chaser' isn’t just one of the best Korean films of the year but one of the best films of the year.

The story starts with a Reginald Perrin-style montage of lead character Sugiyama's uninspiring day-to-day routine. He has a doting wife and a loving daughter, but the sheer monotony of the daily grind is slowly destroying him inside. On the evening train home, the haggard office worker spota a beautiful, yet equally pained face peering out of the window of an apartment block and resolves to find out who she is. On discovering that she is the teacher at a Tokyo dance studio, Sugiyama plucks up the bravery to join the beginners' class and meets a quirky mixture of amateurs, each with their own reason for attending. Sugiyama gradually finds the pull of the waltz to be addictive and slowly progresses to being a reasonably competent dancer. He also notices that a spirited samba dancer - complete with awkward wig and false tan - is actually the bullied worker Aoki who works in his department at work. Aoki helps his new friend to expand his horizons and takes him to amateur dances at the weekend.

Sugiyama's secret dance lessons are arousing the suspicions of his spouse who smells the perfume on his shirts and notices his continued absence from the family's evening meal and comes to a worrying conclusion. Keen to find about what she thinks is her husband's infidelity, she hires a private detective to uncover the truth and meanwhile tries to decipher his odd behaviour. The truth about Sugiyama's nocturnal activities surprises everyone though and the deeper reasons for his discontent gradually comes to the surface.

'Shall We Dance?' opens with a strangely haunting ten minutes of Sugiyama's ennui and deep depression over what could be interpreted as his mid-life crisis. Yet, unlike the usual Western dissection of this subject matter, where the protagonist is almost destined to seek solace in the arms of someone younger, as if we should view this as an ordinary symptom of reaching middle-age, Masayuki Suo provides us with one of the most uplifting experiences committed to celluloid. There is pathos and humour flawlessly blended together in 'Shall We Dance?' and even moments of quiet introspection that turn familiar characters into three-dimensional figures.

These aforementioned characters add the necessary layers of interest, all their quirks and imperfections becoming more than just a little endearing by the end. The bolshy firebrand Toyoko has, as is expected, a soft centre, but the way her development is handled shows how accomplished the man behind the lens is. Even larger-than-life protagonists like the delightful Aoki (played by the fabulous Naoto Takenaka) have the vital humanity that gives 'Shall We Dance?' an earnest emotional punch. This helps the inevitable redemptive scenes near the end of the film - where each person uses the burgeoning prowess attained from dancing to confront the other issues they have to face - to gain real poignancy.

Masayuki Suo has constructed an often hilarious comedy mixed with a tender kernal that proves to be irresistible. The underdog or the underappreciated everyman may not be impossible heroes in the world of cinema - Asia is often adept at championing them - but when their stories are told with such care, it is impossible not to applaud the excellence we're left with.

The film opens in grand fashion as a train rushes through the harsh, open desert plains of Manchuria and three very different outlaws raid the locomotive looking for a much sought after treasure map. The Weird (Song) is a bumbling thief but a dab hand with his double pistols and simply wants the map to find the treasure, get rich and live the good life. The Bad (Lee) is a pretty boy killer, a merciless outlaw who along with his gang want the map also. The Good (Jung) is a bounty hunter after the pair of them who is less interested in the map but in catching (and even killing) the best outlaws in the land. The three then set off on a cataclysmic course as they try to steal the map from one another, form risky alliances and leave a huge wake of destruction in their path as everyone from the Japanese army to Russian and Chinese bandits take up arms against the trio and attempt to acquire the map for themselves.

Kim Ji-woon’s film is an obvious nod to the Western’s of Sergio Leone, packed full of beautiful vistas, wide shots of the deserts and outlaws squaring up to each other and rip roaring adventure. But this is a distinctive Eastern take on the genre and above all a no holds barred action adventure that is stuffed to the gills with adrenaline pumping set pieces. Having started his career with quirky comedies 'The Quiet Family' and 'The Foul King' before dabbling in horror ('A Tale Of Two Sisters') and gangster (' A Bittersweet Life') movies, Kim Ji-woon has gone all out to create one huge action picture. Setting everything on a grand scale from sets to locations to the amount of extras, 'The Good, The Bad, The Weird' ('TGTBTW') is epic in every sense. Don’t go expecting a dissection of the Western myth a la 'Unforgiven' as 'TGTBTW' is much more concerned with having fun; setting good guys against bad guys and then having everyone shoot seven shades of hell out of each other.

The action is relentless and thanks to some bravura camerawork and a rollicking soundtrack endlessly exciting and creatively staged. The actors throw themselves into the mix from the daring robbery that opens the flick to an amazingly staged gunfight in a shanty village (which sees The Good literally flying across the rooftops while shooting bad guys) to the insanely staged, dangerously stunt packed 20 minute desert chase that will literally fry your eyeballs with it’s audaciousness and momentum. It’s great big spectacle, most of it all done for real, that we don’t get anymore. In addition, there is also the staple cowboy showdown and an extremely brutal knife fight that shows the West (or the East as it may be) at its wild best.

Many will no doubt grumble at the streamlined story and lack of breaks to build character in between all the action but they will be missing out on a huge gun barrel of fun. The film is essentially a chase flick and the plot is fleshed out and works well enough within these confines. The characters are immediately and always engaging and appropriately sketched for this comic book type of film. The three main actors seem to be having a ball and Lee Byung-hun cements his cinema cool credentials with his ice cold role as The Bad. But it is Kang-ho Song who steals the flick with a performance that is as energetic as anything else in the film. A dab hand in the action scenes, his character is an infectious bumbling anti-hero who provides just as much slapstick comedy (all of which works surprisingly well within the Western trapping) and enthusiasm that one can’t help but root for him. The scene where he uses an antique diving helmet to deflect bullets during a shootout is gut bustlingly funny without diffusing the tension of the scene. In fact, despite being a Western and an action film, 'TGTBTW' is also a great comedy which adds all the more to the sense of fun.

Some may be disappointed that Kim Ji-woon has followed up two very serious efforts with a more fun affair but that is not to mean 'TGTBTW' is any less worthwhile. He is a director who dabbles in all genres and it is always refreshing to see a director doing something different. And films that are purely fun and entertaining have their place in cinema alongside much more worthy and thought provoking cinema. The tone may vary a little too much for some viewers and this is fair enough as a scene of brutal torture (an unfortunate soul getting his finger severed) followed up by slapstick comedy (the aforementioned diving suit bit) may not be to everyone’s tastes. In addition, the post credits epilogue ends the film on a bit of a frustrating note and can be seen as somewhat of a cop out after all the greatness that has come before.

However, 'TGTBTW' is a great achievement and another success for Kim Ji-woon and is most importantly big, bright and ballistic entertainment that should be seen on a screen as big as possible. There is a whole lot of good, plenty of weird and very rarely any bad. Korean cinema continues to excite, stimulate and entertain.

'New Tales of the Flying Fox' is based upon the novel 'Flying Fox of the Snowy Mountain' which was written by Jing Yong. The story has been the basis for a TVB series and another Shaw Brothers actioner 'Legend of the Fox' (starring the 'Venoms'). This is classic wuxia which means there's swordfights, heroism, sacrifice, romance and more twists than a Chubby Checker convention (...ask your parents).

'Snowy Fox' is a large and dense novel and the makers of this film appear to have attempted to cram as much of it into a ninety minute running time as they possibly could. The movie scoots along at a rapid pace and is certainly not dull. You are never too far away from the next plot development, new character or fight. This is good news for people like me who have the concentration span of a bluebottle with ADHD.

This high pace is also good news for action fans because there are plenty of fights and they are of an extremely high standard. I'm not a big fan of wirework but here it is used very effectively. Wirework, swordplay and good old fashioned handwork are mixed brilliantly and very entertainingly. The combination of action styles compliments the style of the story really well and keep things feeling fresh and exciting throughout.

Alex Man and Felix Wong both do an excellent with the tight choreography, as you would expect of two stars of many TVB series. Felix Wong's all round performance is very good. He brings the right amount of charm, youthfulness and heroism needed for the role of Wu Fei and carries the film well. It's a shame that Wong, one of the 'Five TVB Tigers' (along with Andy Lau, Tony Leung Chiu Wai, Michael Miu and Kent Tong) got a lead role in a Shaw production just at the end of the studio's golden period. He had all the right attributes to have a been a big star for the film-making giants. He's ably supported by Lau Kar Leung protégé Kara Hui who gives a fiesty performance. She gets to show off her considerably fighting skills in some of the best action set pieces in the film. The fabulous Leung Kar Yan is also worth noting. He might only have a small role at the start of the film but he gets the ball rolling with some excellent scraps.

New Tales of the Flying Fox has all the ingredients to be an all time kung fu classic in my eyes but for one problem. I think, and this criticism is rarer than a Dean Shek performance that isn't annoying, that the film is too short. There might be tons of fights and entertainment but there isn't enough time devoted for character development. Another 20 or 30 minutes on the running time would have allowed for more depth to the characters without making the film drag. The love triangle, for example, in the second half of the film, that becomes pivotal to the ending of the story is sorely under-developed, which is a shame. The ending also whizzes past and may leave some feeling a little bewildered.

This is a rollicking action-adventure that is packed with top kung fu entertainment but because of a lack of depth misses out on a higher grade.

Thankfully, I need not have worried. I have no problem in saying that this is easily Jet's finest English language film. It is also possibly his best modern day role, outdoing the likes of Hong Kong counterparts; 'My Father is a Hero' and 'High Risk'. I still feel that Jet's greatest moments have been in period pieces such as 'Once Upon a Time in China' and 'Fong Sai Yuk' and this is likely to remain the case. However, here it shows that he can not only still produce a fine, grounded, physical performance, but he can actually hold his own on a purely dramatic level.

As a story, 'Danny the Dog' is more interesting than first imagined. I fully expected the plotline of Danny being a trained bodyguard, literally kept like a dog on a leash since childhood to be a transparent excuse to put fight scenes into a film. This is obviously partly true, but, whilst exploring the reasons for Danny's pseudo-imprisonment and his obvious trouble re-integrating socially, we get to see the emotional aspects of Jet's personality shine in a way so annoyingly restricted in his more recent films. Jet is an awesome physical performer, but there is so much more to his overall screen charisma that has helped make him an international star.

It is probably true to say that most people who intend to see Li's films are as interested in the action sequences as they are in the characters. In this area, I have to admit to being slightly disappointed. My expectations were clearly sky-high after hearing that Yuen Woo Ping would be working with Jet again after almost a decade. Woo Ping is responsible for arguably Li's finest hour with 'Fist of Legend' so perhaps my expectations were a little unrealistic, however, the fights here are not up to the same standard. I have often felt that although Hong Kong choreographers can do great work on Western films, without the time afforded their Eastern counterparts, and the quality of the Chinese stunt performers they often pale in comparison. The same is true here, as although the choreography is neat, and the performers very able, nothing compares to the fearlessness, sublime fluidity and speed with which the Hong Kong stuntmen from the last 20 years are capable. Nevertheless, the action on show is brutal, bloody and often balletic.

Jet's next feature is likely to be a Chinese production with Jet playing the legendary Fok Yun Gap. Hopefully, he will return to Hong Kong permanently, as with 'Danny the Dog' I believe he has reached as high a note as he is likely to with the restrictions placed upon him by Western studios. At least now he can return proud in the knowledge that he has easily been the most successful Hong Kong export with a much higher quality level of output than even the likes of Jackie Chan or Chow Yun Fat.

I heartily recommend 'Danny the Dog' (or 'Unleashed' depending on your location) to almost everyone - even those who are not fans of martial art films or Jet Li in particular, as this is a production that could stand on its own as a purely dramatic exercise. It is not without it's faults, as some may feel it is a touch melodramatic or even a little too short, however, it is still a touching film which manages to show everything Jet has to offer from his likeable, shy persona to his impressive physical grace.

After watching this film, audiences in the 1970's cannot have been in any doubt that Fu Sheng was a star. 'New Shaolin Boxers' was his first opportunity to carry a film on his own and he does it brilliantly. Here he delivers everything you would want from the leading man in a kung fu film - he's handsome, charismatic, endearingly naive and carries himself with enough cocky swagger to give him an 'edge'. He excels in the films many action sequences too, Fu really attacks the fights with conviction and energy. Choi Li Fut is the style of choice in the film, which Fu ably shows at the beginning with a demonstration of some of the forms along with a short history on the style. The Choi Li Fut is only really used at the end of the film after the obligatory training sequences. Chang Cheh adds something a little different to the final bout by intercutting the training scenes with the fight to show how the style is taken from practice to proper use. This technique works really well and manages to stay the cool side of gimmicky.

The story feels fairly slight and it's a touch episodic but the way the townspeople react to Jian's 'heroics' gives the film a nice twist. They don't see him as the hero but rather as a nuisance. This makes the audience even more keen to root for him and leads to an interesting Buddhist message at the end.

As mentioned before, Fu Sheng gives an excellent performance and is ably supported by the rest of the cast, most notably by Leung Kar Yan (or maybe it was notable because Leung is one of this reviewer's favourite actors). He shows more of his range as the snivelling little henchman for Wang Lung Wei who is in fact one of the weaker elements of the film. Wang is terrific in the fight scenes, of course, but lacks any depth to his character and comes off looking quite lightweight when compared to Fu Sheng's character.

This is a very slight criticism in a splendid, fight packed romp that is a must for any fan of Fu Sheng. In fact it's probably a must for any fan of kung fu films.

Autistic boy Cho-won grows up fascinated by zebras and the majesty of the Serengeti, both of which he rushes home to see on television. As he grows and his mother tries to find a way to keep him occupied, Cho also develops a love of running and is given targets and goals by her. These gradual achievements distract Cho's mother from the difficulties of his situation and she encourages him to set the Korean marathon as a realistic aim. To train him in this task, she asks disgraced Korean marathon champion Jung-Wook - currently serving his community service at the special school Cho-won attends - to give the needed guidance. Jung-Wook is completely disinterested and reluctantly agrees to act as trainer when a financial inducement is waved in front of his eyes. Initial sessions are relatively pointless as Jung merely runs his trainee until he is fit to drop then sends him home. Nevertheless, the desolate life of the former champion begins to brighten slightly with this new found responsibility and he begins to take the task seriously as the weeks go by. Cho-won's condition causes increased tensions within his own family though and even Jung finds him challenging despite his tentative attempts at friendship.

If Asian cinema, and Korea in particular, has done one great thing for me personally, it has been the re-education I have received regarding 'melodrama'. The term is usually reserved for caustic critiques of histrionic productions, but Asian cinema has excelled in taking ordinary stories and giving them a resplendent emotional core. Such commendation is not to be underestimated - Western cinema still believes it has an iron grip on the genre, but the majority of its attempts have a strong stench of emotional manipulation. That's not to say that Korean cinema considers itself above using typical emotional triggers, but they are achieved with significant aplomb.

This dissection of Western v. Eastern cinema brings us neatly back to 'Marathon', an exceptional drama (I'm still reluctant to use the term melodrama lest it by misconstrued) that takes a popular theme and elevates it to a work of significant depth. Even such hyperboles as 'life-affirming' seem strangely appropriate for a film that sweeps you along in its slipstream and delivers you to your destination two hours later with a range of emotions still swirling through your mind. This is film-making of an encouraging standard.

'Marathon' is sentimental, but when one considers that it is based on a true story it's difficult to see how it can be any other way. It is the story of how various people cope with a mental illness that is still misunderstood and rarely portrayed this successfully on screen. The fact that 'Marathon' can take autism and avoid being over-reverent or patronising to those who have to deal with it is an achievement in itself. The emotions and guilty feelings that Cho-won goes through are completely realistic and show the internal struggles she faces without ignoring the natural anger she feels towards her son's inability to communicate. Some of the most powerful scenes are the ones that refuse to offer hope or saccharine-tinged optimism; the moment when Cho-won's mother falls into the pool and looks to her son for help while he blankly looks on is supremely moving. 'Marathon' elicits enormous sympathy for Cho-won and his loved ones, but avoids the trap of turning this into a rhetoric against society. There are critiques of people's reaction towards Cho-won, yet these are not there to condemn the human race in general for ignorance - some people treat him with dignity and some, sadly, with contempt, but this is shown in a balanced way.

Director Jeong Yun-Cheol makes no apologies for the other strand of the narrative: the redemption of Jung-Wook. Although this is a minor sub-plot, it is given obvious importance throughout the main storyline and weaved in-and-out the training sessions of Cho. Even here, though, 'Marathon' differs from the many other stories of recompense. The execution of this particular story is a tinged with humour at the expense of both Cho and Jung, neither character is exempt from having vulnerabilities. To see the director and screenwriters show humour in these situations is brave, but appropriate to the respectful yet never condescending tone of the narrative.

There is so much acclaim to heap on 'Marathon' that it is difficult to pin-point just one stand out feature. If such an appraisal was needed, it would be impossible not to mention the peerless performances from the cast, especially Jo Seung-Wo. As Cho-won, Jo is absolutely riveting and his portrayal of a young man with autism never falls into caricature or showboating. Apparently director and cast spent time with those who inspired this story and such devotion to the task comes across very successfully with the performances. Though Jo Seung-Wo undoubtedly walks away with the acting honours he is firmly backed by the excellent Kim Mi-Suk as his mother and the superbly gruff Lee Gi-yeong. Together these thespians bring a true life story to the screen with all the gravitas and resonance it deserves.

'Marathon' just misses out on a fabled 5 star rating due to a few niggles. The final short scene is a bit too neat to suit the tone of the previous two hours; it appears shoe-horned in as if to appease the audience. Prior to this there is a magical sequence of Cho running the marathon and encountering all the characters who have appeared throughout his story, but while some may accuse this of straying into the overly sentimental, it works very well. That last moment, though, takes away some of the closing power of a magnificent work. The tension between Cho's younger brother and mother is also toyed with, but never fully explored; as it is we get a few very good scenes and then the sub-plot is nudged aside. These grumbles amount to little in comparison to the sheer beauty of this very special film. Korean cinema has hit a decade-long purple patch that has brought it to a wider audience. That 'Marathon' is one of the finest works of this era speaks volumes for how highly it should be regarded.

Money-grabbing newsreader Chang Yau Wei (Hui) leads a chaotic, yet mostly uneventful life. His devoted, ditzy wife (Siao) is always by his side while his three children have their own troubles to deal with irrespective of their father's interest. Two shattering events shake Chang from his monotonous apathy: firstly there is the shock announcement by his eldest daughter that she wants to marry her guitar-strumming boyfriend; secondly is the discovery that he has a terminal illness which is gradually robbing him of his life. With the news still ringing in his ears, Chang breaks protocol with a very honest news report that not only upsets the police force, but also agitates his odious employer so much that the veteran anchorman is given the sack. Though he still resolves to keep his illness a secret to protect his family's feelings, the task is made impossible when his contrite boss tries to lure him back to work after the earnest news report proves to be a ratings winner. The news station are keen to play on their star's terminal cancer and use his last three months to send their viewing figures through the roof. While Chang agrees to this in exchange for a massive pay increase, he tells those close to him that it is all an elaborate charade and that he is perfectly healthy. As his forthright views continue to inspire the Hong Kong public and he throws himself into work so that he can provide for his loved ones when he's gone, Chang begins to re-evaluate his relationship with his wife, his children and his craft.

The synopsis initially implies that this is little more than a reworking of the masterful satire 'Network', not that using such a fine production as an inspiration is necessarily wrong. Nevertheless, 'Always On My Mind' goes far beyond being just a pale imitation of a Hollywood classic - by the end of this thoughtful and witty satire, it is evident that this is a film that stands apart thanks to its own unique strengths. This is not only a brilliant combination of genuine pathos and dead-pan mirth, it is also one of the few Eastern satires to travel beyond its parochial roots.

Satire is a searing voice for a film to utilise, but it is also notoriously difficult to build a story around it that will not alienate a wider audience. It's especially hard to make the humour translate while staying true to the localised targets of the satire. 'Always On My Mind' works so well because its targets are universal and its attacks, while not breaking any new ground or being necessarily scathing, make key points about the nature of the media. Hui's best work has always mixed comedy with a subtle social critique, something that 'Always On My Mind' displays expertly. Hui's employer - the wannabe media mogul - is a pointed combination of obsequiousness and callous manipulation; director Cheung savages the bad taste and opportunism of the media who here capitalise on the last months of their star's life. The object of this scorn may be predictable, but that it still rings true around the world.

Just as Peter Finch's electrifying performance ignited the screen in 'Network', Michael Hui revels in his leading role here. Given a chance to be much more than just a 'funny man', Hui is able to stretch his considerable acting talent and encompass some suitably tragic moments. Whether he is hissing at the powers that be or sharing some heart-breaking moments with those he loves, Hui gives a supreme performance. Jacob Cheung's superlative direction also ensures that the delicate scenes never cross into mawkish sentiment and yet retain an emotional intensity under the surface. Both director and star have rarely been better than in this superior trag-comedy.

'Always On My Mind' starts slowly, building up a gradual understanding of its characters before the momentum increases. The best advice I would give to anyone is to stick with this excellent production through its slower moments as there is much to savour here. With the underrated Jacob Cheung behind the lens and the legendary Michael Hui in front of it, there's little surprise that this is something very special.

Apathetic, craven police officer Chan (Eason Chan) is given a rude awakening one morning when he is assigned a new partner. This newcomer, Man (Yung) is absurdly enthusiastic and charmingly naive, a young country girl who is desperate to make a difference in the big city. Chan is perturbed by his exuberant new partner and quickly tries to dampen her idealistic goals with his own supposed words of wisdom. As the partners patrol the district of Wan Chai, they encounter Shing (Ng), a former architect who has sadly suffered a severe mental breakdown and now spends his time prying into other people's business. Chan is very familiar with Shing and his sad story, but the over eager Man decides to investigate him further to understand his plight. As Man begins to learn about Shing and the other numerous realities of her daily beat, the apathy that Chan is infused with begins to rub off on her. However, events conspire to teach both Chan and Man about the value of their work and their respective importance to the inhabitants of Wan Chai.

'Crazy N' The City' was a modest release in Hong Kong, but proved to be a relatively big hit, thanks largely to the excellent reviews it received. Indeed while recent films like 'New Police Story' and 'Kung Fu Hustle' are a fine reminder that no-one really makes action films like Hong Kong, 'Crazy N' The City' is further proof that there's much more to the industry besides. Western critics may be fawning over the current crop of arthouse swordplay films, but a production like 'Crazy N' The City' is every bit as deserving of a wider distribution. It is a production that is proud to wear its Hong Kong heart on its sleeve.

I've often found myself criticising films for trying to juggle too many moods and tempos, but when such ambitions are as superlatively realised as they are in 'Crazy N' The City' then it's a joy to behold. The film combines a tender character study of Man's gradual redemption, his friendship with Man, her desire to be an important member of the community, the tragic story of Shing and even his tenuous friendship with his new neighbour Pheobe. Yuen even throws a 'killer-on-the-loose' ending into the mix and yet never once lets any of the other components suffer. To have a film with such endearingly written characters and such a well plotted storyline is an achievement worth trumpeting.

The main skeleton of 'Crazy N' The City' is the way that Chan and Man change each others' lives. This central narrative is allowed to develop at its own pace and benefits from two sympathetic characters for the audience to care about. Chan is passive and indifferent to his job, but the director fleshes out these character flaws throughout the film and we therefore understand why our anti-hero is the way he is. There are no histrionics or pointless emotional episodes, just well written flashbacks to his own change from vivacious rookie to disillusioned officer. James Yuen also distances the characters away from any Hollywood style romance, choosing instead to develop a tentative friendship between the two. Chan's final redemption is therefore a glorious denoument and not just a pointless exercise in sentimentality.

By accident or by design, Yuen has also created a powerful examination of mental illness. Such a challenging and often badly handled subject requires a sympathetic director who can avoid the stereotypes of the illness and concentrate on the lives it touches. Yuen is masterful in his handling of Shing and his battle against the past. The introduction of such a character is seemlessly integrated into the storyline and never feels as is if its appearing just to fill up time. Shing's story is by turns touching, amusing and encouraging, traversing the inherent problems in its subject matter to create a wonderful thread in the overall success of this gem.

A director who can call on performers at the height of their powers is always in with a chance of forming something special. James Yuen is presented with a main cast who handle their characters superbly, while there is also a plethora of excellent supporting turns by some very familiar faces. Eason Chan has never been better than he is here; Chan has often shown what good work he can produce with a solid script and with the character of Chan he is given an especially inspiring part. Chan is faced with a number of emotions that test his range throughout the film and he triumphs each and every time. Joey Yung banishes memories of 'The Attractive One' and proves that she can be much more than just another wannabe Sammi Cheng clone. These two young performers produce their very best for 'Crazy N' The City' and are given exceptional support by Francis Ng. Ng has long been acknowledged as one of the finest actors in Asia and, playing the complex Shing, he cements that reputation. It would be a crime if his work here isn't given recognition by some award or other.

'Crazy N' The City' is the first must see film of 2005 and a unique Hong Kong feature. Full of humanity and interest, it remarkably manages to takes three or four strong sub-plots and amalgamate them together without lettting any of them suffer. James Yuen realises the potential that he showed earlier in his career and had since squandered, now thankfully utilising all of the strengths he had shown. While I doubt he will ever read this review, I'd still like to use it to implore him to identify the great work he's done with 'Crazy N' The City' and consign the 'Driving Miss Wealthy' school of films to the distant past. To the non-James Yuen readers, I would eagerly encourage you all to see this wonderful production as soon as possible.

King of Qin, King Ying Zhang (Li Xuejian), is bound by a mandate dictated by his ancestors to unite the seven kingdoms of China and unify them "all under heaven". By fulfilling this obligation it is his belief that conquering the other kingdoms will result in peace after years of civil war. His wife to be, Lady Zhao (Gong Li), has grown weary of palace life and wishes to return to her home of Zhao. However she is moved by Ying Zhang's desire to unite China and bring peace. They then conger a plot that will cause the powerful kingdom of Yan to send an assassin to kill Ying Zhang, then giving him good reason to lay siege to Yan. It is Lady Zhao's belief that the kingdom of Yan would surrender before any blood was spilt, and harbours such confidence in the plan, that she even has her face branded to give credibility to the façade of being exiled. She then goes to the kingdom of Yan, and finds a suitable candidate to carry out the assassin ation in the form of Jing Ke (Zhang Fengyi), who has no fear of death. However in her absence Ying Zhang becomes increasingly ruthless after learning a few home truths.

Released a year earlier, 'The Emperor and the Assassin' missed the wave of western interest created by 'Crouching Tiger, Hidden Dragon'. As such it only received a limited release in the US. However 'The Emperor and the Assassin' is more than worthy of being mentioned in the same breath as 'Crouching Tiger, Hidden Dragon', 'Hero' and 'House of Flying Daggers'. In fact in some ways it is superior to all three of the aforementioned films, namely in it's narrative and it's attention to character development. Be warned however that 'The Emperor and the Assassin' is not an action film, nor is it meant to be. It is an efficient historical drama. What little action that does exist is very brief, grittily realistic but perfect for this film.

It may not have the dazzling visuals of Yimou's 'Hero' and 'House of Flying Daggers', but the cinematography remains of the highest quality and is still a beautifully shot film. With it's palette of muted colours it boasts an almost sepia quality. Coupled with the expertly measured (though some may find it bordering on slow) pacing of the film the result is somewhat mesmerising. With the web of political intrigue and the destruction of Ying Zhang's family, interest is always sustained as Ying Zhang is corrupted by his power and ambition in his quest to fulfil his ancestors mandate and his own ideals.

Overall, 'The Emperor and the Assassin' is a minor masterpiece and comes highly recommended, though it should be stated that this is not a film for everyone. Chen Kaige has performed admirably to weave the intricate plot strands together without causing the narrative to become convoluted. It certainly deserves more attention that it has received.

Three friends growing up in the back streets of Hong Kong have aspirations to become successful and make better their lives. On the wedding night of Ah Bee (Tony Leung Chiu Wai) and Jan (Fennie Yuen), they don't have enough money to pay the costs. Ah Fei (Jacky Cheung) obtains the money but is attacked by local gangster Fei Keung. Frank manages to fend off the attack still clutching the money but not without sustaining a head injury. After the celebrations have ceased Ben interrogates Frank about the injury, and on discovering the cause the pair launch an attack on Fei Keung. However they go too far an end up killing Fei Keung. Now wanted by the police, gangsters and loan sharks alike, they are left with no alternative but to flee Hong Kong. They decide to take this opportunity to make their fortune by selling pain killing drugs in war torn Vietnam and bring the third member of their trio Ah Wing (Waise Lee) along to share in their success. Their priorities change however when they recognise Yan Sau Ching (Yolinda Yam), a Hong Kong singer whom is forced to work for the local gang lord Leung Yuen Sing (Lam Chung). They then team up with Ah Lok (Simon Yam) in an attempt to rescue her, though Wei's priorities remain firm and is unwilling to leave without Leung's gold. After Yan dies of a gun shot wound sustained in the rescue, Bee, Fei and Wing stray into North Vietnamese territory and find themselves in a POW camp. Our protagonists must now battle for survival.

'Bullet in the Head' was a very expensive and ambitious project for the Hong Kong film industry at the time. Sadly it failed to make an impact at the box office as the public rejected a film with such a downbeat sensibility, especially in the wake of the Tiananmen Square Crackdown, an event which would influence Woo in his execution of the film. A great shame as this very personal project is one of Woo's finest moments.

One could speculate if Chow Yun Fat had been in the cast (as was intended when it was originally written), as to whether his presence would have coaxed enough punters to see the film in order to re-coup the money spent. However, Tony Leung Chiu Wai and Jacky Cheung were hired and at the time neither were known for dramatic roles, as Tony had done mainly comedies and Jacky was known primarily for his singing career. 'Bullet in the Head' would prove to be the film to make them both bankable dramatic actors as both take the bull by the horns and produce some astounding results. Jacky Cheung received a well deserved nomination for best actor at the Hong Kong film awards for his efforts. Tony would of course go on to be one of the most respected actors of the last 15 years. Simon Yam was also just beginning to come into his own as he delivers a delightfully measured, mature and, above all, cool performance.

Taking our protagonists from small time street punk antics to street riots, taking on an organised crime syndicate and inadvertently playing their own little part in a brutal war as they find themselves in a POW camp, 'Bullet in the Head' certainly takes it's audience on a journey. As the film nears it's end you are likely to feel emotionally drained as you will feel as if you have experienced the ordeal along with our protagonists. Woo gives us a tale of brotherhood, loyalty, tragedy, redemption, greed, corruption and betrayal. At times harrowing, 'Bullet in the Head' is equally compelling. No John Woo picture of the period would be complete without lavish gun battles, and 'Bullet in the Head' is no exception. Although we are not subjected to anything as outlandish as was displayed in 'The Killer' one year earlier. This would have much to do with the poignant and almost depressing subject matter. Though what we are left with still leave most standing idle. Throw in a superb soundtrack and you have an all time classic in the making.

I have one major criticism however. The original boardroom ending was replaced after being deemed too bleak. This was then replaced with an all action car chase ending. While there is nothing inherently wrong with the sequence itself, it is unsuited to finish this particular film. This film was meant to have a sudden, hard hitting ending. One that would resonate in the minds of the audience long after they had left the theatre. What we are left with is a drawn out action sequence that allows the emotion that has built up during the course of the film to dissipate before the end credits roll. The original negatives for the boardroom ending unfortunately seem to be lost and the only known version with this ending is the now deleted Mei Ah VCD. Therefore the chances of it being re-instated seem highly improbable.

Despite my criticism about the final sequence, 'Bullet in the Head' still packs an enormous emotional punch and is very much one of the all time classics of Hong Kong cinema. A must have for any serious collector.

After Yoshimi's marriage breaks down, her main priority is to ensure that she is granted full custody of their 6-year-old daughter Ikuko. With the courts and her stubborn ex-husband constantly looking over her shoulder, Yoshimi realises that she must re-establish a degree of stability in their lives by securing a new job and place to live. Unfortunately though, her choice of accommodation is rather limited and the couple are forced to settle for an apartment in a gloomy, run down block of flats. Once there, the discovery of a school bag left by a mysterious young girl, along with the appearance of damp patches on the ceiling and walls, starts a series of sinister events that will change their lives forever...

Whilst the story unsurprisingly shares certain traits with the aforementioned 'Ring', 'Dark Water' stands out on its own as a very compelling entry into the J-horror genre that is as much about character development as it is about delivering the required chills and thrills. Hideo Nakata chooses to employ a slightly more sedate approach than you would usually expect in a horror movie, essentially using the first hour to build the tension and offer an insight into the life of its central character. During this time he competently explores the relationship between a mother and daughter, while making clever use of atmospheric locales and cunning camera angles to hint towards the supernatural entity that is pushing its way into their lives. It's this human component mixed with such strongly constructed imagery that really gives 'Dark Water' such a frightening edge, and keeps the audience on the edge of their seat throughout.

Considering the characters of Yoshimi and Ikuko have a lot more to do than just run around and scream, the presence of a strong cast is absolutely essential to 'Dark Water'. Thankfully, Nakata also seems to be aware of this and his choice of leading lady is second to none. Although I've never really encountered Hitomi Kuroki before, she seems to slot perfectly into the main role and her portrayal of the distraught mother is nothing short of superb. Much like Nanako Matsushima in 'Ring', she really has to carry the film alone and still somehow manages to find just the right balance between fear and believability without slipping into the standard horror movie clichés. Kuroki is not alone though as a certain amount of credit must also go to the young Rio Kanno, who, particularly in the closing sequence, displays more emotion than I think I've ever seen in a child actor and is shockingly, a kid that remains cute while still being able to act.

Like the majority of Hideo Nakata's work, 'Dark Water' proves to be more of a psychological entry into the genre rather than an all out gore-fest. Whilst those of you looking for cheap thrills may bemoan the lack of bloodshed, it's the films amazing use of atmosphere and tension that make this a truly scary outing that is likely to leave a far more lasting impression than a handful of decapitations or bloody murders.

In 1988’s 'Final Justice', he has a great turn as a robber and in bit parts such as 'Tiger On The Beat', he shone as a put upon husband, acting as a great comedic foil to Chow Yun Fat’s randy cop in one nice little sequence. 'Blue Jean Monster' is a distillation of his talents, and it’s a shame he didn’t get more lead roles, as he is the best thing about it.

In 'Blue Jean Monster' Shing Fui On is Tsu, a haggered cop with a pregnant wife Chu played by Pauline Wong ('Mr Vampire's Fox Spirit) and a young punk housemate called Power Steering, an annoying character that Tsu looks after as he blew away his father years ago. Tsu, through Power Steering, learns about a bank robbery and eats up dead in a junkyard for his troubles.

Reincarnated through the wonders of cat urine and lightning, Tsu becomes a super strong zombie who needs constant recharges of electricity to survive, he swears to have his vengeance upon the robbers and see his son born.

Tsu finds himself invulnerable but also intolerant to sunlight and unable to eat or smell. In fact anything he eats pops back out of a hole he has in his belly. Tsu goes through sanitary pad and cookie dough to plug the gaping hole. Power Steering has some unfortunate encounters with what passes through Tsu in some memorable OTT moments that you only get in a Hong Kong movie.

The action and supernatural element aside, 'Blue Jean Monster' plays out like a bawdy 70s sex comedy, much of the middle section is devoted to Tsu and his wife’s suspicion that he’s either gay or having an affair. Cue yelling , bad gags involving exploding boobs and questionable theories about sex whilst heavily pregnant. All this whilst Tsu walks around as a befuddled super strong undead copper!

The strength of Shing Fui On’s delivery is what saves 'Blue Jean Monster', he has a natural grasp of the comedy and the screen presence in the action sequences. For what is essentially a monster comedy , this film has great action. There’s a violent robbery at the start, followed by a cracking car chase, then a tense shoot out in an old building followed by the final crackerjack finale involving firearms, tools and moving vehicles.

'Blue Jean Monster' is very odd, with mood swings at the drop of a hat. Much of the players do not have much to offer and most have little to their name outside of this film. Power Steering is a bargain basement Andy Lau and his girlfriend, Gucci is the sort of hysterical Hong Kong actress that can shatter glass. Without Pauline Wong’s performance as Chu, the film would probably sink but he and Tsu have a believable relationship and that carries the film from its start to the end.

I wouldn’t have ever thought it, and unlike a similar movie such as 'Magic Cop' which is just good fun, 'Blue Jean Monster' has a little soul and pathos lurking at the heart of it’s rampant Hong Kong chaos. As a testament to the skills of one of those underrated wheels that kept the great Hong Kong movie train rolling in its hey day you probably couldn’t ask for a better memorial.

It way be corny to call this a 'Noodle Western', but that's exactly what He Ping's swordplay film is. Borrowing heavily from the iconography of the Spaghetti Western, utilising the same haunting atmosphere and a harsh landscape that envelops the protagonists, this is as close to Sergio Leone et al as Chinese cinema has ever got. And, perhaps surprisingly, it works very well. From the opening shots of figures appearing in the dust clouds to ample use of atmospheric diegetic sounds, everything nods reverently in the direction of the inspirations behind them. The marvellous opening to 'Once Upon A Time In The West' is alluded to by He Ping as he gradually puts on layer upon layer of style to compliment the standard narrative.

There is a slick marriage between the execution of the story and the swift, chanbara-style action that peppers the film. There are none of the grand spectacles we've all become accustomed to; there is an admirably stripped down look to the whole production. No wirework, no flowing robes swishing with each sword strike, just quick-draw confrontations that again recall Italian Westerns and Japanese samurai flicks. Such simplicity of action requires a mood to build the tension of each showdown and He Ping knows exactly how to achieve this supremely.

The unfamiliar aspects of a very young hero with an even younger love interest mix rather well with the obvious influences and create a swordplay film quite unique within Eastern cinema. From the opening frames to the denouement, this is a production that sucks you into its strange universe, style dripping out of every shot. The victory of this style over substance may mean it isn't as accessible as other genre efforts, but it is gripping enough to recommend to anyone.

Ichi (Haruka Ayase) is a blind samurai searching the land for the man she thinks may be her father. Her exceptional fighting skills keep her safe and help protect her from a group of bandits who mean to do her harm. During the scuffle, a man comes to her aid, another wandering warrior by the name of Toma (Takeo Osawa) who due to a childhood accident has been unable to draw his blade in battle. He befriends Ichi and promises to keep her safe, despite her impressive combat skills already doing so. The two then find themselves aiding a local clan, the Shirakawa, in protecting their village from a group of marauding bandits. Their relationship and fighting skills are pushed to the limits as the two must discover the courage within themselves to overcome their weaknesses and defeat the enemy.

Avoiding the often melodramatic nature of many other samurai films, adding a few modern touches and staging some impressive action, 'Ichi' is an invigorating samurai flick. Sori, the director of cult hit 'Ping Pong' and stunning animation 'Vexille', crafts a good looking film that doesn’t skimp on the human emotion or action. An often told tale it may be, 'Ichi' still feels fresh thanks to excellent performances, eye catching production design and some often touching moments in among all the slicing and dicing. Leading lady Haruka Ayase ('Cyborg Girl') gives an impressive performance and despite her small frame and good looks, convinces as the sword wielding heroine. Her Ichi is a fragile soul, still coming to terms with the way her life has turned out but a force of nature when she is called into combat to strike down those who will do her harm. Likewise, Takeo Osawa (Sky High) is excellent as the similarly damaged soul, Toma, providing a few lighter moments but never being relegated to the comedy sidekick. The relationship he has with Ichi is affectionately developed and often touching as they come to care for one another.

The colour scheme and setting are vivid in colour but never garish or overbearing. They give the film a heightened look rather than a gritty one but this never detracts from the story or drama. The film isn’t saturated with action but there is a good amount of sword wielding combat, wonderfully staged and shows that slow motion can be a bonus to an action scene rather than a hindrance. While the story may not be the most complicated or original it is the characters and the emotional journey’s they take that provide the backbone to 'Ichi'. Sori may drag a few scenes out and some may be a little irritated that Ichi gets sidelined for a while in favour of Toma but this is actually a film about the two of them. Unpretentious, well crafted, a great central performance and some excellent action make 'Ichi' a hugely enjoyable experience and refreshing take on the samurai genre.

Lets talk about story - Jackie Chan plays Steelhead (I have friends called copperhead and lead feet so I guess I can let that slide), he's an illegal immigrant who was working as a Chinese farmer until his childhood sweetheart, Xiu Xiu (Xu Jinglei) goes missing in Japan so he travels to find out where she is. He's helped by Jie (Daniel Wu) and settles into life in Japan with other illegal immigrants, doing odd jobs while trying to adjust to this new life. It's at one of these jobs he finds Xiu Xiu and after a serious case of wrong place wrong time, he discovers his childhood sweetheart is with a Yakuza boss and things take a dark twist as Steelhead himself gets involved in some shady dealings in the underworld.

Ok so the plot isn’t the most gripping as it deals heavily with the Chinese immigrant issue, even with a factual statement at the end of the film. What it does show though, and I'm going to put my neck on the line here, is that Jackie Chan can act. This is his film, in fact if it wasn't for JC this might have just ended up as a run of the mill thriller. Gone is the over-acting that comes with many a year of slapstick comedy and in comes a 'less is more' attitude. There's a couple of firsts for JC here as well, or at least in his recent body of work, and we have 2 scenes which should jump out at you, as in "JC can't do that, its JC!". You'll know them when you see them and he should really be applauded for it.

Director Derek Yee certainly throws in some shocks, and not just the JC ones. There's some very powerful visual displays of violence that pepper the film throughout, showing us that if you turn to the dark side you really will become slave to its master. He also manages to get the best out of JC that we've seen in years. Sadly though, there are some holes so large you could drive a truck through and it doesn’t quite hang together as well as it should. The ending is also inevitable as you follow the characters progression through the movie. In saying all that though, it is still a great little film with the supporting cast, especially Daniel Wu, adding depth to the story.

So overall what drives you to watch 'Shinjuku Incident' is Jackie Chan giving his best performance in years (which should be reason enough) and you could almost call this “Jackie Chan's Rumble In Japan”. I really did hover over a 3 out of 5, which is a way off 4, but on second viewing I appreciated the film a lot more. It’s not going to win a lot of awards but it is going to win a lot of hearts. Jackie Chan is back, all be it for the time being, and in one hell of a ride.

Single mother Yasuko Hanaoka runs a popular lunchtime eatery that is regularly frequented by socially isolated, depressed maths teacher Tetsuya Ishigami who clearly harbours deeper feelings for her. As he is also her next door neighbour, Ishigami is aware of how she is looking after her teenage daughter alone and in hiding from her abusive lout of an ex-husband. When Hanaoka's errant partner finally tracks her down, he bullies her into giving him money and then begins intimidating her daughter, an action that causes his death when the pair retaliate. Although acting in self-defense, the mother and daughter are left catatonic by the event and have to rely on Ishigami to help conceal the body when he discovers he death. Together, the three conspire to hide the body and construct a water-right alibi for the suspects.

Under-appreciated, yet eager detective Kaoru Utusmi is assigned to the case after a mutiliated body is discovered in wasteground and identified as the repulsive ex of Hanaoka, who is immediately made the number one suspect. Yet her alibi is flawless and Utusmi is stumped as to where to go with the investigation. Once again she calls on her partner's good friend physics professor Manabu Yukawa who relishes the challenge of unravelling seemingly impossible cases. Intially Manabu - nicknamed 'Detective Galileo' by the police - is unmoved by the case reasoning that it has little to do with the cerebral conundrums he usually involves himself in. When he finds out that his old college friend Ishigami could be involved, the intellectual battle that awaits proves to be irresistible.

U.K. viewers will, like myself, immediately think of 'Johanthan Creek' with regards to 'Suspect X' and the prior 'Galileo' television series. Both characters are lateral thinking, puzzle-solving protagonists who have less interest in actual justice and more in the conquering of the seemingly impossible. Both have a certain social ineptitude that marks them as eccentric geniuses and both rely on their bewildered female colleague to bring them into the real world. While the BBC series is a more darkly humorous crime series, 'Galileo' and especially 'Suspect X' is a more straight forward proposition, though no less enjoyable because of it.

Any truly great detective story is only partly about the twists and turns of the narrative: the characterisation are what ultimately determine the dynamic. The ever wonderful 'Columbo' gave the killer's identity away within the first few frames, yet the real pleasure was seeing this dishevelled hero outwit the supercilious suspects. In 'Suspect X' the same applies, but there are more twists within the narrative to trick those who think they've seen it all before. Again much enjoyment is derived from the eccentricity of its hero, yet the story is brave enough the blur the distinctions between the two sides with the audience's emotions subtely changing throughout. The killers and the accomplice are fleshed out enough to be sympathetic and their motives not as dark as the usual genre fare. The skill of 'Suspect X' is that, while the viewer is drawn into this strange empathy, a twist awaits to turn pulls the rug from underneath them.

Former J-Pop star Masaharu Fukuyama is a reliably stoic Manabu Yukawa, a handsome yet unapproachable physics obsessive who distances himself from everyday minutae. Shinichi Tsutsumi steals his thunder in this particular story, though, as the depressed maths lecturer whose last chance of meaningful contact with the outside world is when he assists the cover-up next door. It's difficult not to be moved by his tentative attempts at friendship even though later actions show just how obsessive he has become. 'Suspect X' plays with the usual hero/villain dynamic before settling into a denoument that reveals the complexity the audience was hitherto unaware of.

Although not particularly cinematic - 'Suspect X' is as equally at home on the small screen as the series behind it - those familiar with the characters will enjoy seeing them tackle their first big screen outing. Those of us who have not seen the television series will also find much to savour as 'Galileo' - our oddball hero - could quite easily join the vast panthenon of much-loved detectives with similar quirks. It therefore offers something, albeit not as substantial as it might have been, for nearly everyone.

Lonely student Jirou (Koide) opines that on his birthday, there is no-one to share the special day with. A year ago to the day, a beautiful oddity (Haruka Ayase) entered his life on the same day, turned his plans and emotions upside down and left has abruptly as she had arrived. Jirou cannot forget this 'perfect woman', this gorgeous mystery figure who seemed so enraptured by him and hopes this birthday she will return. It appears his wish has come true when a doppleganger appears in his favourite restaurant, saves his life, and whisks him away for an unpredictable night. She reveals herself to be a cyborg, created by Jirou sixty years in the future and sent back in time to be his companion in 2008.

The cyborg may be utterly ravishing, but as she has to learn human emotions from those around her, Jirou struggles to get close to her. Despite saving numerous lives and breathing life into his sad existence, the cyborg cannot show the love her future creator yearns for even during his pathetic attempts to make her jealous. Eventually Jirou banishes her and returns to his moribund routine, always wondering whether his actions were justified as the adventures he once thrived on now melt away. The cyborg is not too far away from him though and when a vicious earthquake destroys much of Tokyo, Jirou is saved by his unusual girlfriend.

A lavish budget for this Japanese production allows Kwak Jae-Young to take his trademarks to a new level while never quite giving viewers anything new to savour. What could easily be called 'iSassy Girl' (did you see what I did there?) is a tsunami of emotion and melodrama, pushing hitherto strong levels of sentiment to new heights. This is our much loved Sassy Girl given a sci-fi reboot and plonked into a narrative of timelines and the inevitable paradox or two. Another truly radiant actress (Haruka Ayase in this case) turned into the enigmatic object of desire for a endearingly dopey hero, something most of us real-life dopey wannabe heroes will cheer about.

And yet, despite reeling these facets of the production off with almost monotonous precision, I cannot help but be charmed by 'Cyborg Girl'. Kwak Jae-Young has a Phd in stirring emotions and this film has more heart-pulling moments of manipulative magic as a room full of kittens playing with balls of string. Every action film ever made has the intention of creating excitement, every horror film of creating fear so its to be expected that a rom-com by the genre master should try to leave us in a puddle of tearful goo on the floor. Kwak Jae-Young understands how to achieve this better than anyone and puts together a few notably powerful scenes that linger long in the memory. The moment when the cyborg takes our hero back in time to see his now reconstructed home village again is spellbinding and about as moving a piece of cinema as I have recently seen.

What was unforgettable about 'My Sassy Girl' was its ability to surprise and confound, something 'Cyborg Girl' still manages to do. Cliches are mixed with moments that are by turns bewildering and even shocking while an winning cast ensures we cannot take our eyes off the action. The pacing is again Kwak Jae-Young's greatest adversity and 'Cyborg Girl' threatens to ground to a halt before it has run its course. Stick with it though as, at the end of two hours, there is something ethereal about the production and the ending it contrives to give us.

Despite the tendency to overdo the heroic aspect with intrusive and sometimes inappropriate music and the need for the main characters to over egg their loyalty, 'The Warlords' is a surprisingly straight forward and therefore more effective epic war movie. This is not a flashy costume drama or a CGI enhanced flight of fancy but rather a gritty, grimy and quite often, an in your face epic. Melodrama just stays the right side of over-the-top the love triangle between Pang, Lian and Erhu played surprisingly human and bittersweet. Peter Chan makes an effective move to big epic filmmaking, framing 'The Warlords' in a dusty, dirty setting that evokes realism, even when proceedings are on a grand scale. However, Jet Li is the real star here. Just when you think he is resting on his laurels and content with making crappy Hollywood films ('War', 'The Mummy 3') and that he may just be done with this whole acting business he comes right back and reminds you why he is one of Asia’s biggest stars. For the lack of a better word, he is mesmerising as the conflicted Pang, a man who is essentially good but seems to do some very bad things in order to be good. While Lau and Xu are also especially good, it’s Li that carries the movie and not just in the battle scenes. He once again shows (much like he did in 'Danny The Dog' and 'Fearless') he is an actor as well as a martial artist and this is one of his best roles. A meaty character to sink his teeth into and Li wisely refrains from grandstanding making sure we are always engaged with the character no matter the horrific acts he sanctions.

Li is also adept in the big action scenes but don’t go expecting solo face-offs of martial arts mayhem. This is a war movie and the action/battles stay within this theme, never flashy but always brutal. Li does get a few show stopping scraps, not least his extended takedown of dozens of enemy soldiers, but the action is on a large scale and brutally realized. Limbs are severed, soldiers beaten while lying on the ground and the horses they ride don’t fare much better either. It’s savage stuff and lends itself well to the realism 'The Warlords' is striving for.

A great, big ballsy war movie, 'The Warlords' may not always be subtle but it is never pretentious. Li commands the screen like his character commands his army and while the film has it fair share of savagery, 'The Warlords' still manages to be a touching, personal and sometimes, even beautiful film.

After winning all of his matches in the USA, 12-year-old tennis prodigy Echizen Ryoma is brought back to Japan by his father and enrolled in the prestigious Seishun Academy Middle School. Although he doesn't understand the move, the school is in fact famous for it's tennis team and Ryoma soon finds himself playing alongside school captain and national player Tezuka Kunimitsu, cool-headed Oishi Syuichirou and the acrobatic Kikamura Eiji. He also attracts the attentions of Higaki Shioin, a strange and quiet girl who watches him attentively from the bleachers. As the pressure from both his father and fellow team mates begins to rise, can Ryoma meet the challenge and earn the title of Prince Of Tennis?

The first and most instantly appealing aspect of 'The Prince Of Tennis' is that it sticks fairly close to the original concept. Right from the opening, it opts to recreate as many of the crucial scenes as possible and mimics the introductions of the main characters to great effect. Likewise, the overall look and feel of the production is spot on, with a very anime inspired style that showcases some excellent camerawork. As if this wasn't pleasing enough, the film also boasts a cast who really act and look like their animated counterparts and the highest compliment I can pay the film is that it always feels exactly like 'Prince Of Tennis'.

When it comes to the acting ability on display, this is equally as adept and it's nice to see a manga adaptation that doesn't just dip into the realms of the ridiculous. 15-year-old Kanata Hongo is right on the mark as Echizen and provides an exceptionally mature performance for his age. Unlike a lot of child actors, he never comes across as obnoxious and manages to convey the quiet and contemplative elements of his character without ever appearing arrogant. Yuu Shirota (Tezuka), Sayuri Iwata (Shion) and Kousuke Kujirai (Kaidou) are also worthy of special mention as they all slot perfectly into their roles and avoid the tendency to overact.

For a film that uses tennis as it's main focus, I'm also pleased to report that all of the matches in the film are extremely well shot. Considering the erraticness of the game, you may expect there to be some issues with the flow but they are amazingly realistic and there's a tenseness to the matches that is often lacking in most sports movies. Surprisingly, the superhuman techniques of the players are also well represented and aside from a few bizarre flying manoeuvres, the CGI is very impressive and certainly right up there with the likes of 'Shaolin Soccer'.

Understandably, the time restraints of the movie do cause some upsets and a number of popular characters and sequences are noticeably glossed over. This is particularly true for several of the Seigaku team and (a much younger and prettier) coach Ryuzaki, who all take a back seat so that Echizen and Tezuka can become the central focus. For the sake of the film's story this is clearly the best approach, but from an existing fans' perspective you do miss out on several entertaining personalities. Similarly, some of the early bouts with the Seigaku team are much shorter than they originally were but once again, this works in the film's favour as it makes the final matches that much more exciting.

If you're a fan of the anime or enjoy superhuman sports movies like 'Shaolin Soccer', I would strongly advise you to seek out 'The Prince Of Tennis'. It's exactly how a manga/anime live-action adaptation should be done and ignores the hype in favour of providing an accurate and fun representation of the source material.

Angst-ridden youth Sid (Chan) unwisely involves himself with the beautiful young wife of a high-ranking gangster (Tsang), taking the warnings of his friends in his sulky stride. The husband, Stephen Ma, eventually discovers the infidelity and demands that Sid's triad father Kwan (Leung) hand his son over for some impromptu capital punishment. A previous friendship means that Kwan eventually negotiates to 'merely' maim his son, but secretly sends the rebel without a clue to the wilds of Taiwan with his trusted aide Chiu.

Out in the wilderness, away from the influence of a corrupt city, Sid comes under the influence of the tribe of Zen drummers who practice on the mountain nearby and tries to insert himself into their near-monastic order. He eventually wins all but one suspicious young pupil (Lee) over and finds the solitude and meditation beginning to turn him from being a bellicose trouble-maker to an introspective young adult beginning to face up to his resposibilities. Meanwhile Kwan finds himself betrayed by former associates and sent to jail for a substantial stretch. Yet the correspondents between father and son now take a much more rewarding turn, despite ominous machinations occuring behind the scenes.

They say the apple doesn't fall far from the tree and with Jaycee Chan giving one of his better performances as a troubled youth in need of a disciplined lifestyle, it's easy to recall one particular film from his father's past. Although 'Drunken Master' may appear to be a very different production to this rewarding drama, there's more than a little of the iconic portrayal of Wong Fei Hong in Jaycee's work. Starting off as a truculent solipsist who swaggers through Hong Kong with disdain for those around, he then matures into someone with a far greater appreciation for life and family; I couldn't help but recall his father in a kung-fu classic that may be some distance from this in tone, but shows how both have a genetic ability to convey arrogance then quiet humility. He may never be Hong Kong's foremost thespian, yet his display here finally banished memories of 'Twins Effect II' - where Chan showed all of the emotional dexterity of Metal Mickey - from this reviewers mind forever.

Chan is flanked by some impressive acting talent to ensure that, should he falter, the film will still progress confidently. Tony Leung Kar Fei relishes his scenery-chewing anti-hero role and enjoys a few choice scenes with that most elegant of Hong Kong screen kingpins, Kenneth Tsang. Both men prove to be more intimidating than the simple parameters of the screen allows and give the simple story its necessary frisson, providing some consolation for the underuse of Angelica Lee.

Lovingly shot by Sam Koa - who goes to great lengths to juxtapose the hectic concrete jungle of Hong Kong with the verdant mountains of Taiwan - 'The Drummer' is something to savour in what may prove to be a hugely productive career in the director's chair for Kenneth Bi. This is more than just a story of the troubled and certainly a notch above the usual redemption-through-arts film that is more than a little familiar to us all. This is a drama that dares to serve up quiet contemplation along with the expected epiphany of the protagonist. Bi serves up familiar twists and turns, yet the way they are presented raises them above expectations, successfully mixing the elements of the triad drama with something quite the opposite. The fact that 'The Drummer' gels together so competently is perhaps its greatest commendation and makes Bi's future projects even more anticipated.

After various clashes with the police department, Lee is teamed up with naive lawyer Mabel (Liu) who immediately makes an impression on the swaggering gangster and their professional relationship turns into something more personal very quickly. Equally quickly is Mabel's announcement that she is pregnant and Lee needs to provide for the upcoming child. He is initially horrified by the developments and sees a child as an end to his ill-advised lifestyle. Yet, when his daughter is born, Lee finds himself prepared to go to any length to be a better father to her, even masquerading as a businessman and painfully changing his tattoo. As his daughter, Heiyi, grows though, it becomes evident that only a life away from crime will save his daughter from a similar fate. Getting out of the triads and cutting away all criminal connections is far harder than starting on the path though.

At first glance, 'Run, Papa, Run' seems somewhat out of place among the pantheon of Sylvia Chang films, a definite diversion away from the realism and subtle social critiques that the director has expertly utilised in the past. This is a intoxicating mixture of the surreal and the mundance where the definite star is a male character quite a distance away from Chang's usual cinematic focus. Yet, its admirable when any film-maker extends themselves beyond their expected output and in such cultured hands this has all the hallmarks of excellence that have attached themselves to Sylvia Chang's name. It may almost appear hyper-real at times, a world where visible manifestations of thoughts and dreams come to lucid life, but this is the product of solid source material and a woman who is as accomplished behind the lens as she was in front of it.

This production starts with a startlingly animated credit sequence and retains a visual elan that sets it apart from the usual tales of triads trying to go straight. It may be a storyline that appeared throughout 80s Hong Kong cinema and beyond, but from the beginning until the end 'Run, Papa, Run' has designs on ploughing its on furrow rather than going along a conventional route. Much early humour is derived from the odd tangents the film disappears off into, while the hairstyles during the first half become intimidating characters of their own. Such a zany edge sets this apart from the numerous contemporaries, yet does occasionally divert the narrative from its intended pathos. Nevertheless, even during the moments of absurd comedy and genre parody, there are subtle hints at the dark world surrounding the Lee family.

Louis Koo - in probably his most mature performance - provides narration, punctures reality with little asides to the camera (the fabled 'fourth wall' crumbling in the process) and pokes fun at the stereotypical triad leader, full of machismo and surprising sentiment. Chang allows Koo to give the performance of his career, but surrounds him with great supporting players; from Rene Liu to the welcome return of Nora Miao to the big screen, 'Run, Papa, Run' has a cast that is full of talent and experience. Max Mok is sterling support for Koo and brings the genre's 80s zenith back to mind as one of the familiar faces of that era. Yet its not just empty nostalgia that actors like Ti Lung and Chan Hui Man provide - their gravitas lends itself well to a production with higher aspirations.

Ultimately, this is a story about the love of a father for his daughter and, as such, it delivers all of the poignancy and power it should. Chang achievements are that, even in the moments of mirth, there is an underlying power to the scenes; one particular moment sees Lee having his intimidating tiger tatto changed for his daughter's sake, a sequence that tell us so much about the relationships in the film. There is a merciful lack of histrionics or show-boating, award-grovelling scenes that larger than life productions tend to allude to and this only helps to make the overall theme relevant to a wider audience.

'Run, Papa, Run' is a story we may have seen before with style that may initially be jarring, yet is ultimately delivered with aplomb. Chang stirs a number of emotions throughout while finally leaving a message about family and the unforgiving underworld our anti-hero tries to leave. It proves to be one of 2008's most illuminating Hong Kong efforts.

Woo wisely decided to release this epic - and that word has lost as much value as the pound in recent years - production in two parts, allowing the complexities a full five hours to play out on the big screen rather than trying to squeeze them into a comfortable size for international consumption. There are notable, controversial changes from the original chronicles and the novel 'Romance Of Three Kingdoms', yet just to see John Woo behind the lens of such an outrageously lavish release rather than contriving to fit some avian slow-motion in another awkward Hollywood blockbuster is significant compensation.

Nefarious Prime Minister Cao Cao (Zhang Feng-Yi) persuades a reluctant Emperor Xian to allow him to use the multitudinous forces to quell a suspected rebellion in the south of the kingdom. Although one advisor sees through this thinly-veiled attempt by Cao Cao to manoeuvre himself into a position of near total control, the plan goes ahead to destroy warlords Liu Bei and Sun Quan, the initial battles intially being won quite easily. Liu Bei, keen to protect his citizens from impending slaughter, organises an ingenious stand-off against Cao Cao's cavalry, where reflective shields gives the protectors a vital advantage. Eventually the superior numbers prove too much and the enemy forces Liu Bei and his armies into retreat, along with thousands of refugees. Zhuge Liang, chief advisor to Liu Bei, decides to venture to Sun Quan's kingdom, Wu, and ask the canny young ruler to form an alliance with them.

On arriving in Wu, Zhuge finds a pensive Sun Quan (Chang Chen) contemplating whether to stand up against Cao Cao - who is still officially an ally of their kingdom. An impassioned Zhuge explains that any pretense of friendship by Cao Cao will soon turn to widespread totalitarianism and, despite criticism from his numerous wizened old advisors, it is imperative to join the war on the side of Liu Bei. Sun eventually agrees and Zhuge subsequently calls on the services of chief commander of the Wu forces, Zhou Yu (Tony Leung), who is busy training his troops near the legendary Red Cliff. Although still massively outnumbered by the approaching hordes, the southern kingdoms are now ready to engage on land and sea with the war moving into its next phase.

It would take something special to stir me from my 'Chinese Historical Epic' daze, a condition that has increased in severity during the past few years with the world and his wife making their version of Chinese history. Of course, this particular 'Red Cliff' project had the greatest budget in the history of Chinese cinema to call on, but every recent costume drama - of vastly differing budgets - has looked effortlessly opulent without necessarily being any better than the last. Yet John Woo's excellent return to form is a notch above its contemporaries because it is more than just impressively-peopled wide-angle shots and eye-straining battle sequence. For a story as rich in detail as 'Red Cliff', this is ironically Woo's most measured film of recent years and certainly his most human.

'Red Cliff' has been a troubled production with cast changes and delays rife throughout shooting. Nevertheless, the chaos behind the scenes never interrupts the vision on screen and Woo rediscovers his insight into brotherhood, friendship and heroism. These themes, long associated with the director, seemed to have been either jarringly inserted into recent flops or altogether deleted, so to see him playing with these ideas on an epic stage is gratifying indeed. The intimate scenes blend superbly with the undeniably incredible battle sequences, making a 140 minute duration canter along confidently. A first-rate cast helps us forget that this was intended to be the reunion of Chow Yun-Fat with his mentor and focus on the drama that unfolds. Zhang Feng-Yi is the kind of scenery-chewing villain that makes every battle ripe with drama and full of tension while Chang Chen impresses as the young Wu ruler keen to show himself an old head on young shoulders.

As stated, there are changes to the original texts and not all of them sit comfortably. The concession to modern audiences of including Vicky Zhao's Sun Shangxiang in the actual fighting is awkwardly arranged as are a few none-too-subtle allegories. Yet, by the end of the first part, 'Red Cliff' leaves the impression of the peerless'Empire Strikes Back' where, despite having no conclusion of its own, all of the groundwork of the characterisation and story make the next chapter and exciting prospect. John Woo has returned - at least until 'Paycheck 2' is announced on the back of 'Red Cliff's worldwide acclaim.