It's perhaps ironic that I watched this film on 'Children In Need' day; after the insane opening credits we are informed that this film is dedicated to children. Indeed 'Demon Of The Lute' shares the same predilection towards making famous faces embarrass themselves for a cause as 'Children In Need' does. But whereas the annual charity event throws up weathermen doing routines from 'The Full Monty', 'Demon Of The Lute' gives us Lee Hoi San with a big red afro (that gives him special powers), a hero with a gigantic pair of golden scissors, a impish young star with one of the most shrill dubbed voice in history, a fight between a hero and an Alsatian drawn carriage (and I do mean the canine variety), dolls emitting fireworks that warn of danger, villains with extending beards and appendages... the list of madness goes on and on. It seems that only kids subjected to constant mental abuse by the array of loud, in-your-face shows of 'Cartoon Network' and 'Nickelodeon' are likely to escape a viewing of this unharmed.

Hidden deep within the bowels of this infernal locomotive is some half decent action. A few moments are wildly inventive, showing exactly the kind of imagination and vigour that put Hong Kong cinema firmly on the map. These scenes, though, are sunk beneath a barrage of quickly cut fantasmagoria that pulsates from the television like an atomic blast. Even the scenes of dialogue seem to take place at a hastened pace; words are spurted out, answers lashed back, then characters arise with an undercranked spring in their step. All of this amounts to a confusing, exhausting, overwhelming 100 minutes of mayhem.

Mainstream Hong Kong cinema has often embraced the bizarre and the baffling, but 'Demon Of The Lute' may be a step too far for many. An all star cast makes matters more bearable as do some colourful moments of inspiration, yet this is a film that very obviously came near the end of the great Shaw Brothers' period. If all that was needed for an entertaining production was a band of familiar faces overacting for the entertainment of children, this would be a near masterpiece. Most will want a bit more than that to be impressed.

Detective Sergeant Jun Ma (Yen) is a hard hitting cop who prefers to do his talking with his fists and isn't afraid to crack a few skulls to get the job done. However, as good as he is at his job there is still one Vietnamese gang who have so far eluded the scales of justice. In order for him to get the drop on them, Ma's partner Wilson (Koo) has gone undercover within the gang and after years of service appears to have gained their trust. Unfortunately, this lifestyle has taken it's toll on Wilson and when the proposed big bust of the gang begins, Wilson is exposed and becomes a target for the gang. Now it's up to Ma to put his job to one side and protect his friend at all costs whilst still attempting to stay inside the guidelines of the law.

Although I considered 'Sha Po Lang' to be a solid effort with decent action scenes, somehow it didn't quite cut it for me as it just seemed to lack that va-va-voom (for want of a better expression) that has always made the Hong Kong film industry such a powerhouse in the action genre. For this reason, I was perhaps a little apprehensive about the hype that surrounded 'Flash Point' and went into it expecting an over-stylised yet vacant affair with a couple of passable action scenes. Imagine my surprise then when the film turned out to be an incredibly slick production that not only looked the business but also boasted a story that combined with the action to great effect. Perhaps it's fair to say the plot isn't exactly original and threatens to become overly predictable in places but it's subtle and strong enough to keep the film flowing and certainly seems fresher than the "corrupt cop" scenario dished up by 'Sha Po Lang'. Another overall plus is the general pacing of the film as it has you siding with the heroes from the off and despite the lack action scenes, doesn't open up too many unexplored avenues that could allow the viewer to dwell on the weaker elements.

Performances from the leading cast are also very competent. Louis Koo, despite being an actor who I've never been overly enamoured with, performs extremely well throughout and thankfully avoids his tendency to lapse into spates of over-acting (as he did in the rather inane 'Rob-B-Hood'). Yen on the other hand isn't exactly known for his repertoire of varied characterisations but he is perfect for an action hero as he's moody and tough, and always conveys the feeling that he's a force to be reckoned with. It's also pleasing to see he doesn't pause to pose for the camera too frequently which is a criticism that he is often saddled with. Ngai Sing slots nicely into the mix as the bad guy who flaunts a very believable callous attitude as well as being a suitable opponent for Yen with his obvious abilities in the martial arts. Added to this, it's nice to see Kent Cheng back in action (and minus a few pounds I might add) who seems ideal for the role of an aging police chief as he has the presence of a superior officer whilst retaining that innocent likeability that has always made him stand out in every one of his roles.

As far as the action goes, 'Flash Point' isn't quite the no-holds-barred kung fu extravaganza that you might be hoping for but what little action is on offer is certainly enough to get the adrenaline pumping. In truth, there are only two main fight scenes to speak of but Yen has chosen to inject a touch of originality in his choreography by utilising a raw yet powerful style that concentrates on grappling rather than relying on his signature kicks. This works exceptionally well for the film's atmosphere and the final duel between Yen and Chou is particularly impressive as two desperate combatants give their all for the sake of victory. There's also a certain degree of gunplay on offer that whilst not quite in the same league as John Woo, is very entertaining and the use of a sniper rifle during one of the sequences is nothing short of genius.

'Flash Point' isn't a perfect film in the classical cinematic sense but it is a damn fine action movie that doesn't short change the viewer in any department. I often seem to be guilty of stating that each new promising Hong Kong action film has the industry back on track but 'Flash Point' is clearly a step in the right direction and I'll certainly be looking forward to any future collaborations from Yen and Yip.

This paean to rural China is told from the perspective of Gouichi Takata, a Japanese man desperate to be reconciled with his estranged, terminally-ill son. Despite his trip to Tokyo to be by his son's side, Gouichi is refused access and has to rely on his daughter-in-law for regular updates as to his condition. When Gouichi discovers that his son was working on a documentary about a Chinese Opera singer, but was unable to complete it due to his encroaching ill health, he elects to devote his time to completing the task. He travels to China to find the singer and finish the documentary, hoping the act will finally thaw relations between him and his son. The task is complicated when Gouichi discovers that the focus of the documentary is now serving a jail sentence and attempts to reach him are stifled by bureaucracy. As the prospective film-maker tries to get past the red tape he gets to know a variety of local characters, foremost among these is a lonely boy whose father is also serving time at the state's pleasure.

Zhang Yimou returns to the gently-paced, beautifully-shot stories that initially placed him onto the world stage, while also providing a keen insight into a land that was, until recently, shrouded in mystery and mythology. 'Riding Alone For Thousands Of Miles' takes viewers on a similar journey to much of Yimou's earlier works, the protagonist searching for answers and closure in the vast landscapes of China. Not that the familiarity with the concept is necessarily detrimental; Yimou is such an assured film-maker that his development of the material has all the hallmarks of quality one expects from an auteur. The story is developed with the languid confidence that Yimou displayed in works such as 'The Road Home' and 'Not One Less', utilising a pseudo-documentary intimacy to explore the subject matter.

Yet, despite the fact that this is a 'comfortable' viewing experience, it fails to be the return to past form that was expected. While there's much to savour and the execution of the material is hard to fault, it never manages to have the emotional core that made earlier works benefited from. Although we grow closer to Gouichi throughout the story - certainly closer than to the characters from 'Hero' and 'House Of The Flying Daggers' - the obvious turmoil he's suffering fails to resonate as it should. The peerless Ken Takakura cannot be faulted as he conveys more pain and contemplation in a few silent moments than the whole script can muster throughout. Rather it is the lack of development behind the central dynamic - why the father and son have become so bitterly divided is never explained nor even hinted at, leaving us with significant ground to make up throughout.

'Riding Alone For Thousands Of Miles' offers a pensive 100 minutes with the kind of devotion to China that shows clearly where the director's heart lies. There are subtle digs at the bureaucrats, though these satirical swipes are never as sharp as Yimou's founding years produced. Nonetheless, despite never catching the imagination in the way that it should - it simply lacks the balance between the dramatic and the ethereal - it is a film that offers intelligent, if flawed, viewing.

A minor satire of Chinese bureaucracy and an intimate look at the Beijing streets, 'Cala, My Dog!' is an enjoyable yet flawed production that runs out of steam before it reaches its conclusion. Starting strongly, the story utilises an ingenious countdown system that interrupts the verisimilitude to show viewers how much time is left. Then Lu Xuechang begins to chip away at the 'Powers That Be' with slight digs at the way such an exorbitant amount is needed to licence one ordinary dog. The fact that so many of the officials are quite open to a small bribe is implied rather than overtly recreated, yet Lu Xuechang's intentions are clear.

Given the close attention the Chinese government show towards their entertainment industry and what it says about local society, the subtlety of the satirical swipes is a way of evading the censors. Yet opportunities to explore the power structure of the officials and the reason for the incredible amount needed for the dog licence are wasted. The story becomes a repetition of Lao's schemes to get back his pet, a factor that becomes more obvious past the halfway mark. Ultimately though, this is as much a social realist exploration of family and the weakened bonds therein as it is some polemic about the government. In this area 'Cala, My Dog!' is more successful and by the end of the narrative there is a clear message about responsibilities and priorities beamed through.

'Cala, My Dog!' is, as so many modern Chinese films are, a way of observing a misunderstood country on a detailed level. Beijing is filmed without the rose-tinted cinematography of some productions nor does it imply that there is something overtly sinister about the society, another popular stereotype. It successfully puts ordinary people at its centre and while their struggles may be unusual, their emotions are very easy to relate to. It may end up being a missed opportunity rather than a resounding triumph, but there's still much to enjoy.

Corpulent Hanna (Kim A-Jung complete with semi-convincing make-up) uses her velvety voice for her twin-fold professions as operator on a chat-line and vocal talent for perfectly formed, yet tone deaf K-Pop sensation Ammy. Aware that her looks keep her from getting the man of her dreams, Ammy's producer Sang-Jun, Hanna reluctantly hides in the shadows while others capitalise on her talents. One particularly harsh shaming at the hands of Ammy and the subsequent acceptance by Sang-Jun that he doesn't find Hanna remotely attractive sends the timid admirer into an abyss of depression. Just before she attempts to take her own life though, the idea of re-inventing herself at the hands of a renowned plastic surgeon she knows comes to her. Black-mailing the reluctant surgeon into performing extensive work on her entire body, Hanna is transformed over the course of a year into a beautiful Jun Ji-hyun look-a-like who she christens Jenny. Hanna decides to audition for Sang-Jun using her new guise and become the star she thinks she should always have been. With stunning looks and her ability to sing, Jenny is signed up as a future pop star though jealous diva Ammy resolves to find out exactly who this new star really is.

Anyone who, in a moment of unflinching self-flagellation, has watched more than a few seconds of 'E-Entertainment channel' will see what extensive plastic surgery by yet another celebrity trying to claw back a few years of 'youth' really looks like; as if two separate packs of feral dogs are pulling either side of the said celeb's face, each smile looks like a task that Hercules would have flinched at. Yet Kim Yong-Hwa turns his leading lady into the kind of vision of beauty that looks like it has never been near a surgeon's knife, all to prove the ultimate point that beauty is only skin-deep. As with other films that have tried the same tactic - 'Love On A Diet' comes to mind - the results are mixed and the message hypocritical at times.

From the opening scene of clumsy ineptitude by Hanna to the expected conclusion, '200 Pounds Beauty' is a typically operatic Korean rom-com where subtlety is elbowed aside in favour of 'My Sassy Girl' style emotional fireworks. Whereas that benchmark of the niche still occupies the very summit, '200 Pounds Beauty' is a glossy film that is ultimately as superficial as Ammy, one of its air-headed characters. It purports to show how shallow the world can be and how someone's physical appearance should not be the criterion on which they are judged, the trials of Hanna/Jenny supposedly showing how inner purity are far more important. Yet the awkward fact is that the female protagonists are just as obsessed with looks and outward appearance as anyone else, including our heroine; the love of her life is, coincidentally, very handsome yet isn't exactly shown to have too much happening upstairs other than the requisite furrowed brow.

'200 Pounds Beauty' is slickly shot with an attractive cast and a couple of moments of mirth that succeed, a combination of attributes that nearly scrapes it a third star. Nevertheless, anyone who has seen more than a few of its ilk will fail to see the reason to sit through another two-hour retread of the same information. Nothing refreshing is brought to the screen and the execution of the story is workmanlike to say the least. The genre is full of such beautiful failures and despite its pretensions to dig beneath the surface this is another to add to the pile.

Ultimately there is something uncomfortable about the portrayal of the male characters and what it says about the gender as a whole that sticks in the mind with '200 Pounds Beauty'. This coruscating film highlights the fact that all men are only devoted to outward beauty and all women are merely victims of that desire. Apparently all of the magazines targeted specifically at women, where what you wear, what you eat and how you can be like your new demi-god (celebrity) don't sell in their millions and influence countless people around the world. That such information comes from a medium as notably narcissistic as cinema is the final nail in the productions coffin.

A painting that Tsing (Fu Sheng) and Ying (Niu Niu) discovered in the previous instalment, was found to contain information on the whereabouts of General Yue's Posthumous book. It states that the book is located in the Iron Palm Clan's headquarters. While retrieving the book Ying is seriously wounded as she is struck from behind by Iron Palm Clan leader Qiu Qian Ren (Lo Mang). On escape they come across the hut of Auntie Yee (Ching Li), who's hospitality is cut short when she discovers who Ying's father is. She does however tell them to find Southern King Emperor Duan Zhi Xing (Ti Lung) who has the power to save her. After making their way up the mountain and having to pass Duan's four disciples one by one, Duan agrees to help her against his disciples wishes. It becomes apparent that by saving Ying, Duan will lose his internal power for five years making him venerable to attack. This is in fact Auntie Yee's plan as she holds a deep rooted grudge against Duan.

Of the three films in the 'The Brave Archer' trilogy, this instalment feels more like a solitary film. The pacing is much more leisurely and the new characters are not thrown in at breakneck speed. It also leaves more time for character development as it spend much time exploring the background of Emperor Duan. In many ways Ti Lung and Li Ching have the central roles as these are the ones that are given depth and emotion. So one might think that this might be the best in the trilogy. Not necessarily so.

As I have already mentioned the pacing is much more leisurely. And it certainly feels more leisurely. If viewed straight after the first two instalments it feels downright slow in comparison. It could be argued that this is not helped by the action being more sparse than in the previous instalments. In fact the vast majority of the action is left for the final reel, cue a showcase for the Venoms, and executed in typical Venoms style. Yes all five Venoms can be seen in the final showdown, which has the rare distinction of Sun Chien wielding weapons.

There is even more references to Taoist formations than in the previous two films. This becomes quite mind boggling, when Taoist mathematic formulas and solutions are churned out at such a velocity, that surely only a genius could keep up with. This is an aspect of the film that makes it less accessible to western audiences.

'The Brave Archer 3' also sports an unsatisfactory ending. While it may tie up the issues created in this instalment, it appears to ignore most of the events created in the previous two instalments. This is one of the factors which makes it feel like more of a standalone film. Thankfully the final chapter spills over into 'The Brave Archer and His Mate'. It therefore could be argued that it is in fact a quadrilogy as opposed to a trilogy. However only the first half hour of 'The Brave Archer and His Mate' covers the end of 'Legend of the Condor Heroes'. The decision to not include the ending of the source material was most likely so that 'The Brave Archer 3' would end with a big action set piece in the tradition of the genre.

Overall, I felt that 'The Brave Archer 3' is the weakest of the trilogy despite some of its traditional narrative improvements. The three films are of course better if viewed as one long film, but that is partially the undoing of this third instalment due to it's comparatively slow pacing following the hectic earlier instalments.

Samson Chiu recalls the ambitions of his successful 'Golden Chicken' series with this attempt to consolidate forty of Hong Kong's most tempestuous years into a two hour production. Such a lofty target is quite within the capabilities of a film-maker like Chiu who has shown himself adept at conveying complex themes and time-scales on the cinema screen before. With 'Mr. Cinema' though, Samson Chiu is unable to handle the considerable task of weaving together a retrospective of Hong Kong's modern history with that of a local family going through the eventful times. The resulting failure proves to be far more effective as a kitchen-sink drama than it does an enlightening look at the years that shaped the region.

'Mr. Cinema' starts firmly rooted in 1960s Hong Kong and the development of its own economic and social identity. Yet significant moments from this era, namely the left-wing riots of 1967, are alluded to (with Anthony Wong partially involved in them) but never explored to any great extent. Considering the creation of the central father-son dynamic is based on their contrasting pro-communist/pro-capitalist ideologies, this is a major oversight. The story then leaps from this under-developed era to the 80s and the adult Chong's changing mindset though the director interjects every few scenes when he crow-bars another lazy reference to the times into the storyline. Ultimately what should be a film infused with the effects of the world around the main characters becomes a drama that is awkwardly stranded in a primitive history lesson. The recent 'Hooked On You' was set in a shorter block of Hong Kong history and had much simpler objectives, but it had enough attention to the detail of the era to make it a more rewarding paean to its beloved home.

Sifting through the disappointments of what was heralded as Hong Kong's 'Cinema Paradiso', it soon becomes apparent as to where the production's strength lies. Anthony Wong as the stern patriarch is excellent and it is his family life, away from Chiu's delusions of grandeur, that brings the film its notable attributes. Kong is a deluded yet sympathetic father who finds it easier to articulate his love of the Motherland than that his has towards his wife and son. Samson Chiu uses the fluctuating fortunes of Kong and his son as a heavy-handed though strangely fruitful allegory for China's sometimes difficult communication with its own off-spring; we see parental China ignored by dollar-grabbing Hong Kong and rebellious Taiwan and then we see the prodigals return to the warm bosom of their mother. All of this leads to much pro-Chinese posturing, but the family drama is well acted and full of powerful moments. It is here that the Samson Chiu of 'Yesterme, Yesteryou, Yestersday' emerges and gives evidence as to where his visionary skills lie. Tender moments with Ronald Cheng and Karen Mok (the former improves as the narrative progresses) are juxtaposed with scenes of regret and melancholy between Anthony Wong and Teresa Mo - the two outstanding performers in this work. When Chiu's focus is scaled down and the camera allows such situations to take centre stage, 'Mr.Cinema' becomes a very rewarding effort.

As a grand statement on a rich period of modern history, 'Mr. Cinema' falls well short, but as a drama - and a piece of pro-China rhetoric it manages to achieve its objectives. The former has been mentioned yet its worth mentioning just how jaundiced its sentiments are throughout certain dubious allusions to history. For Anthony Wong's character, China is a glistening utopia that firmly opposes the materialism of Hong Kong: for the viewer its almost as if Samson Chiu is trying to get them to be enchanted in the same way. Events like the Tiananmen Square Massacre are conveniently forgotten while the recent resurgence of China as a superpower is treated with reverential awe. 'Mr. Cinema' struggles to show events with an impartial eye and therefore drowns its intentions in a shower of blundering propaganda. Samson Chiu's magnum opus is therefore hamstrung and operates best as a stand-alone drama; if the more ambitious nature of the production can be ignored and the awkward jingoism put to one side, 'Mr. Cinema' can be enjoyed as a well-performed, sometimes captivating film.

When a consignment of gold disappears from a harbour, a number of parties set out to find it. Firstly there is a disgraced police officer who is helped (and hindered) by a feisty wannabe policewoman who has a crush on him. Then there is a trio of con-artists who see this as the perfect opportunity to end their careers with a massive scoop. Finally there is the considerably more intimidating presence of a Japanese gangster and his varied cohorts who are willing to use any means to find the gold. Clashes between the three groups of treasure hunters are inevitable, but those on the side of the law must team up with the tricky threesome in order to defeat the formidable ranks of the Japanese underworld.

From the man who brought you that paradigm of lunacy that was 'Fantasy Mission Force' comes this incredible blend of classy choreography and low-brow comedy. Back by popular demand (?) are two of the comic stars of the former production and they waste no time treating us to the very worst of Taiwanese comedy, gurning into the camera and interrupting the juggernaut-paced action with impunity. Chu Yen Ping gives them a free reign of terror and they infest every scene with Robespierre-like relish. Such a decision is a good indication of Chu's directing skills throughout his career, but 'Book Of Heroes' has a significant saving grace: the action.

Anyone who has seen everything that Jackie, Sammo and Yuen have offered could do a lot worse than endure Chu Yen Ping's messy action comedy. After a mere ten minutes, we are already treated to a show-stopping acrobatic battle in a bar room, quickly followed by a few more examples of the skills of the cast. When 'The Osh' enters the fray, the whole film advances a few levels and packs in as much toe-to-toe combat and heart-stopping stunt work as it can. This desire to rival the Golden Harvest greats is close to being achieved were it not for the needless 'comic' intrusions that occur in nearly every scene. Unfortunately this is a mixture of the insipid and the inspired; the latter is quite breath-taking, but the former requires a sturdy constitution to get through.

In the first instalment we left Kao Tsing (Fu Sheng) the victor, winning Huang Ying's (Niu Niu) hand in marriage. Since then Chao Pai Tung (Kuo Chui) had informed Huang Yaoshi (Ku Kwan-Chun) that it was he who had taught Tsing the contents of the book, which was in fact the Jiao Jin manual, allowing him to win Ying's hand in marriage. Believing that Tsing had lied to him, Huang Yaoshi expels him from the island. However Western Poison Ouyang Fung (Wang Lung Wei) captures Ying and agrees that he will only release her if Tsing dictates the contents of the Jiao Jin manual. Tsing agrees, but on the advice of Nine Finger Beggar Hung Chi Kung (Ku Feng), he makes his own changes to the script making it useless. But when Tsing tries to leave Ouyang Fung attempts to kill him anyway, and after getting involved Beggar Hung Chi Kung receives a strike from behind, thus crippling his Kung Fu. Beggar Hung then passes on his position as Chief of the Beggar clan to Ying, and hands her the sacred staff of the Beggars. She later loses the staff to Yang Kang (Li Yi-Min), who poses as the new Beggar Chief in a bid to weaken the Sung Patriots.

'The Brave Archer 2' like it's predecessor is a complicated bombardment of characters and sub-plots. This naturally makes it tough viewing on a first time basis. However this sequel is a somewhat more forgiving than the first 'The Brave Archer'. Many of the characters have now already been established in the first film so it becomes less a case of trying to keep tabs on who's who. The fact that the above synopsis only really covers the opening ten minutes of the film however, is an example of how much content and sub-plots exist throughout its runtime. There are a few flashbacks from the first film which is helpful, but might prove a bit much to take in for someone who has not seen the first 'The Brave Archer'. Interestingly the flashbacks contain footage and events not to be seen in the first film. Whether or not they were ever seen as part of the first feature is another matter.

Fu Sheng has certainly had much meatier roles, and 'The Brave Archer' series does ask much of his acting skills. This is pretty much an acting by numbers exercise for him. There is little character development for his role of Kao Tsing, as the role serves as more of a tool to link the variety of sub-plots together. Niu Niu fits well into her role, and gives a more mature performance compared to spirited, more juvenile performance of Tien Niu in the first instalment. Generally everyone acquits themselves well, but it is veteran Ku Feng who shines above the crowd again despite taking less screen time in this instalment.

'The Brave Archer 2' is probably the most action heavy of the trilogy. Fu Sheng features in very little of it though as he spends the bulk of the movie injured, as the characters of Tsing and Ying observe from a hidden room as all the other sub-plots play out. During this period virtually every other major character partakes in a bit of conflict. And in a trilogy that contains at least twenty-five major characters that leaves a lot of room for conflict. The action is handled well by Robert Tai, Lu Feng and Leung Ting, mixing the supernatural wuxia style with more traditional ground based action.

'The Brave Archer 2' can be enjoyed as a film in it's own right but having seen the first part makes it a richer experience. Essentially the trilogy is just one long feature split into three parts and is best viewed as such. But given the complicated source material it was never going to make a smooth transition to celluloid. Therefore it can not be regarded as a classic of the genre, but can be hailed as a valiant attempt at faithfully adapting difficult source material. It doesn't rank as a must see but it's well worth a watch.

Chu Yuan pieces together an interesting film noir kung-fu film with 'The Convict Killer'. Femme fatales, damsels with hidden motives, wronged heroes and deceit - it could almost have come from the pen of Dashiell Hammett, albeit with a resolutely Eastern style. The plotting isn't quite as water-tight as 'The Maltese Falcon', but at least it shows the genre trying to balance a suspenseful story without lurching too broadly into convolution. 'The Convict Killer' throws the usual McGuffins and twists into the blend while pulling off even the most obvious with that certain Chu Yuan style. One scene does verge on self-parody (a whole succession of betrayals and cackling villainy in one particular short five minute scene) though this is much less the case than in some of Chu Yuan's Gu Long-inspired swordplay extravaganzas.

The director utilises a number of sound stages on which to tell this story with varying degrees of success. As this was made during a time period where Golden Harvest and various independent features were using outside locations, 'The Convict Killer' has a very nostalgic feeling about it. Some scenes appear constrained by the indoor sets, seemingly desperate to break free and explore the countryside of the world they exist in. Meanwhile other moments clearly benefit from the artistic staging of the film, particularly the conclusion where the characters face each other in a snow-dappled clearing. It may look as artificial as a West End production, but in this case the effect works well enough to become a strength for the production.

While the locations range from the distractingly artificial to the atmospheric, the action choreography also flits between intricate invention and predictable swordplay, but the story and its execution seem to be where Chu Yuan's heart lies. The numerous conflicts between the hero and the multitude of assailants often appear older than the film's 26 year age implies. Nevertheless, despite this not being a film that will satiate those looking for the kinetic rush of Shaw Brothers' more notable flicks, it is constructed in a way that is easy to appreciate.

'The Convict Killer' is held together by the confidence of the man behind the lens and the excellent cast gathered together. Ti Lung is suitably moody as the troubled Tong while Jason Piao Piao offers him an adequate foil to play against. Ching Li is unfortunately wasted in an underwritten role, yet even she has a character who contributes to the final twist, adding a dramatic caveat to a successful offering. 'The Convict Killer' may not be accomplished in every area, but there's enough quality associated with the production to ensure it's an impressive 90 minutes.

The story follows a once beloved Korean rock star who is now relegated to singing at private parties for a nostalgic clientele. Even this modest job pushes the hot-headed former star to breaking point and, after finding himself unemployable, he is left to drown his sorrows. His faithful agent though, still eager to resurrect his client's career lobbies the television networks for work only to find the sole remaining lifeline available is as a dj at a provincial radio station. Also working for this fm outpost is a disgraced radio producer and a whole host of eccentric locals who still adore their new employee based on his glorious past. The reluctant disc jockey finds his new job something of a step down from what he is used to, yet his honest opinions begin to enthral the listeners and he soon becomes a cult hero on the airwaves. It isn't long before the chance to take his show to a national audience is offered to him, but there is one condition - he must proceed without his loyal friend and agent.

That old theme of redemption through reduced circumstances is once again used for cinema, yet Lee Jun-Ik's 'Radio Star' is an invigorating film that shows how solid characterisation is the essential foundation for any good production. The story opens with a familiar scene of the lead protagonist enjoying life at the very apex of his career only to cut to the present day and show the impoverished life he now leads. No surprises in the execution here nor in the subsequent 'fish-out-of-water' storyline that emerges when this truculent figure is put into a very alien environment. 'Radio Star', though, introduces figures into the narrative that make the whole journey to the inevitable conclusion and endearing one.

'Radio Star' is more about the great friendship between the two lead men rather than the actual penance of former rocker Choi-gon. The long-suffering agent Park Min-Su is seen negotiating and work behind the scenes to prop up the terminal flop his good friend's career has endured. The director is keen to show Choi-gon as a surly loser who never appreciates Park's efforts, but this is obviously a facade in anticipation of learning more about his character. As the story progresses and Choi performs on air, his initially unpleasant persona gives way to the more human side. It's the old idea of the purity and eccentricity of the rural folk changing the ways of the jaded city inhabitant, yet 'Radio Star' manages to throw in cliches with some aplomb.

Lee Jun-Ik's film is chiefly about its two leading men and their friendship, a fact that can mean the secondary characters are given little chance to flourish to their potential. Though not a lethal blow to an otherwise charming dramedy, the opportunity to involve Park's wife forlorn - who we also discover was the ex-president of the now-defunct Choi-gon fanclub - is unfortunately underused. She, along with the disgraced radio producer, becomes someone who skirts around the narrative only occasionally making meaningful intrusions into it.

It may be familiar material and it may be a two-man show, but 'Radio Star' delivers its quota of entertainment, humour and even poignancy with some to spare. Park Hoon-Joong seems to relish playing the cranky faded star (who looks a lot like a Korean Johnny Halliday) though Ahn Sung-Kee walks away with the acting honours for his winning performance as the endearing Park. Together with laid-back direction from Lee Jun-Ik and an appealing blend of supporting players, their efforts turn 'Radio Star' into something very easy to enjoy.

When a sniper attempts to kill Ambassador Han during Inspector Lee's (Chan) watch, Lee promises his daughter that he will track down the people responsible. Luckily, the assassins return in an attempt to finish the job and with the help of Detective James Carter (Tucker), Lee manages to prevent any further harm as well as capture and interrogate a suspect. Strangely enough, the man turns out to be French which leads our heroes to relocate their search to the streets of Paris. With Carter always keen to take in the night life and the trail leading our heroes to popular clubs, it isn't long before they are causing quite a stir with the local gangs as well as the police. However, there is a secret that Lee is withholding and as the case is coming to a close he is going to have make some difficult decisions.

Even if you're a fan of the 'Rush Hour' series, I very much doubt that this third film will be do enough to satisfy your desire for more humourous police escapades. From the very beginning, it's clear that the overly familiar buddy cop setup has finally had it's day and the cast and crew are just going through the motions, hoping to earn themselves a few more easy millions in the process. The script for this part is particularly paper thin, doing nothing more than relocating our heroes into fresh surroundings that are unfamiliar to the two of them with a poor excuse for a story that is littered with numerous unresolved plot points and vague tie-ins with the original movies. However. the film's real downfall is the chemistry between the two leads (one of the lynchpins of the series) that lacks any kind of spark and is hampered by weak comedy that just seems so predictable that it fails to raise even a wry smile at the best of times. The actors themselves are also beginning to lag with Chan looking noticeably bored for the most part whilst Tucker does his normal routine of playing up to the camera but even he seems to be doing nothing more than repeating himself.

One of the other most disappointing elements of this film is the action, which is so lacking that it usually slips by practically unnoticed. Although it's fair to say that the 'Rush Hour' films have never exactly whipped up a storm in this department, Chan has occasionally managed to pull out a few of the stops and create a couple of scenes that his hardcore fans can appreciate. Sadly though, the set pieces here are so bland that for the majority of the running time I barely batted an eyelid and one wonders how much input Chan himself had or whether the producers just decided to avoid pushing him too far considering his age. Saying that though, judging by his recent Hong Kong outings Chan does still have a few tricks up his sleeve which only serve as further evidence that this film was cobbled together with very little effort.

I think it's fair to say that the 'Rush Hour' franchise has finally run it's course and although this third film may do just about enough to warrant a rental for hardcore fans, I'm sure that even they would have to agree that the series should end here. The film is mediocre at best and it's about time Tucker tried something new (god knows how the man has risen to such popularity considering he's only done about six films, none of which were particularly impressive) and Chan only has a few more years left in him which would be far better spent elsewhere. Sufficed to say, this one gets the thumbs down from me.

Action star James Bon (Leung) lights up the screen with his debonair charm, bravery and ability to defeat evil. Away from the screen though, the actor is a cowardly divorcee who struggles to relate to his sprightly daughter (Chung) and the world she lives in. An opportunity to address the gulf between his real life and his on-screen persona presents itself when an Interpol agent (Chan) stumbles into his home having been poisoned by a gas that reverts victims back to their childhood. When the terrorist responsible for the attack sends his minions after the agent, Bon, his daughter and dopey brother-in-law (To) come to the rescue.

Rarely is there the expectation of any surprises when watching a Wong Jing film; a scant storyline that exists just to act as a framework for all manner of movie spoofs, low-brow jokes and insane babbling. Nevertheless, the criterion for judging whether a Wong Jing film of this nature has been a success is whether or not it is tolerable and just what long-term damage it is expected to cause. 'The Spy Dad' is entertaining enough to be considered one of the better Jing films of recent years though that in itself appears to be feint praise. Though patchy and at times as annoying as hearing nails being scratched down a blackboard while being hamstrung, there are moments of bizarre invention that actually come of. A few early jokes about the two Tony Leungs help get the ball rolling while the numerous parodies provide a moderately impressive hit-to-miss ratio. A few neat 'Matrix Reloaded' lampoons come off quite well and show that perhaps the Wachowski Brothers' woefully bloated 'Matrix' sequels could have been completed at a fraction of the cost.

'The Spy Dad' appears to have been great fun to have made if the exuberance of the stars is anything to go by. That level of enjoyment may not fully transfer to the viewer, but it does mean that the film chugs along at a fairly consistent pace. I did notice my skin peeling off as the film neared its conclusion, though on closer inspection this seems to have been what doctors call 'The Chapman To effect'. Nevertheless a few solid jokes, the chance to see Tony Leung Kar Fei away from the arthouse productions he is currently focused on and some surprisingly slick action offers an adequate cure.

Director Law Wing Cheong and star Miriam Yeung reunite after last year's craven dramedy '2 Become 1' with a conventional rom-com. Yet, however seemingly predictable 'Hooked On You' appears to be, the execution of its premise and the performances of its two main stars makes this a very pleasant surprise. Director Law Wing Cheong may have struggled to inject gravitas or even mild interest in his previous work with Miriam Yeung, but here he shows some aptitude for the material on offer.

'Hooked On You' may offer a fairly ordinary concept, yet it does contain a few surprises therein, not least of which the unusual construction of the narrative. Telling the story through a decade that reflects the big changes throughout Hong Kong is an idea that would be expected of Samson Chiu or Riley Ip, two directors who have a skill of pulling nostalgic allusions to Hong Kong's past into the microcosm of the main storyline. It's no coincidence that Law Wing Cheong sets his film pre-handover then follows the respective changes Hong Kong went through during and after the landmark event in 1997. This adds poignancy to a familiar narrative while also offering a few sharper moments of observational comedy.

Any rom-com hoping to engage the audience has to have a lead couple with enough chemistry to make all of the predictable twists and turns believable and, more importantly perhaps, forgivable. Yeung and Chan have come a long way since their pairing in 'Frugal Game', both having refined their screen personalities over the years. Yeung may be perennially seen as the 'Girl-Next-Door' quirky, Meg Ryan-esque heroine, but she has enough charm in the role to make it seem invigorating each time. Meanwhile Eason Chan has developed as an actor due to some outstanding performances in films like 'Crazy N' The City' and the kudos he subsequently acquired can be appreciated with his ability to turn an initially loathsome character into someone the audience warms to later on. The director also interjects into their budding romance with a few surprises that lead up to a refreshingly different conclusion.

For every ten moribund rom-coms from Asia there are a few that are executed with enough aplomb to restore faith in a typically lazy genre. 'Hooked On You' is neither stars' best work, nevertheless it is a production with effective humour and a keen eye for the details of the decade it covers. '2 Become 1' may have besmirched Law Wing Cheong's name, but 'Hooked On You' is not only an indication of what he can do, it is also one of the better films of the admittedly sparse selection from Hong Kong this year.

Alex and Ngor manage to negotiate a hectic wedding day and eagerly anticipate married life together thereafter. While one honeymoon in Macau though, news breaks that the investment bank where Alex's business keeps its money has been declared bankrupt and his future plans are cruelly swept aside. Alex and Ngor face an uncertain future with financial insolvency looming, but Ngor's teenage daughter manages to organise a flat for them to stay until things settle down. What Alex is blissfully unaware of is that the said flat is actually owned by Ngor's ex-husband, a fact that promises to create tensions if it ever surfaces. The troubled advertising executive is also occupied with trying to re-establish his company, but an interesting opportunity gifts itself to his new wife.

The first film had a well-handled, low-key chemistry between George Lam and Do Do Cheng as the kernel of the story. It benefited from a witty script, a better-than-expected performance by George Lam and a typically enjoyable turn by Do Do Cheng. The sequel then made the mistake of refusing Lam and Cheng enough screen time together and floundered into soap opera territory. Shots of Paris and finally Canada did little to compensate for the lack of genuine craft the film displayed. 'Heart Against Hearts' at least seems to acknowledge the defects of the pointlessly over-produced sequel and ground the story back in the world of Alex and Ngor. Unfortunately it offers little to suggest that the original film should have been expanded upon - the term 'going through the motions' springs to mind.

Not that 'Heart Against Hearts' doesn't have its moments, but it certainly never develops the story beyond typical moments of Hong Kong farce. Lam and Cheng are as comfortably on screen together as always, yet the central relationship is dogged by external plot twists that do little to extend either of them. Vivian Chow's character has also developed into a whining harpy of the highest order as if this way of behaving is the natural progression of all Hong Kong teenage girls. 'Heart Against Hearts' is watchable, though hardly inspiring film-making by Stephen Shin, a director whose efforts on the original promised so much.

'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.

Night (Paiaya) is a professional assassin who likes to get up close and personal with his targets in order for him to annihilate them with his preferred weapon - the sword. However, after a number of years in the job he has finally decided to call it quits but he is double crossed by his boss and left for dead. Luckily for Night, he is rescued by a mysterious crime fighting organisation who recognise his potential and send him to a fabled martial arts master for training. Once completed, Night is given a fresh assignment - to track down and deal with the vicious criminals who now seem to be filling up every street corner. Night accepts the mission because he knows this will be the perfect opportunity for him to track down the man who betrayed him and exact his bloody revenge.

Personally, I've never been a huge fan of independent martial arts flicks (with the odd exception) because I generally find they lack the finesse or style required to truly excite me. In the case of 'Death List', I'm sorry to say that this isn't the film to make me drastically alter my opinions. Admittedly, it has some half decent action scenes and sensibly chooses to keep the running time to a little over an hour but I still wouldn't class it as a smooth and solid slice of entertainment. As with most independent films, the first hurdle is attempting to see beyond the low budget and amateur camera work, and as far as 'Death List' is concerned this is initially quite a struggle. The main problem is the film's opening segment which is an amalgamation of tongue in cheek Zatoichi-style homages and a handful of celebrity cameos which weren't particularly interesting or well handled and had me hovering over the stop button on more than one occasion. The comedy routines are also somewhat tiresome as the dubbing "gag" wears thin extremely quickly (one wonders why Paiaya even bothered to include it here) and the majority of the slapstick jokes, although not disastrous, always seem overly familiar and you can't escape the feeling they have been done better elsewhere.

However, perseverance really is the key here and if you stick with it there are some flashes of fun still to be found within 'Death List'. The fights, when they finally edge away from the swordplay, come thick and fast with the camera angles showing off the movement and dexterity of the performer's competently. Paiaya himself looks particularly adept in the acrobatic department and even though some of his moves lack a significant flow, he does deserve a lot of credit for effort. The stuntwork is also impressive for a low budget film with all of the performers taking a number of genuine cuts and bruises although it is sometimes evident that the film has been edited to enhance the end product. Sadly, I do have one major criticism of this area and that is the fact that it's always apparent that Paiaya has a hankering to be the Scottish Jackie Chan. Now you may not consider this a bad thing as if you were going to emulate anyone then Jackie Chan is as good a person as any but Paiaya is some way from his standards and his low grade repetition of Chan's infamous routines only leaves the audience comparing rather than truly appreciating.

In summary, 'Death List' isn't a bad effort as it's an easy watch (once you wade your way through the first 10 minutes that is) and the fights definitely get points for effort but I would still say it's some distance from being what I would consider "quality" action cinema. It's probably more of an entertaining curio that you will watch once before confining it to your dusty pile of DVDs that you won't touch again for a good few years.