Cast Member: Lau Shun

Its gritty, truthful tone and flawless cast manage to take a sub-genre fraught with cliché and melodrama and give it a provocative resonance that is so very precious.

‘Swordsman’ is not as strong as its superior sequel and the aforementioned difficulties are all apparent, but it is still an ultimately rewarding film.

The viewer is treated to a visual feast that fully sketches out this almost mythical setting – kudos once more to director and cinematographer.

‘Tai Chi II’ features an average plot and some unnecessary over-the-top moments, but is a decent effort that usually earns little attention from Hong Kong film fans.

Packed full of superbly choreographed fight sequences and sporting solid leading performances, it is definitely one of the finest kung fu movies to emerge from Hong Kong during the 90s.

It’s no surprise that this Tsui Hark comedy was a box-office smash as it allows the viewer to enjoy superior character interaction and sharp comic routines.

‘The East Is Red’ ends the popular series with a visual bang that pummels the viewer relentlessly. Unfortunately the exercise is very much one of style over substance and the overall effect is a bewildering one.

It has its faults and no-one could call it the greatest movie ever made. Importantly though, this is a fabulous example of how a combination of technology and innovation can still wow the jaded viewer.

Despite ‘The Lovers’ undoubted quality, it proves to be short of the magic that it often hints at. Parts of this film therefore prove to be greater than it as a whole.

‘The Top Bet’ is that very parochial fusion of gambling and ‘nonsense comedy’ (mo lei tau) that many of us are still baffled by after all of these years.

It is a welcome addition to the series without offering anything new. If you liked films such as ‘In the Line of Duty 4’ or ‘Tiger Cage’ then this is definitely for you.

‘Zen of Sword’ has plenty of plot twists, but not so much as to make it convoluted. Performances are good, and the action handled primarily by Philip Kwok pleases.