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"Hatred is a creature with sharp teeth that bites when you least expect it"
Trinity of Shadows is a misnomer. This drama was more shadow than light, with far more sides than three. Nearly everyone was walking around with their personal pain bubble eating away at them. Not your typical serial killer story, but not always coherently laid out either.Hsu Tzu Wei is a no-nonsense squad captain with a dark past. She unleashes hell on any man that dares to bully or harm a woman. Chen Chia Hao has been on the force for three years, he harbors dark secrets that motivate him to investigate. Yang Chi Hsiao is a city councilor running for re-election. Despite his constant battle against corruption, he too, hides a painful secret. A closed case links the three with a dangerous presence who has plans for all of them.
This drama had plenty of twists and turns, slowly unfolded to keep the audience in the dark. All the major characters who graced the screen were in desperate need of therapy. There was no soft place for any of them to land, and instead of seeking out healthy relationships they were drawn to each other like a magnet to steel. Impulse control was in short supply to be sure. The bad guy pulling all the strings desperately wanted someone to blame but never looked inward to see his own role in his self-destruction.
I don’t want to go into the story or even my praise or concerns too much so as not to spoil anything. By the tenth episode it did feel like the script was running off the rails. The scenarios became more convoluted. Not that I’m against that, as the melodrama and pain levels were ramped up to impossible levels by the last shot. I would have preferred a few more questions answered and the ending to be clearer so that I didn’t have to go back and watch it twice. I don’t think I’ve ever watched a drama filled with so many overtly traumatized characters suffering from deeply festering hatred. Just like dead bodies-that hatred was bound to come to the surface just when they thought it was dead and buried.
22 June 2026
Trigger Warnings:
Sexual situations. A rather graphically implied sexual assault that was disturbing. Again, heavily suggested by word and camera angles--hacked up bodies. Smoking. Suicide. Torture. Drug use. Sex workers.
Major Spoiler Comments Below:
* * * * * *
Seriously, major spoilers below
* * * * * *
Abandon all hope if you have not watched this drama
* * * * * *
Finally warning----
Through the whole drama I really worried that Hsu would end up being the killer from 23 years ago. But even after the final scenes, Yang seemed convinced her mom did it. Hsu was willing to turn herself in for Dong’s death (why????? He was a murderer, stalker, and was threatening them) and have her mom turn herself in for the murder 23 years ago. The mom left after the murder instead of staying with Hsu or taking her to Hong Kong with her which would have seemed more logical if Hsu had been the killer.
Hsu and Yang had to move into the godforsaken house because the body was buried in the yard. Talk about eternal torment. I also wondered if her mom was underground as well, but guess she got an Uber out of the house before the cops arrived, or more likely Dong’s car. Whose pink purse did Hsu throw away? I didn’t see anyone carry it in the present or past. Who wants to bet that Hsu and Yang either end up a double suicide or a murder-suicide? Or she’s institutionalized because it looked like she C-r-a-c-k-e-d. Yang kept yammering on like nothing was wrong. These people were very good at burying bodies and feelings.
And finally, not sure Chen Chia Hao should have been listed as a main character since he was off-screen after episode 10. Talk about burying feelings and bodies! Liu Kuan Ting is only 2 years younger than Sandrine Pinna, why did she keep referring to him as a kid instead of just rookie? Everyone has their kink---Chen hooked up with sex workers, Hsu and Yang always seemed to do the deed in front of windows.
This was one dark, demented drama with several killers. Who could ever look at a suitcase the same way?
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"The devil loves to play the angel"
Detective vs Sleuths aka Demon Hunter was a frenetic carnival ride strewn with dead bodies, mental illness, and revenge. It proved the old adage to be true, “Just because you’re paranoid, doesn’t mean they aren’t out to get you.”Lee Jun is a disgraced ex-detective who sees and hears things that other people do not. His motto is, “Whoever battles monsters should ensure that he does not become one.”* A dead man reveals a sinister plot to Jun. With each death comes a clue pointing to the next one-all cases of Jun’s that lacked the evidence to prove guilt. A very pregnant inspector, Chan Yee, becomes caught up in Jun’s madness all while her department is convinced he is actually mad and may be the criminal perpetrator.
Jun was considered a Chosen Sleuth before he broke down. But in this film, the question of who was the sleuth and who was the psychopath, became deeply entwined. A team of murderous avengers calling themselves The Chosen Sleuths hunted down the suspects in Jun’s notes, meting out their own form of justice. The Hong Kong police were often shown as ineffectual and quick to jump to conclusions leading to tragic results. Jun’s manic episodes and connections to the cases eroded any confidence in his abilities and innocence.
DvS moved fast and erratically with a large cast. When cops were killed and everyone cried, I had no idea who they were talking about. The bad guys had at least three huge vans of deadly avengers. The camera bounced around as much as the cast did. A few breathers for the audience to process the information being rapidly dumped minute-to-minute would have been nice. Most annoyingly, the Cantonese dubbing was terrible for several characters.
Lau Ching Wan was excellent as the brilliant, if very unstable, Lee Jun. Once I learned how to keep my balance on this topsy-turvy rollercoaster, it became more bearable and thrilling. The grand finale was a grossly over the top explosion that threw everything it could at the screen to be memorable. In some ways it succeeded, while still not managing to feel convincing. A wild, hallucinogenic, and violent film with numerous red herrings, Detective vs Sleuths dizzily stumbled about as it sought to discover who was the sleuth and who was the psychopath. Sometimes, both things can be true.
16 June 2026
*Quote Note: "He who fights with monsters should look to it that he himself does not become a monster. And if you gaze long into an abyss, the abyss also gazes into you." Friedrich Nietzsche’s “Beyond Good and Evil”.
Trigger Warnings: Countless deaths by knives, guns, and fire. The bodies really stacked up in this one. One torture scene.
Slightly spoilery maternity note: Perhaps Chan Yee’s baby was the real demon. No umbilical chord? Yeah, that’s creepy.
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Three rebels-a Mongolian fighter who wears an enormous hoop earring (Chin Kang), a Muslim tracker who keeps his ear to the ground (Li Chung Chien), and a monk who carries a golden Buddha on his back (Phillip Ko Fei) attempt to kill the local official who is making a deal with the Russians for guns and cannons. Unbeknownst to them, two other rebels are undercover in the official’s mansion (Mang Fei/bodyguard and Yu Tien Lung/interpreter) with eyes on their mission and the official’s comely daughter. Two lower ranking officials are planning on making a deal with the Russians to secure higher positions for themselves. A combustible finale cannot be escaped.
Two of the three inept rebels were played by Chin Kang and Phillip Ko Fei who were often relegated to villain roles. Mang Fei and Yu Tien Lung played the gossipy rebels in the palace. Yu also choreographed the fights with mixed results. Yueh Hua was the captured rebel who had very little face time in the film. Bryan “Beardy” Leung was the menacing Captain Koo while poor Lo Lieh was stuck in a grandma wig as the treacherous Cher.
The plot was all over the place with the three inept rebels constantly trying to kill the official without any luck. When they weren’t fighting Qing guards, they were usually fighting each other. The fight choreography was often sped up which provided for several unintentionally humorous scenes. There were also a lot of wide misses with kicks and fists. The wire work was limited to jumping over security walls which the three did when their plans repeatedly went awry. I’d put the fights on the lower side of average, at least they weren’t kung fu posing or dancing.
Five Kung Fu Daredevil Heroes was neither horrible nor memorable. Although the explosive ending included a scene I don’t ever remember seeing before so there was that. Only for hard core old school martial arts fans who are completionists or fans of the actors. As always, rated on a curve.
16 May 2026
Trigger warnings: One scene had numerous severed body parts.
The film is cropped on the sides. It was also faded which was not helped by the typical low budget Taiwanese films of this time period that did a lot of filming at night or in the woods.
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"He is good for nothing. I've made a mistake."
Birth of Happiness aka A Happy Businesswoman was incredibly close to being a great film for me. 1963 RoK (and most anywhere) wasn’t exactly a feminist utopia and the film's attitudes towards women reflected that. Yet Tosun had a strong desire for independence and used her wits to defy her parents and make money on her own. Of course, a handsome guy showed up and ruined everything, I mean, fell in love with Tosun.Tosun’s father owns a bus and refuses to pay her for work she does for him. Around the same time, Shim Jae Gu comes to town looking for a bus driver job, part or full-time. Tosun’s dad kicks Jae Gu out believing him to be unworthy. Tosun has pity on penniless Jae Gu and buys him cigarettes and loans him enough money for a hotel. When her father finds out, they have a terrible row and Tosun moves out to make a living on her own much to her mother’s chagrin. She and Jae Gu hatch a plan to go into business together if they can earn enough money for a car. A developing love makes their goal more complicated.
First of all, Tosun was an amazing female lead for the most part. She was optimistic, inventive, resourceful, and bounced back when life knocked her down. She could outcon a conman and was always searching for the next best way to realistically make money. Though she was tight with her cash, she also helped people when needed. Jae Gu, on the other hand, was easily discouraged, emotionally weak, and easily duped. When the going got rough, he went drinking, gambling, and seeking intimate entertainment from the local bar hostess. Worst of all, he blamed Tosun for his failures. As so often happens, the heart wants what the heart wants and Tosun loved Jae Gu.
The film also focused on Tosun’s relationship with her mother. Tosun’s mom ran interference for both of her daughters with the dad as he was a difficult and stubborn man to deal with. When Tosun moved out, her mother was devastated. Aside from the loneliness she would face without her daughter, girls could not leave home before marriage or else their “innocence” would be questioned. Tosun refused to let that belief limit her.
I liked Tosun’s drive and cheery disposition though people did not want to get on her bad side. She could defend herself and reputation with words and fists. The romance dragged this film down as I could never see what Tosun saw in Jae Gu. Worth a watch for Tosun or if you are in need of inspiration to try, try again in life.
13 May 2026
B & W note: The film was quite dark in places and smudged looking in a few others. Mildly distracting but I’ve seen much worse.
AKA Tosuni: Birth of Happiness
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"For what purpose are you walking the path of the sword?"
Miyamoto Musashi was a crash course in the legendary figure starring Kimura Takuya. Despite it being twelve years old as of this writing, I thought the cinematography and quality of the drama were well done. And then there was Kimura whom I have a soft spot for, especially with a wig and sword. Battle on!Takezo is involved on the wrong side of the Battle of Sekigahara. More brawn than brains, often operating on instinct, he has the raw skills of a swordsman but not the patience or techniques required. After being captured attempting to leave a message for his friend’s mother, the monk Takuan imprisons him in order to teach him discipline. After his release the newly named Miyamoto Musashi heads out to make a name for himself with his sword hoping to find a job with the Tokugawa shogunate. Along the way he fights, finds love, new advisors, and personal growth.
I enjoyed Kimura in this role. He brought the wildness needed for Miyamoto’s youth, the bloodthirsty determination that followed, and ultimately the calmer swordsman attempting to balance life and death on the edge of his sword. Maki Yoko had the thankless role of Otsu who could be cloying. Nakatani Miki appeared as a geisha styled quite similarly as her role in Jin. Sawamura Ikki played Miyamoto’s rival and what could have been a beautiful bromance if swordsman pride did not come into play. Honestly, I don’t understand the need to be the best when the only way to prove it is, 'one of us will be the best and one of us will be dead'.
The fights were entertaining if straining believability. At least Mifune Toshiro used the terrain to his benefit in his film while Kimura had to take on 70 samurai at one time on flat, dry ground. There was quite a bit of wuxia wire work as Miyamoto leaped great heights or dropped from heights designed to kill other men. He also had super healing abilities because this story didn’t have time for such things as sword wounds. To quote one of the Yoshioka, “How come he won’t die?!”
I burned through both episodes which were around 2 hours each as this mini-series was fast paced, never slowing down much to bother with historical exposition or character development of supporting cast. It helped that I enjoyed watching Kimura devour this role even when the pacing could stumble and the narrative could be heavy handed. For three and a half hours characters berated Miyamoto for killing people even when his life was being threatened and then at the end, his use of the sword was deigned by the cosmos to bring greater purpose and potential to all people. Uh, say what again? Overall, I enjoyed this mini-series though I’d only recommend to people who are fans of Kimura, like martial arts flicks, and have a rudimentary knowledge of Miyamoto.
11 May 2026
Trigger Warnings: Though there was a LOT of sword action, no heads, arms, or legs went flying. Sexual encounters were implied with some groping but nothing bared or overt.
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Cute romcom to lift your spirit
Mentalese Express was one of the cutest short or full length romcom films I’ve seen in a long time. Filmed mostly in an authentic elevator recreation, the actors had to make the most of voice overs and tiny facial give aways.Ssu Tsen Li notices a handsome Japanese salaryman in the elevator she takes, a man she calls #27 for his office floor. Shinji Hayashi also notices the woman with a mole on her neck like his and pleasant-smelling hair. Terrified he’ll be deported from Taiwan for being a stalker or pervert for sniffing her hair, he begins to fear their morning elevator ride as much as he anticipates it.
This short film ran the gamut of relationship stages without either character speaking more than a word to each other. Two awkward puppies overthinking every aspect of their actions and non-actions placed both introverts into romantic hell as they desperately tried to find a way to approach the other person. They had an inadvertent helper in Cologne Man who realized early on that the two were attracted to each other. Oblivious Co-Worker provided a proper female foil and source of jealousy. A rich romantic microcosm existed within the confines of a metal box. Would definitely recommend this short film for anyone who enjoys romantic encounters of the introverted kind.
9 May 2026
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"The world must be a difficult place for a guy like you"
Yakusho Koji gave another brilliant performance in Under the Open Sky as an aging ex-con and former yakuza member. Known as the Brawler from Kobe, recently released Mikami Masao, had much to learn about the world outside of the crime families.At 60 years old, Mikami Masao is released after spending fourteen years in prison. He is determined to be through with his criminal ties and never go back to jail. With the help of a sympathetic lawyer, he is set up with a place to live and a modicum of government assistance. He suffers from severe hypertension limiting the few employment opportunities available to him. A television station wants to share his story, especially if they can reunite him with his mother on air. Mikami has lived much of his life on a set schedule with emotional and physical guardrails. Now he must learn to deal with the casual cruelty in the “civilized” general pop he is surrounded by without resorting to violence.
Unlike so many actors who have limited means of conveying expression, Yakusho Koji put on a master class of nuanced acting showing Koji’s every thought and response without the viewer catching him acting. You could feel Mikami’s frustration with the system that treated him like a pariah, coping with the disrespect he was often shown, realization that the world had moved on without him, and joy when he used his particular skill set on a pair of thugs. Mikami was forced to learn patience and self-control around people who were experts at eliciting angry responses. His own body forced him to his knees with debilitating hypertension. And Koji glided through every emotional speed bump and ditch expertly. I loved that Nishikawa didn’t make Mikami perfect. Though generally kind and generous at heart, Mikami had a temper and had no compunction against resolving problems or slights with his fists. Or a ladder.
Director Nishikawa Miwa based her script on the novel Mibuncho. She deftly exposed polite society’s ability to ostracize those who did not fit into a perfect mold. Unhappy people who followed the rules felt entitled to mock those who had strayed or were different. The yakuza was not glamorized and for the most part Mikami accepted responsibility for his troubles. The film also showed how difficult it is for ex-convicts to turn their lives around. Aside from personally changing their ways of handling conflict, they are faced with limited employment opportunities. Most businesses are reluctant to hire anyone who has been incarcerated. It’s not surprising that 50% of released prisoners end up back in jail within 5 years. It’s the same in my country. Once they’ve paid their debt to society, they still need to eat, have shelter, and a way to make a living and going back to the safety of what they are familiar with can be tempting. For Mikami, the crime families never looked down on him and made him feel small whereas he faced rejection constantly in society. Unlike many released convicts, he had a support system of people outside the crime world who came to care about him.
Having spent nearly half his life in prisons, Mikami Masao just wanted to be an ordinary person. What he found was a whole new set of rules. “Let it slide…Don’t get involved…Look out for yourself.” The weak and other were still bullied and preyed upon by “good” citizens, but in acceptable manners. He not only had to learn to trust and love again, but also to look the other way. I enjoyed this bittersweet story of Mikami’s resiliency and determination to change his life no matter the challenges and to seek out the beauty hidden under the open sky.
“You have to be patient out here. Patient with few rewards. But at least you can live under the open sky.”
8 May 2026
Trigger warnings: Bare bottoms and breasts but not in a gratuitous manner
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A young man is asleep at his desk with pieces of an action figure he is working on scattered around him. The film doesn’t say for sure what the young man’s issue is, whether it’s agoraphobia or another anxiety disorder, but it’s clear he’s highly uncomfortable being outside of his cluttered apartment. The only organized space is his bookcase of neatly ordered action figures he has assembled. When a delivery man haphazardly slides a package toward his door but not near it, our introvert is in a conundrum. In his endeavor to stay partially within his safe space and still retrieve his precious box, he accidentally locks himself outside. Thus begins his awkward and strangely pleasurable journey to the locksmith.
I found this short film soothing and refreshing. This young man was thrown into his worst fear and while there were negative experiences he was also shown kindness and had the chance to show kindness to another. Definitely worth ten minutes of your time. I only wish it had been longer, I would like to have seen if his forced adventure had any long-term healing on his life.
5 May 2026
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"Fail and it's treason. Succeed and it's revolution."
12.12: The Day has been lingering in my PTW for some time now. Knowing what the film covered was going to be distressing, I needed to wait until I had the proper frame of mind to tackle it. I’m not sure there’s ever a great time to grapple with the gut-wrenching betrayals, knowing the blood and tears shed following the coup, but I did my best to comprehend the dark events that occurred on 12-12-1979.After President/Dictator Park’s assassination, unease flows through the government and military as people within jockey for prestigious positions. Three key figures rise to the top, at least momentarily. Jeong Sang Ho is the new Martial Law Commandant. Chun (Jeon)Doo Gwang leads the Defense Security Command and also the shadowy Hanahoe. No one moves or says anything that he doesn’t know about due to his intricate network of spies and phone taps. Last, but not least, is the reluctant new commander of the Capital Garrison Command. Lee Tae Shin is loyal to his oath and his country with no political aspirations. When Jeong assigns influential Hanahoe generals and colonels to far flung places to reduce their influence, Chun decides to act. He gathers the leaders from Hanahoe to consolidate his military might and seize control by arresting Jeong and using the troops to take over. In order to repel the rebels, the virtuous Lee must outwit the Hanahoe who has infiltrated nearly every level of the military and firmly planted corrupt politicians in their pockets.
Watching a film like this was painful as I already knew how the day was going to end. Greed and the desire for power and unquestioned authority are always attractive to wannabe tyrants and the cronies hoping to cash in on an authoritarian regime. Successful dictators tend to be good at branding and Chun was no exception. “Only if we fail is it called treason. If we succeed it’s called a revolution.” Or a “grand revolution.” Nowhere in the film did any of the traitorous team members express a dream for peace and prosperity for all the people of the RoK. Not when it would be so much fun to be in charge and torture whoever got in their way.
Korea’s Hydra organization was the Hanahoe. General Lee simply could not compete with soldiers more loyal to Hanahoe’s leadership and organization than the country. Chun was also aided by the rigid hierarchies in the society including age, regional favoritism, and seniority. Different commanders gave conflicting orders leaving much of the rank and file confused and with no choice but to follow the truck or soldier in front of them. And then there were the cowardly and/or greedy politicians who gave up before the battle had even begun.
Hwang Jung Min’s Chun bordered on maniacal. He splendidly portrayed Chun’s bone chilling menace that both terrified and enthralled the military officers in his circle. His intensity bordered on scenery chewing a time or two, but he accomplished his dramatic mission—to make us loathe Chun. In contrast, was Jung Woo Sung’s calm and ethical Lee. This general wasn’t afraid of making the hard decisions even in the face of overwhelming odds. He also wasn’t afraid to parse words. My favorite quote that I wish had come true, “All of you stay right there. I’ll bring the tanks myself and crush your f*cking skulls.”
The RoK would go through one of its hardest self-inflicted painful periods in history. The disappearances, torture mill, and Gwangju Uprising were about to kick in because of ineffectual leadership, a sinister network, and a nefarious general willing to risk everything to rule the country like a despotic king. 12.12: The Day was tightly written and superbly acted for a day no one wants to remember but must in order to protect it from happening again.
1 May 2026
Notes: Due to libel laws or some such reason, the names of historical figures were changed.
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"The slower you go, the further you can reach"
Wings Over Everest felt like a patchwork of other mountain climbing films going back to the Eiger Sanction (1975) or the Archer Sanction (2015) for that matter. It might have worked if they had grounded the mountain climbing in some measure of realism. Not even Yakusho Koji could save it.What I liked:
There were beautiful shots of the mountains. Score one for Mother Nature!
Yakusho Koji-I would watch him in anything and this film is exhibit A of that dedication.
Austin Lin made for a cute Cowboy helicopter pilot. Zhang Jing Chu as Xiao Dai Zi portrayed a feisty heroine who did what was needed to be done to save herself and her team.
The cast was an interesting international crew: China, Japan, Canada, and Taiwan though with some questionable dubbing at times.
What didn’t work as well:
The bad guys were obvious and their motivation was weak.
The opening scene let the audience know to check their brain at the door regarding mountaineering and rescue. Dai Zi may have been a great climber but she had a terrible habit of falling off of cliffs. I stopped counting at 4 times. Perhaps due to unacknowledged oxygen deprivation or hypothermia, she also had strange hallucinations.
Oxygen schmoxygen. Who needs it? Or protective goggles? Or any gear to protect from the frostbiting wind and cold, not to mention (literally) blinding sun.
I know the final mountain scene was supposed to be touching yet was so ridiculous it reminded me of a scene from Ice Age: Collision Course (2016). Why couldn’t there have been a dinosaur or UFO? Go all in on throwing logic off the mountain! That might have bumped my score up!
There were times when I turned my brain off that the film had its moments, but they were few and far between. Stupid logic and stupid laws of physics interfering with movie magic. To “summit” up and not to “be-lay” the point but Wings Over Everest was an okay movie if you like the actors and/or scenery but it likely won’t “rock” your world.
27 April 2026
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"If I can't save a city, I will save those close to me"
When I saw that Zhang Jin was in The Wild Blade of Strangers I was sold. The story and editing had a few hiccoughs but the action was solid for the most part, the main reason for watching a film like this.Tian An Ye and his older friend, Zhao Qian Sun make and sell charcoal. When they head to the walled city to sell their product, they end up saving a wounded woman and her baby. The palace had recently gone through a change of management, accomplished with deceit and at the end of a sword. Nie and her baby found themselves on the expendables list and in desperate need of a hero. Tian had no intention of stepping in until old Zhao convinced him to provide the two vulnerable people protection with his very special skill set.
The plot was thin and obvious which wasn’t super important once Zhang Jin jumped into action. A real martial artist, his moves were believable. How well you’ll like this film may depend on whether you enjoy his screen presence. I did and could have bumped this up to an 8 if the story and editing didn’t have a few issues including one very politically incorrect character that would have been out of place 20 years ago with the terrible depiction. Another actual martial artist, Jiang Lu Xia, as the mysterious Qi, held her own with the choreography. Her character reminded me of one Brigitte Lin might have played back in the day.
You didn’t have to wait long for action scenes. The film had several fights that utilized a variety of weapons and traps. The choreography veered into martial arts dancing on occasion. In this case I was willing to overlook it when Tian spun around because the moves didn’t have a thousand slow-mo pore counting close-up edits. The only disappointing fight was the first one between Tian An Ye and the formidable Zhang Xu Qing. The wire work was extremely awkward and conspicuous, reminiscent of 1970s kung fu flicks. Their rematch was thankfully much smoother and faster. As with many heroes, Tian’s superior fighting skills waned when the script called for it.
The Wild Blade of Strangers made good use of stock wuxia characters and political infighting. The film was at its best when Tian was wielding a sword, lethal bamboo, flaming cloth, or guandao (I think). When it relied on the narrative, the plot holes revealed themselves along with the shallow character development. Overall, I enjoyed this film and could recommend it to people who like their sword fighting with a small serving of political intrigue thrown in for good measure.
25 April 2026
Trigger warnings: People lost their heads, but without spewing blood or rolling noggins. The only scene that bothered me was a torture scene though it did yield a spikey weapon for Tian to employ as a weapon.
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"If you lose yourself, you'll be digging your own grave"
Hero (1997) is a remake of Chang Cheh’s 1972 The Boxer from Shantung. Shaw Brothers was on the downhill slide when they had Corey Yuen helm this bloody blast from the past starring Kaneshiro Takeshi.Ma Wing Ching and his brother Tai Cheung flee the drought-stricken Shandong Province to start over in Shanghai at the beginning of the 20th century. Their new home is filled with people looking for work and people looking to take advantage of them. Ma makes a strong impression on benevolent crime lord Tam See who was also from Shandong. Tam befriends the hothead as Ma makes his presence known in town. Malevolent crime lord, Yang Shuang, is determined to eliminate Tam and Ma for good.
The storyline was thin, with most of the characters being the same depth of cardboard. Despite Kaneshiro’s screen presence, Ma Wing Ching was hard to root for as he was overly proud and easy to anger. Plus, everyone was involved in crime, including the police. Yuen Biao played the “good” crime boss and Yuen Tak chewed the scenery as the “bad” crime boss. Yuen Wah and Corey Yuen provided comedy relief on occasion as did Jessica Hester. Jessica had little to do as the romantic interest. Valerie Chow was featured more prominently as the femme fatale.
Corey Yuen and Yuen Tak were the martial arts directors which meant the fights were wild featuring kung fu, hatchets, flaming hatchets, swords, chains, bamboo spikes, pistols, automatic weapons, hidden knives, a canon, and even holy Looney Toons---an anvil! There were two intricately choreographed fights centered around a horse. The credits stated that no animals were harmed or killed and I really hope they were telling the truth. My biggest disappointment was that badass Yuen Wah wasn’t showcased during the fights being relegated more to emotional support or humorous moments.
During the first half of the film, it was a challenge to invest in the story as Ma picked fights, staked out his territory, and arrogantly ignored the advice of people with his best interests at heart. As stunning as Kaneshiro was during his brutal encounters, I found his character difficult to like. Ma’s redemption arch required copious amounts of blood and limbs. My score is based largely on the creativity and fierceness of the fights. It was also fun to watch Yuen Biao and Yuen Tak take each other on in a ferocious kung fu battle. They did not disappoint. The final free for all was ridiculously over the top, hilariously so at times, yet entertaining. Graded on a mild kung fu curve.
23 April 2026
Trigger warnings: Sexual assault. A fight that littered the street with limbs. Gruesome impalements. Almost continuous smoking. Sometimes it was hard to see the characters' faces due to the clouds of white. Yuen Wah's dreadful haircut.
Connection note: The Yuens in this film all attended Yu Jim Yuen’s China Drama School.
Slightly spoilery observation below:
Characters survived catastrophic injuries, recovering quickly from wounds that should have killed them, left giant holes in the characters, and/or would have caused deathly infections. Never underestimate kung fu plot armor!
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Mission Obvious
Mission Cross had a strong cast saddled with flatly drawn characters and action. It lacked what a sexy thriller that blatantly copied some Mr. and Mrs. Smith moments requires, at least a modicum of chemistry between the leads. I like both actors but it was hard to understand how they ever ended up--or stayed--married.Detective Kang Mi Seon, aka The Crocodile, is less than thrilled with her school bus driver and house husband, Park Gang Mu. They’ve been married for a few years and her kindest compliment is that she could have done worse. She leads a team tracking down drug dealers and a missing CEO, and stumbles upon a secret government cover-up. Park Gang Mu works hard to make Kang’s day easier any way he can in the new life he has chosen. He is contacted by an old spy friend whose husband has gone missing. Though Park had given up his undercover life he is willing to come out of retirement to help old friends. The spouses unknowingly begin working on the same investigation from different angles.
The first hour of the film dragged for me as Kang’s team thought that her “wifey” was having an affair. Park’s instincts had definitely rusted as he never realized he and Jang Hui Ju were being followed and photographed by the bumbling detectives. He also never questioned anything. I kept hoping he and another spy were playing a con on the Big Bad, but nope. They were the ones being played by a patently obvious fake out. Made me lose all respect for them. The writing was painfully bland with no surprises. At least Kang was a competent police officer which was a nice change of pace.
The film didn’t become more engaging until the last 30 minutes and even then, the fights were badly staged. The Big Bad overacted. The fire fights weren’t shot very well. The cinematography and direction lacked a professional, polished look to them. Basically, given the cast, I was disappointed. This paint by numbers script had no depth or originality, no spark. Hwang Jung Min and Yeom Jung Ah deserved better.
19 April 2026
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"Do you know what the rich want?...To get richer"
If you watched the first three Roundup films then you know what to expect from The Roundup: Punishment. Our wrecking ball ahjussi hitter takes on cyber crime this time around with his team and comic relief criminal sidekick.Detective Ma makes a promise to a grieving mother that he will find the criminals responsible for her son’s death. The investigation takes him and his team into the world of cyber gambling and sundry crimes. What he’s not initially aware of is he’s dealing with The I.T. Genius and his vicious, knife-wielding enforcer. Ma will have to call in help from the police department’s own I. T. crowd and also the shady Jang I Su.
There is something about Ma Dong Seok I find compelling to watch, even if he’s just throwing hands at bad guys and little else. I thought Ma “no cartilage” Dong Seok moved smoother in this film which was probably due to better choreography and shorter scenes. His punches and ducking were swifter and of course with a little movie magic, always highly effective. The bad guys, led by Kim Mu Yeol’s Baek Chang Gi used knives which I’m not a huge fan of and didn’t think the knife fight choreography was particularly creative. I was only invested when Ma and his meaty fists entered the room.
The film which bounced between the Philippines and RoK lost focus a few times, which may have been more to translation issues. Ultimately, when the big hearted, pounding hitter wasn’t on screen, the story’s momentum faltered. I enjoyed Roundup Punishment for what it was, and in that I wasn’t disappointed. If you’ve watched the other entries in this franchise this is one to give a try. The Big Guy with No Cartilage rarely disappoints.
10 April 2026
Ma has quipped that he has “no cartilage” in interviews before. Glad he’s still able to make the movies he wants for now!
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"A cozy place to stay"
There is no denying Black Tavern’s similarity to King Hu’s Dragon Inn (1967), but there were enough differences for Shaw Brothers’ inn at the end of civilization to carve out a bloody spot of its own.A wandering monk sings a tale of an official carrying a trunk filled with treasure cultivated from a lifetime of bribes. Ears perk up in the tavern with everyone making a hasty exit to find said official. Eventually, the criminal element condenses upon the remote Black Tavern on a snowy night, coming in waves. The first to arrive is Zheng Shou Shan aka The Whipmaster and his disciples. A “hero” named Zha Xiao Yu who saved Zheng and his crew on the road asks to be cut in on the deal for the price of his sword. Soon the swords and whips are flying as the thieves descend upon the tavern. Official Hai with his trunk of treasures seeks shelter from the storm at the inn on his way to retirement which only increases the feeding frenzy among the murderous lot. A mysterious swordswoman appears who could change the balance of life and death.
Ku Feng dominated this film with his lethal whip, a surprising star turn for the hard-working actor. He's one of my favorite supporting actors, but here he stole the show. Tung Li was the dashing swordsman who always seemed to materialize when needed. I squealed a little bit when I realized that Shih Szu was the swordswoman with a connection to The Lady Hermit. This time Wang Hsieh was already dead when she arrived on scene. Her screen time was rather limited but she was in the final fight. Dean Shek sang many of his lines as the annoying, I mean wandering monk. He had a rather important part to play in the final outcome. Numerous familiar faces popped up trying to steal the treasure and then were as quickly dispatched. Wu Ma and his Five Ghosts of Xiang Xi, which included Yuen Wah, pretended to be hopping vampires. Was hoping for the real thing, that would have made this film perfect! Jackie Chan was briefly on screen as Official Hai’s servant who was killed just before the hour mark if you are trying to spot him. Stuntmen Mars and Little Unicorn also had time on screen.
Simon Chui and Chui Chung Hok designed brutal fights with a variety of weapons. Nearly every inch of the inn and courtyard were decimated as the fighters used whatever was around them to fight with or defend themselves with. Nothing felt repetitive as the different groups of villains remorselessly attacked. The big finale was vicious and creative. Ku Feng was relentless with his whip and physical onslaught. Did I mention, I really enjoyed his performance?
No evil eunuch or army threatened anyone. This time it was just wave after wave of crooks attempting to make their fortune off someone else’s misfortune. I must say that Official Hai was nonplussed at having to walk around the bodies to enter the inn. With every passing moment they stacked higher, disappeared and more bodies hit the ground to take their place. The atmosphere wasn’t as claustrophobic as Dragon Inn, but the fights were exciting and nearly nonstop. I’ve learned from watching these films that it’s important to avoid inns on the edge of nowhere. And if you must eat there, always order the vegetarian platter. I graded on a curve as I do with all of these old martial arts films.
23 March 2026
Trigger warnings: Several decapitations, disarming scenes, severed body parts, eyes pulled out, cannibalism.
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