Features

Vasily Pugh honours the memory of two recently passed Hong Kong stars with five films from each unmistakable legend.

Andrew Saroch honours the career of Hong Kong director, producer, action choreographer, and actor Corey Yuen Kwai (元奎).

Andrew Saroch looks back at the career of Chinese-American actress Cheng Pei-Pei (鄭佩佩).

Vasily Pugh revisits Jackie Chan’s 1985 Hong Kong action comedy ‘Police Story’ (警察故事) but is it still as good as he remembers?

Vasily Pugh expresses his appreciation for the original 1954 ‘Godzilla’ (ゴジラ) and examines the impact it had on the genre.

Vasily Pugh reveals his love for the 1988 Hong Kong science fiction action comedy ‘I Love Maria’.

Andrew Saroch pays tribute to the illustrious career of Hong Kong actor and action director Mang Hoi (孟海).

Vasily Pugh splashed his cash on the second collection of Shaw Brothers films from Arrow Video, and he couldn’t be happier about it!

Andrew Saroch commemorates the career of Hong Kong actor Richard Ng (吳耀漢).

In the third and final of this three-part series looking at 2022, the revival of Hong Kong films at the local box office continues.

Vasily Pugh takes a look back at the career of Michelle Yeoh, examining how she has seemingly reinvented and reinforced her on-screen popularity throughout the decades.

As the Hong Kong box office continues to prosper, four films have really come out on top and earned themselves a place in HK cinema history.

Isaac returns with the first of a three-part series looking at 2022, Hong Kong cinema’s year of miracles.

Vasily Pugh offers up his opinions on Meredith Lewis’s ‘Ask For The Moon’, a book that examines the practices and works of the Shaw Brothers studios.

Vasily Pugh reveals that he still has a soft spot for the English dubs used in the classic Hong Kong films from the past.

Vasily Pugh remembers the first time that he witnessed the impressive feats of actor Kim Won-Jin in ‘Operation Scorpio’.

Andrew Saroch reflects on the career of Hong Kong actor Ng Man-Tat (吳孟達).

Vasily Pugh suffers through one of Hollywood’s most recent female-centric filmmaking efforts and can’t help but compare it with a Hong Kong classic from yesteryear.