From a difficult to watch (meaning tough, gritty, bloody, political) and see (meaning many times unavailable or available in watchable versions) time in this particular New Wave of filmmaking hitting Hong Kong in the 1980s, comes Terry Tong's debut and basically sole notable output. Produced by Dennis Yu (himself having done impressive, graphic work, most notable being The Imp and The Beasts), Coolie Killer deserves a place in the spotlight again for what it brought that others brought even more to the forefront. Unknown people like John Woo and Ringo Lam... Lacking much of a strong thematic or characters with heart, there's a stone cold stance and choice to the film that is refreshing in its simplicity. Almost get killed, take revenge, that's the script notes Charlie Chin probably made for himself. But with its combination of style, grit and blood, Terry Tong's flick goes important places.

Because here the underworld works independently, at night and in desolation because their needed goals will be obtainable even in the shadows. The small group of closely knit assassins that Charlie Chin leads gets a youth introduction and there's evidence of the old guard fading (via a symbolic competition over who can assemble a gun the fastest). Do you accept times of change, do you acknowledge it, do you adjust? Well, there's no time really before the high tech roller blade- and motorcycle assassins goes to work on the group and this brief intro that is quickly replaced by need for revenge in the coldest way possible is totally acceptable intentions for the film. Because basically what's being said here is that when the underworld fights, you better just let them fight it out so even with Yueh Hua's cop hot on the trail for Ko, ultimately he's never that integral to the tricks of the different gangster-sides. Even with Danny Lee appearing in a small role, yes indeed the cop world doesn't matter until possibly the very end. What is a driving force is instead the over stylized battle ground, bathed in green, rain, brawls and guns.

And it's where Coolie Killer reveals why it has an important place looking at the development of Hong Kong action cinema. With its plot bearing resemblance to later masterpieces such as The Killer but not at all featuring the style John Woo brought, with a suitable grit present in Charlie Chin's character, director Terry Tong collaborates superbly with action director Tony Leung to bring you tough brawls, powerful gunplay and many surprising, hard hitting ideas along the way. Especially of note is the whole assassin scenario on Ko's gang as well as a close quarter fight set in a bathroom where every bit of filmmaking works in Tong's favour. Ranging from cinematography to set- and production design. Great, more theme- and character based flicks would follow but Coolie Killer offers up a glimpse of why a story of nasty men fighting for own selfish revenge and not silly illusions of love is so pleasurable.

Kicking into high gear right from the start, The Coolie Killer is a classic Hong Kong film of gangs, violence, and the other side of straight-and-narrow.

Ko Da-fu (Charlie Chin) is the leader of a five-man hit squad that only accepts contracts taken out on visitors, not native Hong Kong people. Having been in the business for many years, Ko's reaction time and reflexes are starting to slow, thus he barely escapes when attacked by a gang of punks on rollerskates. His four partners are not so lucky, as they are ambushed by the Wa-hing Triad in a parking garage. The Wa-hing boys apparently seek to avenge a Japanese associate who was terminated by one of Ko's men. The Wa-hing bosses (including Kwan Hoi-shan, Lau Siu-ming, and Chan Shen) decide to spare Ko's life since he used to be one of their gang; but this is a decision they soon regret.

On the run, Ko returns to Sai Ying Pun, where he once worked as a coolie. There, the severely injured Ko is nursed back to health by local girl Ton Ke-yee (Cecilia Yip). But he is far from safe, as the Wa-hing boys and a slovenly but determined Police Inspector Chung (veteran martial arts star Yueh Hua) close in. The choice he makes in saving Yip is an odd one by our society's morals, and after so much time is probably the weakest point of the whole film.

A classic film of its time, and well above average compared to similar Hong Kong crime thrillers of its era, The Coolie Killer offers some terrific fight scenes and the story manages to provide a couple of surprises during the final scenes. There are some nice comic touches which enhance the rather brutal violence and Terry Tong, a talented director who never lived up to the potential displayed in earlier films, elevates several otherwise ordinary moments with style, such as when Ko is being chased by the roller-skating killers around the circular lobby of his apartment building, a scene which plays out like a deadly version of the roller derby game TV shows of that era. Perhaps most surprising is that the soundtrack includes some early Tangerine Dream.