The good stuff
Last Hero in China needs a while to get going, but it's '93 and Jet Li is allowed to shine as a martial arts hero once again. Sure enough, Jing Wong is helming the film, but by then the Hong Kong machine was so oiled they could pretty much turn out these features without a director present.
The camera work is nice and it really complements the action choreography. The mix of dance and martial arts in particular is really impressive, then again I've always had a soft spot for these semi martial arts scenes. The lion fights are ace, but it's the chicken/centipede fight that made the biggest impression.
The story is of secondary importance and you have to to be able to appreciate the Hong Kong comedy, personally I think they only added to the charm. Not the biggest masterpiece ever directed, but it's super entertaining and the sprawling finale tipped it over into personal favorite territory. Good stuff.
A very solid sequel that shuffles things around (with an entirely new cast for one), but offers the same thrills as the first film. In other words, expect undercover police work and tight action scenes. Koo, Yam and Leung are on a roll here, the film looks slick and the pacing is perfect. Not a future classic, but extremely entertaining.
The story goes that Jing Wong went to Canada to convince Donnie Yen personally (and got what he wanted). Wong will never be the greatest director alive, but it's little anecdotes like these that show he has a heart for cinema. Together with Jason Kwan, Wong delivers a pretty fine crime flick.
This retro drug setup was made with a healthy budget and it shows. The cinematography is slick, the action scenes look pretty good and there's no lack of talent in front of the camera either. With actors like Andy Lau (he simply doesn't age) and Donnie Yen fronting this film, you can rest assured that there's no lack of charm.
It's also nice to see Kowloon again, even if it's just a CG version of the infamous "city". It's such an amazing place that wasn't used nearly enough in its time. The only thing this film lacks is real highlights, apart from that it's an entertaining and slick production that does justice to its genre roots.
A modern take on oldskool Wong and Chung cinema. It's the kind of film you have to be in the right mood for, but if you feel like something big, loud and simplistic, then these guys have you covered. Because no matter how shabby it gets, they make sure entertainment comes first.
Technically it isn't all that and you shouldn't expect anything refined, but that doesn't stop Wong and Chung from diving head-first into a story that mixes martial arts, fantasy and Chinese folklore. The setup and story have been done to death already, but it's little more than an excuse for 90 minutes of fun.
The pop references are nonsensical but hilarious, the pacing is tight and every scene tries to be bigger and crazier than the one before. It's a hell of a ride and the kind of film I can definitely appreciate from time to time, but some familiarity with the work of both directors is welcomed, otherwise you might be in for a rather unpleasant surprise.
Crazy Jing Wong. The third entry in the series, though I doubt watching the earlier films makes any difference. It's all pretty weird, over-the-top and outlandish, then again that's exactly what makes these film so much fun. People who love the zanier side of Hong Kong comedy are sure to get something out of this one.
There are robots, 2 Gods of Gamblers, the weirdest Andy Lau ever, an Andy Lau robot and much, much more. And it all flashes by at breakneck speed. Don't feel bad if you have a hard time following anything of what's going on, that's pretty much by design. At least the good bits are hilarious and memorable.
Andy Lau, Chow Yun-Fat and Nick Cheung seem to be having the time of their lives, there's also a cool cameo of PSY for those who still remember him. Recommended if you appreciate the God of Gamblers niche, it makes no sense at all but I had a lovely time. One of Jing Wong's best films to date.
From Vegas to Macau feels like a recap of Jing Wong's career, a best-of that harks back to his gambling cinema roots and stuffs in everything Jing Wong has ever done since then, only better. While fun and entertaining, it will inevitably be more enjoyable if you're familiar with the work of Jing Wong and what he stands for in Hong Kong cinema.
Chow Yun-Fat is clearly enjoying his return to the God of Gamblers universe, though he's hardly the only star of the film. Wong also finds some room to launch fresh talent and a handful of nifty cameos. But it's Wong's sense of humor, the crazy pacing and zany comedy that are the real stars of the film.
If you don't like Wong and his antics, it's best to just stay clear of From Vegas to Macau. There's nothing original here, nothing you haven't seen before. But I'm sure you haven't seen so much of it in 90 minutes time. I stopped expecting anything new from Wong a while ago, but if he keeps recycling his own career like this, I'm all for it.
Saturation is a word that doesn't appear in Jing Wong's dictionary. The man simply doesn't seem able to stop making films. Princess and Seven Kung Fu Masters is his latest feature, although I suspect Wong acted more as a mentor for Venus Keung Kwok-Man, who received co-direction credits. It wouldn't be the first time Wong launched someone's career like this.
The film is a throwback to the kung fu comedies of the early 90s. It's a mix of martial arts and outrageous comedy bits (not quite unlike Stephen Chow's Kung Fu), sporting typical Hong Kong (over)acting, simple but functional CG and some genuinely original gags. Add to that the more than competent action sequences (though they can't really compete with the best the martial arts genre has to offer) and you have a fun-filled yet rather basic film.
As always, Wong gathered a legion of familiar faces to fill out his cast. There are the older work horses, including Sammo Hung, Sandra Ng, Eric Tsang and Yuen Wah. Then there are some younger talents, like Jiang Lu-Xia, Dennis To and Philip Ng. On top of that, Wong is also apt at introducing new talent, as is the case with Kimmy Tong Fei, clearly one of Wong's rising stars.
Princess and Seven Kung Fu Masters is entertainment in its purest form. It's a welcome update of the old classics, missing that little extra to turn it into a real gem (for that I'd recommend Tracing Shadows) but making up with sheer vigour, enthusiasm and pacing. Unless you're allergic to Hong Kong comedy or martial arts, it's a warm recommendation that's certain to put a smile on your face.
Jing Wong returns to what he knows best: gambling and parodies. If you've seen a couple of Wong films before, there won't be too many surprises here, he basically reiterates the same things he's been doing for ages. Fiona Sit and Chapman To do their best to keep things interesting though, and they succeed.
Halfway through Wong decides to lighten the mood as he goes after Kar-Wai, but not without having a few stabs at his own work too. I'm quite partial to this type of playful banter, it shows a director who knows what he's doing, but also isn't too shabby to have a little fun at his own expense.
The final half hour is a bit cheesier, but it never gets too overbearing and the breezy tone remains intact. The soundtrack is pretty generic, but at least the cinematography is slick and colorful. This is pretty simple and light entertainment, but the execution is on point and it's perfect filler in between more serious films.
Not a very typical Jing Wong film. It's not as hasty and rushed as most of his other work, Wong really takes his time to tell this rather epic crime story. It still shows that he's an entertainer first and foremost, as he struggles a little with the tone and weight of such a film, but overall the result is quite pleasing.
The Last Tycoon benefits from a great cast, with Chow Yun-Fat getting better with the years, also notable parts for Francis Ng (as the delightfully evil bad guy) and Sammo Hung. Visually there are a handful of standout scenes, namely the bombing of Shanghai and the 360 spin in the opera manage to leave quite an impression.
It can't quite compete with the best films in the genre, but Wong shows that he can handle himself when he gets a budget and good cast to work with. Throughout the years my respect for Jing Wong has grown. Even though he's made few masterpieces, he has a heart for cinema and it shows in almost all of his films.
A pretty standard but adequate crime flick that breathed new life in Jing Wong's career. After slowing down his output as a director in the years before, 2009 saw him ramping up the pace again. And what better genre to return to than the Hong Kong crime flick, a type of movie that pretty much directs itself.
Jing Wong didn't make it very hard on himself either. With guys alike Anthony Wong and Tony Leung Ka Fai in front of the camera, quality performances are pretty much guaranteed. Jing Wong also make an appearance, but it's Eason Chan who left the biggest impression, his part was quite memorable indeed.
I Corrupt All Cops isn't standout genre material, but the solid mix of crime with a little comedy and the gracious references to better genre directors make for an entertaining film. Wong can handle all kinds of budgets and has no problem keeping A-listers in check, it rarely leads to great cinema, but more often than not it's very solid filler.
A film that harks back to the early 90s comedies, highly reminiscent of the Stephen Chow films of that time (Royal Tramp comes to mind). Expect cross-gender dress-ups, a couple of goofy action scenes, chaos at the imperial court and an inventor with some weird machines (a direct James Bond reference).
The comedy is pretty lowbrow, but the brisk pacing and cheesy performances make sure you can't take it as anything but unadulterated fun. There's some cheap but functional CG to add to the fun, which Wong counters with some surprisingly decent shots. If you blink you probably miss them, but at least it shows effort on Wong's side.
Tracing Shadow already foreshadowed the return to the oldskool Hong Kong comedy, Jing Wong goes all the way. It can't quite compete with the best 90s comedies and like most of Jing Wong's films, it feels just a little too unfinished to be truly great, but it's a lot of fun and it flashes by in a heartbeat.
After a short hiatus, Jing Wong returns to the big screen with partner in crime Siu-Hung Chung to deliver a pretty unique crime flick, at least for something directed by Wong. A schizophrenic Triad killer returns to his old neighborhood after 30 years in prison. Meanwhile, his old gang friends are eagerly awaiting his return, hoping he can restore their former glory.
Nick Cheung does a pretty good job in the lead, Wong himself also makes an appearance, though acting really isn't his strong suit. Luckily Wong and Cheung make sure that the film has plenty of stylistic flair. Lots of filters and a very mobile camera make this a pretty visceral experience.
It wouldn't be a Wong film without several film references. Johnny To gets a tip of the hat and shlock fans are sure to recognize the Story of Ricky poster, but the funniest reference is one for Wong's own On His Majesty's Secret Service, released that very same year. Not the best crime film you'll ever see, but it's slick, modern and it comes with a nice twist. Solid entertainment.
A zany martial arts comedy from prolific director Jing Wong. It doesn't really feel like a typical Jing Wong production, on the other hand you can recognize a lot of influences from his previous films. This feels like a cocktail of everything he's done in the past 25 years, it's no surprise then that the result is a little uneven.
It's like watching a different film every ten minutes. One moment you're looking at daft comedy that seems like it's aimed at kids under 12, the next scene Wong doesn't shy away from a pretty gruesome liquidation. Add some martial arts, a guy in a hawk suit, a bit of melodrama and you're still not halfway there.
But it's all just good fun and Wong is clearly having the time of his life. Some scenes are absolute terrible, others are a real delight. It goes back and forth like that the entire runtime, which is sure to get on some people's nerves, but I appreciate this type of excruciating Hong Kong comedy. Not great, something very doubty, but a lot of fun.
A more serious crime drama from Wong. Not too surprising, Wong was always quite up to date on what was going to be the next hype, and with Johnnie To's crime cinema on the rise, he had to get in on the action. The result is slick, modern and entertaining, though like all of his films, it misses the touch of a true auteur.
At least he made some solid casting choices to elevate this film. Eric Tsang found his calling as Triad boss, Shawn Yue is a personal favorite and brings the madness as an up and coming gangster. There's a bunch of familiar faces in secondary parts (Lam Suet for one), but Tsang and Yue can carry the film just fine.
The story isn't all that original, but the presentation feels modern and polished, Wong keeps it pretty straight-faced and leaves the comedy out of it for a change and makes sure the pacing/runtime is perfect. Not a stand-out Hong Kong crime flick, but more than solid filler that shows Wong is more than just a one-trick pony.
The early 00s saw the Hong Kong film industry moving in an upward spiral, directors like Jing Wong made good use of that boost to give their own films a little extra flair. Moving Targets is a film that settled itself into the slipstream of the Internal Affairs films and reaped the benefits of it.
Wong attracted a few veteran actors (Simon Yam, Lam Suet) and some younger talents (Nicholas Tse, Edison Chen) to steer things in the right direction. The plot isn't very noteworthy and no doubt you've seen this all before, but the film has the necessary visual prowess, which makes for an easy watch.
The pacing is solid, the runtime nice 'n short and there was enough intrigue to keep me interested. The production is a little too slick and Wong lacks the finesse to compete with the big boys in the genre, but films like these are perfect filler for when you've seen all the bigger names in the genre.
Jing Wong teams up with Marco Mak, hires every famous actor he could find (Anthony Wong, Jordan Chan, Francis Ng, Gillian Chung, Ching Wan Lau, they're all present) and throws them into a comfortable genre formula that is known to work well and can be produced without too much hassle.
Colour of the Truth is easy genre cinema, but backed by a movie making machine that is known for its incremental refinement and can deliver quality on routine alone. There's a plot about revenge and deceit that leads to some inevitable stand-offs, but if you've seen a couple of these films you should already be aware of that.
It's hard to find obvious flaws, the only negative here is that nothing really jumps out. It's a fine production, but safe and expected. Solid pacing, a good cast, some visual flair and enough genre pandering to please both action and crime fans. I had a lot of fun with this one, but it's for genre fans only.
A more serious attempt from Jing Wong, who drops the comedy and goes for a full-on crime drama. I guess it's fun to see this one back to back with The Conman, made in the same year, with the same lead actor and roughly threading the same paths, only very different in execution.
The plot is pretty basic but decent enough for this kind of film. It does take a few surprising turns near the end, especially for those expecting a run-of-the-mill genre film, but that at least keeps things a bit more interesting. Not that Wong is reinventing the crime genre here, but the film packs a couple of nice surprises.
Andy Lau is headlining the film, he can play parts like these with his eyes closed of course. Wong picks his moments to show off the cinematography and soundtrack, sadly it isn't that consistent and it can also turn quite cheesy. All in all a decent Jing Wong film where he showcases a slightly different side of himself.
Jing Wong sure loves gambling. Not so much with his films, as he once again plays it pretty safe, but gambling is a topic that features so often in his film that he almost single-handedly created his own niche. It's a genre mix that's probably best experienced as it's a really odd blend of comedy, crime and fantasy gambling, but it sure makes for some decent entertainment.
The first (and longest) part of the film is a pretty straight-forward and somewhat surprisingly serious crime film. Not that it's particularly dark or anything, but Wong's usual farcical elements are mostly absent and Andy Lau is allowed to put his flair to good use. Some rather stylish scenes and proper pacing make for a fine first 80 minutes.
Then Wong himself makes an appearance and it's full-on slapstick after that. It's a pretty sudden turn in tone, it also comes quite unexpected and Wong's comedy isn't for everyone, personally I didn't really mind. Then again, I quite like Wong's goofy side. Definitely not a masterpiece, no Wong films really are, but at least it's good and proper fun from start to finish.
Another entry in Wong's peculiar gambling genre. An all-out comedy in true Jing Wong fashion, so you can expect lots of parodies, a handful of timely references, plenty of random jokes and some fancy wire action, as no Hong Kong comedy is allowed to exist without a bit of martial arts action.
The story of course revolves around the Saint of Gambler (a parody on Wong's own God of Gambler character). A tournament is launched to find a suitable candidate for the part, but when the players begin to murder each other it becomes quite uncertain if anyone is actually going to make it to the end.
With Man Tat Ng you can expect solid comedy, a young Donnie Yen is there to spruce up the action scenes. But in the end this is just another 200% Jing Wong film, where all that matters is whether you can stand his particular brand of comedy. A pretty wild and funny film, but not for everyone.
A slightly deceptive Jing Wong film. With Stephen Chow and Man-Tat Ng headlining the project and Wong directing, you would probably expect a roaring comedy. While that's definitely part of Hail the Judge, it's surprisingly more straight-faced, especially during the first half of the film.
Chow plays Pao Lung-Sing, a corrupt magistrate, who inadvertently sentences a woman to death. He vows to better his life, but that is easier said than done. Until one day his luck changes. He catches the prince in a brothel and, by helping him, gets one final chance to save the woman's life.
There's a lot of wordplay here, which went pretty much all over my head. It's kind of obvious that the translation strained to do justice to all the puns. But even then, the first hour is surprisingly serious. The sillier and more visual comedy is kept for the finale, which is more in line with other Wong/Chow collaborations. Certainly not a bad film, but not the all-out craziness you might expect it to be.
Wong teams up with legendary action director Corey Yuen and martial arts legend Jet Li. Some people may look down on Wong, but he never had any problems working with the greats of Hong Kong cinema. Legend of the Red Dragon is a trademark early 90s Hong Kong martial arts spectacle, a golden era for Hong Kong action cinema.
The Hong Kong movie industry was such a well-oiled machine back then that they could pump out films like this almost with their eyes closed. Very typical cinematography, razor sharp editing, impressive fight (and other) choreographies and a little comedy in between to take the edge off.
The center part drags a little and the film can't quite compete with the very best in the genre (films like Fong Sai-Yuk and Iron Monkey), but it's an all-out martial arts roller coaster that offers plenty entertainment and should appeal to everyone with a soft spot for Hong Kong martial arts cinema.
'93 was a magical year for Hong Kong action cinema. Holy Weapon is just one of the many, many great action films that were produced back then. This one is helmed by Jing Wong and features some female action talent, with Michelle Yeoh and Maggie Cheung taking up the lead roles.
There isn't much hand-to-hand combat though, it's more a mix of fantasy and martial arts (i.e. lots of people flying around on wires, flaunting their wild magical powers while blowing up all kinds of things with proper flair). It's a film that clearly found its inspiration in the Chinese Ghost Story series.
The story is pretty nonsensical, but the pacing is solid, the action is impressive and the comedy in between keeps the tone light and breezy. Add some arts & craft monsters and you have a perfect blend of entertainment that doesn't fully wow, but has more than enough on offer for a fun and amusing 90 minutes of film.
Crazy martial arts fantasy. Even though 100 minutes isn't particularly short for this type of film, it feels like they only had time for about one third of the plot and just crammed in the rest without worrying too much about whether it would make sense or not. The film is a continuous roller coaster that blazes through fantasy-driven fights and complex intrigues.
Six clans and a handful of outsiders battle it out against each other. It's not easy to keep track of the alliances being formed, all the fights, their conclusions and the constantly shifting intrigue, but ultimately it didn't matter to me. The action is amazing, the spectacle is grand and the pacing is so crazy that I could only sit back and be impressed.
The only awkward thing is that the film ends mid-battle. Apparently the sequel was binned after this film performed badly at the box office, so you're left with an unfinished story. Not a film I'd recommend to martial arts novices, but if you love the high-speed, high-octane Hong Kong martial arts cinema, this is one of the craziest you'll find.
A Jing Wong martial arts spectacle from the magical year '93. Don't get fooled by the posters though, Gordon Liu is hardly in it as his character explodes the first scene he's in. But that hardly matters, after a somewhat sluggish first half the film shifts into overdrive and becomes one the best 90s martial arts films I've seen so far.
It's a vintage Jing Wong film, that means you don't just get martial arts action, there's also goofy comedy and weird parodies. A sudden Jesus appearance is no doubt marked as one of Wong's all-time wackiest ideas ever, it's these moments that make a film like this so much fun to watch.
The cinematography is great, the action is spectacular and the choreographies are inventive. It's a shame it takes a while to get going, while the first half does have a handful scenes that are impressive, the pacing is simply a bit too unbalanced. Just stick with it though and you'll find 30 minutes of the wackiest, most energetic martial arts you've ever seen.
A solid entry in Jing Wong's oeuvre. While there's still room for his signature comedy, Casino Tycoon keeps a stronger focus on the plot and crime elements, with Andy Lau playing the titular character on his way up to rule the casino business. And all that a good three years before Scorsese's casino epic.
Lau is a perfect fit for this type of character. He has the necessary flair and carries the film with ease. The pacing is remarkably subdued, with Wong taking his time to set up the story, not skipping or rushing through any of key moments. He really commits to Lau's character and his rise to the top.
That said, the plot and characters are still pretty generic, Wong can't really escape his genre roots. Luckily the cinematography is pretty decent, in combination with a couple of solid action scenes and strong performances it leaves a solid overall impression. An interesting and well-made casino epic.
I remember this being one of the first Hong Kong comedies I've seen. It took a little time adjusting to get used to their style of comedy, but with Jing Wong & Siu-Tung Ching in the director chair and Stephen Chow & Man Tat Ng in front of the camera, there's really no better way to get introduced into the genre.
Shot (almost) back to back with the second part (quite typical for Hong Kong films back then, why shoot one film is you could as well shoot the sequel in tag), it's a film that delivers what you'd expect from it. Some fun martial arts, crazy plot lines, exuberant performances and an overall level of goofiness that makes these films very pleasant to watch.
With 108 minutes on the clock it's a bit long, especially because these films are pretty hyperactive (and thus demanding), but with all the talent on board and with a well-oiled machine backing up the technical elements, that's hardly an issue. It can't match Chow's self-directed films, but if you're looking for madcap Hong Kong comedies, this is perfect filler.
Royal Tramp II is one of those films that looks like light entertainment, but is in fact way more demanding than you'd give it credit for. Not that this is a very cerebral or deeply emotional film, but you better keep your wits about you because there's a lot to digest in a rather short amount of time.
Jing Wong and Stephen Chow equals high-paced comedy. The plot is pretty complex, with lots of intrigue, revenge, scams, theft and shifting balances. Jokes are pretty random, there's a ton of dialogue to go through and the performances are extremely energetic. Everything is turned up to 11 from start to finish.
The comedy is an acquired taste and it's a bit hit-and-miss, but Chow has great presence and if you're familiar with Hong Kong comedy this is definitely one of the better ones. The cinematography is pretty cool too. Characteristic, but it gives the film that extra bit of flair. Don't watch this if you want a quiet evening, but if you're in the mood for some madcap Hong Kong humor, it's a solid choice.
Jing Wong's first feature film. An important milestone in the history of the Hong Kong movie industry, for the next 40 years Wong would be virtually everywhere. He didn't miss his entrance either, Challenge of the Gamesters is an action/gambling spectacle, a niche that would end up being Wong's biggest gift to the industry.
Besides the typical Wong elements, it's also a very typical Shaw Bros film. The characters, styling and sets all breathe that Shaw Bros atmosphere, there's even a hefty dose of martial arts to liven up the film. The biggest difference is the focus on the gambling scenes, which sets it apart from the other Shaw Bros films.
The story is nice enough, the build-up is deliberate and the pacing is perfect. The cinematography is also on point and the fight choreography is pretty creative. It's an easy watch, with just the right amount of intrigue and action to keep my engaged, a very nice start of Jing Wong's career.
Jing Wong simply can't stop making films. Even though it feels like he ran out of fresh material ages ago, he keeps on polishing and remixing his older concepts to supply the contemporary blockbuster market with new cash cows. The most surprising thing is that these films are actually quite fun, if very light and forgettable.
Andy Lau finds a younger version of himself in Xiaoming Huang, together they team up to take on some average bad guys out to steal an important scientific discovery. It's basically a Bond film, filtered through the brain of Jing Wong, which means it comes with a serious dash of daft yet fun comedy.
The film looks slick, the light tone works in its favor and Lau is perfect for his part. If you can ignore the flaky CG, the meager plot and Wong plundering his own catalog, then Mission Milano offers solid entertainment and time will fly by. Cherry on the cake is the reunion of Lau and Sammi Cheng at the end, a nice nod for the true Hong Kong fan.
Since the first film did pretty well, it's no surprise Jing Wong went on to make a sequel (eventually turning this into a bona fide trilogy). Wong simply rehashes the first film and drums up Fat once again to take on the part of enigmatic gambler. While Fat is quite charming, I think he fits the films of Wen Jiang better, this material is simply a bit too crazy for him.
The film is also way too slick for what it is: a shamelessly pulpy comedy. That's one of the advantages of being Jing Wong, you have the clout and the money to make a silly film with a bunch of A-listers and nobody is able to stop you. While that doesn't make for great cinema necessarily, it's surely unique and it should be treasured.
There are a couple of hilarious moments (like the Mahjong game) and some worthwhile cameos. The action scenes are decent and the cast does a solid job, but this second part doesn't add much to the first film and because of that it feels like it could've been a bit shorter. Even so, there's plenty of fun to be had here.
A throwback to the Hong Kong films of the 90s. Take a desert inn, throw in a bunch of martial arts legends, have them chase each other and you probably have a pretty good idea what to expect from this one. A film that references films like New Dragon Gate Inn and the original Dragon Inn by King Hu, only through the eyes of Jing Wong.
That means that the comedy takes a more prominent position here, though there's still enough martial arts action to keep the action fans content. The choreographies are nice, there are some cool fight scenes and the comedy is daft but fun. Everything is in place for some pleasant escapism.
The effects are mediocre and actors like Nick Cheung and Charlene Choi struggle to keep things afloat. Treasure Inn is never a true competitor to its role models, but it's very light and entertaining and it's finished before you know it. Very solid Jing Wong filler, not great, but a lot of fun.
I'm not quite sure what Wong was gunning for here, but there's a bit of Terminator and Iron Man in Future X-Cops. Wring it through a Hong Kong filter, mix it with Wong's trademark sloppy comedy and you get a film that's too cheap to be a blockbuster, but silly enough to be entertaining.
Andy Lau warps back from the year 2085 by accident. Once here he needs to find a way back to his own time, in the meantime he helps out a female officer in her quest to beat an international crime syndicate. But don't worry too much about the plot, it's just an excuse for some silly fun.
And silly fun you're going to get, that is if you can see through some of the shadier parts of the film. The special effects for one are absolutely atrocious, at the same time they also have a kooky charm that goes well with Wong's overall approach. Not Wong's best film, but it made me laugh out loud more than once.
Wong loves himself a conman and some gambling to build a film around. I think at least a quarter of his films deal with these themes, and that's a conservative estimation. Wise Guys Never Die is one of those many films, not really a stand-out within his oeuvre, but a fun flick if you like this kind of thing.
After a failed attempt to embezzle money, Nick is sent to jail. There he meets Teddy, a professional conman. The two concoct a plan to mess with Dragon, the manage of an illegal casino. Once they're out they set their plan in motion, but Nick starts to suspect there's more going on than he's aware of.
Nick Cheung's a decent lead, Jing Wong fares better in smaller part (or even cameos). He's just not talented enough an actor to play a true supporting role. The film starts better than it ends, but there are some fun gambling scenes here and the pacing is near perfect. Somewhat inconspicuous, but nice enough.
The late 90s were a real struggle for the Hong Kong film industry, the local romcom is one of the genres that helped them recover. Of course Jing Wong had to have his piece of the cake, it's no surprise then that he made a couple of them just around the turn of the century. And as it turns out, he's quite apt at them.
Leon Lai plays a slick player, a guy who doesn't mind a lie here and there just to get a date with a woman. He falls like a brick for Cheung, a wealthy lady who has had it with dishonest men. She dumps Lai immediately when the truth surfaces, but Lai is smitten with her and is willing to change his life to win her back.
Don't expect to see anything original here. The plot is simple, the ending textbook. The first hour is light and fun though, with some vintage Wong comedy and surprisingly decent performances from Lai and Cheung and fun cameos by Man Tat Ng and Lam Suet. The finale gets a bit more serious, which is a bit of a bummer, but overall this was pretty enjoyable.
With the Hong Kong industry struggling, Jing Wong reached back to a franchise that was known to draw the crowds. God of Gamblers is a typical Hong Kong oddity, with spin-offs and sequels shooting out in all directions. It's a fun series though, and part 3 fits in nicely with the others.
Ko Chun is eager to establish himself in the gambling circuit. He gets the help of Kent and his gambling buddies, but it doesn't take long before they screw him over. Sister Seven, a big fan of Chun, takes him under her wings and trains him in the art of gambling, so he can earn back what's rightfully his.
A star-studded cast, some solid action scenes, a couple of fun card tricks and a good laugh here and there. The film's a bit long though and the second part feels too repetitive, Jing Wong loses steam and can't even get the finale fully on the rails. But overall it's entertaining enough.
Zany Hong Kong comedy. Not too surprising with Jing Wong and Stephen Chow joining forces. Wong is one of Hong Kong's weirdest commercial directors, Chow the undisputed king of comedy. Sixty Million Dollar Man may not be masterpiece material, it's still a highly enjoyable film.
The plot it completely nonsensical. It revolves around Sing, a wealthy jerk who wastes his time making fun of others. His luck runs out when he dates the wife of a Yakuza boss, who leaves him for dead. Sing is saved by a wacky professor, who gives him the power to transform into pretty much everything he wants to.
If that isn't the perfect premise for a little goofy comedy, I don't know what is. Chow does very well, there are plenty of visual jokes (seeing Chow as a tube of toothpaste can only be described as memorable) and the slick pacing makes sure there's not a dull moment in sight. It's a shame the direction is a little cheap, otherwise this could've been a real classic.
After doing some more comedic spin-offs with Stephen Chow, Jing Wong digs up Chow Yun-Fat for a true sequel to the first God of Gamblers film. It's almost impossible to keep track of the specifics of this series, but ultimately that's not really what's important here. With Jing Wong, it's all about maximizing entertainment.
After someone brutally murders the God of Gambler's pregnant wife, he has to go into hiding for a while. While he needs to keep his identity a secret, he vows to find out who is behind the assassination. Once he finds the culprit, he devises a plan to get back at him. This of course involves a bit of gambling.
If the setup sounds rather violent, it's because God of Gamblers' Return is part heroic bloodshed. It also contains Wong's signature comedy and a gambling-focused finale, which makes for a strange mix. A two-hour runtime is a bit much, but the performances are decent, the genre mix is fun and it never really drags. Not quite as good as the first film, but a pretty decent sequel.
Jing Wong is no stranger to light fluff. Boys Are Easy is one of those film you could perfectly do without, but when starved for an enjoyable comedy it's not a bad option. That is, if you are familiar with and can stand Wong's very typical brand of Hong Kong comedy, which is somewhat of an acquired taste.
Sing wants his daughters to get married, but they're still enjoying their freedom too much to settle down. Sing devises a plan and pretends to be dying, within no time his daughters come up with potential marriage candidates. None of girls are really serious about their dates, things get complicated when the boys do fall in love with their respective partners.
There's a bit of everything here. At heart, it's a romcom, but Wong's affection for parodies surfaces again. Add some cheesy Hong Kong comedy and a couple of mandatory martial arts scenes and you've got a pretty decent, yet run-of-the-mill crowd pleaser. Nothing you haven't seen before, but the A-list cast does help to set it apart from its peers, if only just a little.
Jing Wong takes over from Gordon Chan to direct the finale of the Fight Back to School trilogy. He doesn't make much of an effort to respect Chan's earlier films though, this is a vintage Jing Wong comedy where he relies solely on the strengths of Stephen Chow to make the film work.
Chow isn't a student anymore, instead he's a police officer who has to go undercover to investigate the murder on Wong, a wealthy man. Chow is chosen because of his uncanny likeness to Wong, but when Wong's wife begins to suspect her husband might be someone else, things get very complicated for Chow.
The plot is pretty bland and people who liked the first two films should really get their expectations straight, but if you like Wong or Chow's comedy than this is a pretty decent film. There are some solid jokes, a good performance by Anthony Wong and the pacing is perfect. Silly, but entertaining.
It's no secret that Jing Wong loves a good parody, with Future Cops he takes on the world of video games. Prepare for some nonsensical references to Super Mario Bros, Dragon Ball and Street Fighter II. It may not make too much sense, but if you love a zany comedy this is one of the better ones in Wong's oeuvre.
In the year 2043, Bison is trying to take over the world. Before he can execute his evil plan, Judge sentences him to jail. Bison's henchmen travel back in time to try and kill Judge, but he too sends a couple of agents to defend his past self. They all end up together in 1993, where they'll fight a tough battle to get to Judge first.
This isn't an official Street Fighter film, but Wong doesn't seem to mind. The plot makes absolutely no sense and the introduction is a bit too long, but once the Mario Bros scene makes its entrance it's just a never ending onslaught of bizarre and unforgettable moments. If you love a good laugh and don't mind the nonsensical plot, this film is a cult classic.
Another Jing Wong genre mashup where he borrows royally from other films. Andy Lau is back to doing his card tricks, but The Sting II is also part prison cinema and of course Wong's trademark comedy is also present. It's a combination of different elements that really shouldn't work as well together as they do here.
Mindy is an infamous conman. When he gets caught trying to cheat on a Lau, a Triad boss, he is forced to make a deal with him. Mindy has to smuggle himself into a prison and seek out a prisoner who is hiding 3 million HK dollars. Once there, he runs into a fellow conman who promises to help him.
With Andy Lau and Tony Leung Ka-Fai, you can rest assured that the performances are solid. The comedy is fun and keeps the film light, there's quite a bit of variation due to the mix of genres and the pacing is fine, though the film itself could've been a little shorter. Not what you'd call a masterpiece, but good fun nonetheless.
Slightly worse than the first film. Casino Tycoon had a broader focus, it was a film about how a relatively low-ranking guy made himself a casino empire that propelled him as the most important man in the business. This sequel narrows the narrative down to a single event and is more occupied with providing closure.
After Ho made it to the top of the casino business, several years or relative calm follow. It doesn't take too long before his old enemies start reorganizing themselves though. They band together and devise a plan to topple Ho's empire, of course he's not willing to go down without a fight.
Lau is still perfect for the part, but it's Chingmy Yau's role that leaves the biggest impression. I felt the film was a bit too focused on the narrative and emotional side, sporting some mediocre dramatic reveals that don't really make the film more interesting. It's still a decent effort from Wong and people who liked the first film will definitely want to see this one, but overall it's just not as good part one.
After Jing Wong made a hit with the first God of Gamblers film, it was no surprise to see him start milking the franchise, even combining it with other franchises. While that sounds pretty negative, the nice thing about Wong is that he's actually pretty decent at it. With Stephen Chow, Andy Lau and Man-Tat Ng filling in for Yun-Fat Chow, this film certainly doesn't lack star power.
The film is actually a sequel to All For the Winner, with Andy Lau reprising the role of Michael Chan. He's traveling the world in search of the killer of his wife. Chow Sing Cho is chasing Chan in order to become his disciple, but they have to put their differences aside when someone else is trying to sully the God of Gambler title.
It's a typical Jing Wong gambling comedy, with some weird gambling lore, Stephen Chow's signature comedy and mad pacing to make sure it never slows down too much. It may not make a lot of sense and when you're familiar with Wong's oeuvre there are no real surprises here, but these films sure are entertaining.
One of Jing Wong's biggest perks is that he doesn't seem to be held back by pride and good taste. The first God of Gamblers is probably his most influential film, but he doesn't mind spoofing it and taking that spoof all kinds of places. This third film in the Chow-led spin-off series transports the crew back to 1937, because why not.
The Saint of Gamblers is sent back in time, to the year 1937. It's a crucial year in his family's history, and he gets mixed up in a fight between two warring gamblers. Chow is forced to use his special power, but he has to take care that he doesn't mess up the future. In the meantime, he also has to figure out how to get back to 1991.
God of Gamblers III is another decent Wong/Chow collaboration. The biggest surprise is that Wong got Li Gong to play in this film, usually not an actress who pops up in these kinds of commercial comedies. It's not a very remarkable film, but if you like a solid Hong Kong comedy than you really can't go wrong with this one.
Stephen Chow is one of Hong Kong's biggest comedic talents and no doubt he would've made it to the top whichever way, but in his early years it was Jing Wong who put his on the right track. The Ultimate Trickster is one of their early collaborations that put Chow's career on the right track.
A trickster is hired to come between a father and his son. The two have a strong relationship, but someone is out to destroy that bond. The trickster moves in with the two and does his best to sabotage their lives. Once they find out that they're being played, they try to find out who is behind the setup. The problem is that they don't seem to have any apparent enemies.
Wong assembled quite a cast, with Stephen Chow, Andy Lau, Rosamund Kwan and Man-Tat Ng in key roles. The comedy is daft and cheesy, but Wong and Chow's dedication to take a single joke further and further makes it quite enjoyable. It's the kind of film seasoned fans of Hong Kong comedy will like, others should probably find something easier to get acquainted with the genre.
God of Gamblers isn't the first film in which Jing Wong would indulge his obsession with gambling, but it is probably the most essential one. The film would become a landmark in the Hong Kong movie industry and Wong himself would continue to milk it dry for years to come.
Ko Chun is a visionary gambler who is virtually unbeatable, but when one day he hits his head he completely forgets who he is. Chun ends up with Dagger, a street hustler, who decides to take care of him. When Dagger finds out that he's helping one of the biggest gambling talents, he tries to make the most of it.
With Yun-Fat Chow and Andy Lau in the lead you can rest assured the performances are on point. There are some neat gambling tricks, the mix of genres is geared for maximum entertainment and the pacing is solid, even though the runtime is a little excessive for this type of film. Good fun.
Early Jing Wong action comedy that helped launch the career of Andy Lau. It's a bit weird to see Lau cast as an action star, but this was well before he established himself as a solid drama actor. Together with Cynthia Rothrock and Pak-Cheung Chan Lau leads this amusing little action flick.
Lo joins his friends Pin-pin and Pancho on a quest to locate Shen, an old friend of them. Their trip takes them to Greece, where they find out that Shen is being chased down by the KGB and Interpol. Shen dug up some mysterious jewels, a priceless possession everyone wants to get their hands on.
Jade Crystal is a pretty amusing action romp. The action scenes are solid, the tone is light and breezy and there's enough goofy weirdness to keep it interesting. And there's really no better way to understand what Wong's oeuvre is about than to see him act, so his substantial part here is a bonus for people unaware of Jing Wong. Solid entertainment.
It didn't take long before Jing Wong came into his own. His first film might've been relatively serious and well-constructed, a lot of that was thrown overboard in Winner Takes All, and replaced by the cheer silliness that would come to define Wong's brand. The result is a full-blown comedy with some martial arts thrown in for good measure.
The beginning is still somewhat straight-faced, but when Pak-Cheung Chan appears and enters a rather hilarious Mah-jong game to the death, there's no doubt that you shouldn't take this film too seriously. It's the kind of over-the-top stupidity that would help to launch Stephen Chow's career a decade later.
The acting isn't all that great and some of the effects are pretty cheap, but they're never gratuitous. The soundtrack is pretty cheesy too, but is used to good comedic effect. If you don't like Hong Kong comedy, it's probably best to avoid this film, but Jing Wong fans (or those who can tolerate his films) will have a blast with this one.
Worthy but flawed
A mediocre Hong Kong horror flick, but that's not too surprising if you look at the people involved. Jing Wong isn't the most obvious choice for directing a horror film, but he is the one to jump on whatever hype he thinks can make him an extra buck. Hence, the birth of this 2-part anthology.
Wong's film is about a temp teacher filling in for a teacher who died in a terrible accident. It's a rowdy group of kids she's assigned to, and she begins to suspect they had something to do with the accident. The second film is about a group of tourists who are murdered and return as ghosts to haunt their killer.
Wong's part tries to mimic the Japanese horror stories, while Kong's short is more in line with the late 90s Hong Kong stuff. Both aren't very effective and even though there are a handful of moody scenes, it never gets really tense or frightening. It's not terrible filler, but it's best to lower your expectations.
A pretty inconsequential Jing Wong production. Treasure Hunt is a rather run-of-the-mill mix of comedy and action, executed in true Jing Wong fashion. That means it makes for an amusing, but rather hollow and forgettable experience, though in all fairness the film doesn't look like it aspires to be anything beyond that.
The plot, about a commercial director being sent to an uninhabited island to shoot an ad with a big-wig actor, only to end up in some far-fetched treasure hunting scenario, is pointless. It's merely an excuse for some comedy antics and a few action scenes. The lack of A-listers mean that neither are truly noteworthy.
But Jing Wong's silliness also keeps thing light and the frantic pacing makes sure that the film never gets boring. It's not bad filler as such, but hard to recommend when there are so many films that do a better job at it. Treasure Hunt is for the true Jing Wong collector, he who has seen at least 75 of his other films and still has the energy to persist.
Wong didn't tweak the format for this sequel. It still plays like a regular sports movie, only with mahjong and martial arts instead of sports. It really makes no sense at all, but that's part of the appeal of these films. The dedication to the nonsensical side is an essential element in making this a successful comedy.
Fanny is a mahjong champ on the rise. She hopes to put her skills to good use when her husband finds himself in debt, but she's barred from pursuing her talent at this crucial time. That doesn't stop her though, even when her luck seems to be running out she continues playing.
The plot is as basic as can be, but the mix of gambling and martial arts provides more than enough material for some decent jokes. I think Wong had hoped to turn this into an even bigger franchise (much like the God of Gamblers series), but that never quite happened. Still, if you like Wong's gambling films, this is a pretty solid bet.
Jing Wong and Marco Mak try to cash in on the horror hype. With a plot and setup not unlike Saw they deliver a film that isn't quite sure what it wants to be, drifting between horror and police thriller, with the odd parody element thrown in for good measure (because that's what you get when Jing Wong is spinning the wheels).
A serial killer is on the loose. He targets young models and kidnaps them. The only way they are allowed to escape is by weighing less than 35kg, an almost impossible task. Detective Tak is put on the case, but his job suddenly becomes a lot more pressing when he gets his personal life entangled with the case.
Like most Hong Kong horrors, the film never really commits to the genre, with the comedy bits being more than a little counter-productive. It's good to have Anthony Wong on board, the rest of the cast isn't on the same level. It's certainly not the worst film, but unless you're desperate for horror or you're a true Wong completist there's no good reason to prioritize this one.
Jing Wong takes on the romcom genre. A rather profitable undertaking, especially when you can count on A-listers like Andy Lau and Michelle Reis to take up the lead roles. Wong does the bare minimum to make the film presentable, though he deserves to some slack, as at that time the Hong Kong film industry was struggling to keep its head above water.
Wah is a rather crude man, who falls in love with the well-educated and cultivated Ping. Ping is looking for her mother and Wah decides to help her out. Ping's wealthy father doesn't trust Wah though and he assumes he's out to kidnap his daughter, which leads to some rather tricky complications.
Lau and Reis do a decent job, the comedy is pretty amusing and the pacing is solid. It's all pretty enjoyable, but at the same time it's rather unremarkable and anything but memorable. Typical Jing Wong filler in other words. Good enough if you got 90 minutes to spare and no idea what else to watch.
Second entry in the Conman series. And as you can see from the title, there are multiple con men now, and they are in Vegas. Prepare yourself for another Jing Wong gambling film, this time with Andy Lau in the lead. The result is pretty amusing, as with most Jing Wong gambling flicks, but the film itself is hardly essential.
King is back on the right path, but not long after he is contacted by the Chinese government. He is asked to find Peter Chu, who fled the country with 40 million in his pocket. King trails the man and ends up in Vegas, the biggest gambling paradise in the world. It doesn't take a genius to figure out what happens next.
Lau is a strong lead, Chan and Cheung can't quite match him. There are some fun parodies, Jing Wong makes another cameo and the tone is light and breezy. All quite expected. The big chase at the end feels a bit haphazard though and it gets rather dull after a while. Decent enough entertainment, but little more than filler.
This could've been a prequel to the Kung Fu Mahjong series, then again so many films in Jing Wong's oeuvre feel like carbon copies of each other. He once again combines his affinity for gambling with comedy and action elements, and is able to fall back on a talented cast whenever his direction dips below acceptable levels.
Ferrari is a master trickster who steals from the rich. Inspector Chan Foon is sent to infiltrate Ferrari's gang, but it doesn't take long before he's exposed. He doesn't give up that easily though and seeks out another famous trickster, hoping he can teach him the tricks of the trade in order to dismantle Ferrari's operation.
The action scenes are pretty decent and Stephen Chow is a great comedian. The rest of the film feels decidedly more pedestrian, with basic Jing Wong comedy and the usual trickster antics. It's proper entertainment, the tone is light and the pacing is fine, but a bit hard to wholeheartedly recommend, unless you're really into Hong Kong comedy.
Jing Wong tried to break into the horror genre more than once, but he was never really successful. That's not too surprising since Wong has a signature style that doesn't mix too well with darker, more serious subjects. That didn't keep him from trying of course, especially when there was some money to be made.
This time around Wong focuses on ghostly apparitions. When Kwan sees a woman jumping from a roof, he rushes to help her out and brings her to the hospital. The woman is grateful for Kwan's help and they decide to meet up again. Kwan's ex-girlfriend isn't too happy with the situation and begins to stalk them.
Expect some trademark Jing Wong comedy, random film parodies and mad pacing. And also some horror elements that feel completely out of place. The lighting is nice and moody, but the horror itself is tame and fails to be scary or tense. The story and cast are pretty plain too. Random Wong filler in other words, not the worst film if you're looking for some mindless entertainment, but little else.
Not quite as good as I'd hoped. Jackie Chan and Jing Wong doing a City Hunter adaptation sounds like a ton of fun, but apart from some obvious running gags (the big hammer among others) the film never really finds its footing. Probably because City Hunter is a bit too lewd for Hong Kong sensibilities.
It's a film that's going to work best for people who are familiar with the franchise, otherwise the references and running gags will make little sense. But even for them this adaptation is going to raise some eyebrows, as Jing Wong makes the film his own, with some typical Jing Wong moments (like the Street Fighter II parody).
It's a pretty mixed bag. Chan does his best but feels a bit lost in this film, the comedy is fun but not quite what you'd expect from a City Hunter adaptation and those coming for the trademark City Hunter feel may be disappointed by the slightlier sanitized result. Not terrible, but not entirely satisfying either, especially not with all the talent involved.
Jing Wong's answer to the Fight Back to School series. Not quite unsuccessful either, as Wong himself would take over the final entry in that series just one year after directing this film. That's one way to apply for a job I guess. If you're familiar with Gordon Chan's films (or Jing Wong's oeuvre for that matter), you probably already know what to expect.
Cops are infiltrating schools again to keep the peace. It's a weird premise, but since we're talking Hong Kong comedy it's not all that insane. At least this time around our protagonist is going in to replace one of the teachers (which is a bit more plausible than Chow's attempt to blend in as a student), though the effect on the course of the film is negligible.
Goofy comedy, some weird film references (I could be mistaken, but the intro credits being read by the cast felt an awful lot like a Godard reference), mad pacing and over-the-top performances. Truant Hero is vintage Jing Wong, but it fails to set itself apart from its peers. It's decent fun while it lasts, but it's hardly a memorable film.
Jing Wong may not receive too much respect for his career among cinephiles and critics alike, the list of actors he worked with is unmatched in Hong Kong. In Dances with the Dragon he casts Andy Lau in a simple but amusing romcom. Not the most unusual choice, but a damn smart (and profitable) one.
Together with Man-Tat Ng, Lau keeps this film light and breezy, Man Cheung is pleasant as Lau's romantic interest. The plot is pretty basic, offering a little twist on the typical "prince swoops a poor girl off of her feet" premise (i.e. Lau has quite a bit of trouble sweeping here). It's nothing great or remarkable, but serviceable for this type of film.
The comedy is decent, the pacing feels swift and even though the direction appears a little shabby, the plot is entertaining enough to keep the film on the rails. It's all very predictable and over-the-top, but if you're looking for decent, mindless Hong Kong filler, then Wong and Lau have you covered.
A pretty basic but amusing Jing Wong vehicle. A combination of action, comedy and of course, a handful of gambling scenes. It's not a big surprise I only caught this film so late in my quest to finish his oeuvre, as it's unremarkable in just about every way possible, at the same time it did end up being pretty entertaining.
Jing Wong teams up with Danny Lee and joins him in front of the camera. Not the best acting duo every put on screen, but the two have enough chemistry to guide you through the film. Because there are quite a few genre switches and because Wong had plenty of prior experience with all of them, the pacing is solid and there isn't really a dull moment in sight.
Visually it doesn't look too bad, but if you've seen a couple of these early 90s Hong Kong action/comedy flicks you'll know what to expect. The soundtrack is incredibly cheesy though, cheap and distracting. Though a little hard to recommend, people who can stand Wong's film and have seen the bigger projects in his oeuvre are sure to have a bit of fun with this one.
Jing Wong and Corey Yuen team up together for Casino Raiders. That raises expectations of course, sadly the film doesn't really deliver. The first part in particular is too straight-faced, not something Hong Kong cinema is particularly good at. The second half is when both directors come into their own.
Sam and Crab, two Macau gamblers/friends, get into serious trouble with the Yakuza. They try to weasel their way out of it, but the Yakuza isn't willing to just let this one slide. A high-stake cards game is going to decide about their future, but that's no surprise with Jing Wong hanging around.
The first hour is a little tough, after that the fun starts. Lau, Kwan and Tam are perfect for this kind of work and with some decent gambling scene and a couple of fun action moments Casino Raiders redeems itself. Its excessive runtime does keep the film from being an easy recommend, but if you've got some time to spare, the second half is worth it.
A typical Hong Kong horror comedy, helmed and fronted by Jing Wong himself. It's not often he takes on the lead role, then again he supposed had a thing for Rosamund Kwan, so the decision isn't all that remarkable. A good actor he is not, but that's not exactly a prerequisite for a film like this.
When Siu-Cheong's wife ends up in the hospital, his friends urge him to go out and have some fun. On his night out he meets a mysterious woman, with whom he spends the night. The woman isn't who she claimed she was though and before Siu-Cheong knows it, he's being stalked by a family of ghosts.
Don't expect a true horror film, certainly not with Jing Wong directing. This is a full-blown comedy with minor horror elements, but it never gets scary or gory. Typical Hong Kong material in other words, but if you're not used to their horror/comedy crossovers it might be somewhat of a shock. Ghost Fever certainly isn't the worst of its kind, but Wong has made funnier films.
Early Jing Wong comedy that isn't so much a film, as a demo reel/exercise in genre directing. The Hong Kong movie industry always put more value on work ethic and experience than creativity, and that meant you had were supposed to get better though practice. And practice is what Jing Wong did here.
The story is a pretty simple Cinderella rip-off. Maggie Cheung plays a young actress who loses her shoe at a dance. There's an added twist, as the shoe hides a diamond and her suitor isn't really interested in Cheung, but safe to say you won't be watching this film for its intriguing plot.
There's comedy, there's romance, there's gambling, some martial arts and even some slight thriller elements. Wong wants to have it all in one single film. That makes it quite messy, on the other hand it also means there's hardly time to get bored. Mediocre performances and plain cinematography keep the film from being truly fun, but the comedy is daft and the pacing is pleasant. For Wong fans only though.
Jing Wong learned the tricks of the trade under the watching eye of the Shaw Brothers. Wits of the Brats is a pretty typical Shaw Bros production, at the same time it's interesting to see how Wong starts to introduce his own touches, both in front of the camera and from his comfy director's chair.
The plot about a trickster who likes to make a fool of others is something Wong would recycle (quite a lot) in his later work, only this time it's done in a more Shaw Bros-appropriate setting. It's a rather strange mix of two worlds colliding, an intermediary film that helps connect two distinct eras of Hong Kong cinema.
Performances are decent, there are some decent martial arts scenes and people who know Jing Wong might have some additional fun connecting the dots with his later work. The Shaw Bros' monotony is quite present though and it holds the film back a little. It's no surprise the studio would implode soon after. Decent filler.
Jing Wong was so desperate to launch a new gambling-themed comedy franchise that he made two Kung Fu Mahjong in the same year. As is often the case with these back to back projects the quality between the different instalments is pretty consistent, meaning this first film is rather amusing, but hardly world-class cinema.
Chi Mo-Sai is a professional gambler who is more used to losing than winning. His luck changes when he meets a seasoned croupier. He convinces the man to follow him around and with him by his side he suddenly wins every gamble he makes. But with fortune comes hardship and it doesn't take long before Mo-Sai's life becomes a lot more complicated.
I've seen quite a few mahjong-themed film, but I'm still completely clueless about its rules. That isn't much of a barrier as Wong is more interested in providing silly entertainment with these films. There are some pretty funny bits, it's just a shame that the technical qualities of this series are pretty limited. Decent fun, but only if you know what you're getting yourself into.
I think Jing Wong was happy to finally make this film. It's the type of project that suits Wong, but was never deemed acceptable in Hong Kong (unless it was made as a Cat III film, with seriously limited its financial potential). That changed when raunchy comedies suddenly became a thing.
The plot is pretty nonsensical, sporting a famous charmer who has a sudden change of heart when he finally meets the lady of his dreams. To prove his love to her, he promises to go without flirting for 100 days straight. The girl's friends will do their utmost best to put that promise to the test.
While it sounds like a match made in heaven, Wong's direction feels a little flat, the comedy has too many ups and downs and the film isn't as edgy as I'd hoped. There are still some funny moments that make it worth a watch, especially for those who loved Wong's 80s comedies, but I had expected more.
Jing Wong goes romcom. It's basically an update of the 80s romcoms he directed, only with a more contemporary cast. There's still room for veterans like Eric Tsang and Sandra Ng, though they have to take a back seat while younger actors take up the lead roles (Gigi Leung and Ronald Cheng in this case).
The plot is extremely basic, but what did you expect. After being dumped by her boyfriend, Winnie becomes the laughingstock at work. That changes when she meets Koo, a wealthy businessman who takes an interest in Winnie. The question is whether he really is the right man for her.
There are some fun and memorable scenes here, but they're buried underneath a mountain of mediocrity. The central performances are weak and the romance never sparkles. Wong's direction feels a bit lazy too, so overall it's not a very successful film. Not the worst Wong either though, so if you're in the mood for some simple but easily digestible entertainment, you might give it a go.
More gambling nonsense from Jing Wong. This is one of his lesser efforts though. It feels as if he made this film in between other projects, just to get his mind off of things. It's not the first Wong film that is rather lazy and by the numbers of course, the man has got a pretty impressive long-tail of mediocre work.
What we get is another God of Gamblers story, only with a female twist. On her way to stardom, Yin Ying is left for dead by her biggest rival. She survives the ordeal and her body washes up on the beach, where an awkward guy saves her. Ying Ying has lost her memory, but it doesn't take long before her old skills resurface.
Performances are rather weak, the jokes rarely land and Wong never gets weird. It's just very derivative and predictable. It's not the worst option if you're aching for a Hong Kong gambling comedy, the pacing is solid and the runtime short, but unless you've already seen the better films in the genre there's really no reason to seek this one out.
Though you'll be hard-pressed to find a Jing Wong film without parody jokes, he rarely makes a full-blown, dedicated parody. Love Is a Many Stupid Thing is a notable exception. You better make sure to have seen the Infernal Affairs films before starting this one, it will certainly come in handy if you want to spot all the references and gags.
The plot offers a very similar cat and mouse game between the Triads and the police, only this time around Wong adds some romantic woes to spice things up. It's safe to say though that you won't be watching this film for its delicate story, even so, I think they could've done more with it to support the comedy.
It's certainly funny to see Eric Tsang reprise his role from the Infernal Affairs films, but this film just isn't very polished. The parody is a little basic, the direction feels rushed and even the actors fail to add anything significant. Like most Wong films it is pretty short and well-paced, but he has made way funnier films.
One of Jing Wong's attempts to rekindle the success of his 80s romcoms. These films aren't all that great though, instead they feel more like easy cash grabs. Take a few famous faces, recycle a romantic plot line that is known to work and just put the bare minimum effort into it to get to 90 minutes of film.
The plot revolves around a guy who can't say no to women. They take advantage of him every way they know how to, especially after word gets out that he's on the verge of inheriting a little fortune. But then he catches a lucky break as he finally meets the girl of his dreams.
Richie Ren just isn't a very funny actor, which is a problem for a romcom. Wong's direction feels a little dispirited too, it's only during the finale that some of his old quirkiness shines through. Pacing and runtime are fine, but when the film never really sparkles it's really nothing more than basic filler.
Jing Wong does James Bond. Or at least, the comedy version of James Bond. Wong tries to reinvent himself here and comes with a modernized version of his 80s comedies, the problem is that his attempts to rejuvenate mostly fall flat. Practice makes perfect in Hong Kong, yet it's clear that this film was one of the early attempts to give Hong Kong comedy a new start.
The plot is a complete Bond rip-off, the kicker is that the best secret agent gets infected with a virus that makes him behave like a 6-year-old child. That doesn't stop him from chasing the bad guys though, which leads to some hilarious situations. At least, that was the theory.
There are a few successful parodies and like all Wong's films, the pacing and runtime make certain it never gets too dull of boring, but the execution feels pretty cheap and Ka-Fai isn't really the man for the job. Certainly not the worst Hong Kong comedy out there, but I wouldn't recommend it unless you've seen most of Wong's oeuvre already.
Another generic romcom by Jing Wong. While he's certainly capable of directing fun films, a lot of his work is obvious filler, made to make a quick buck. Take a couple of familiar faces, put them in a simple plot and stretch it out to get to the 90 minutes mark. There's your formula for success.
Tony Leung plays a rich guy whose prime goal in life is to make boatloads of money. Until he gets cheated out of his fortune by his girlfriend. Soon after he bumps into Choi, the love of his life. He's lost his trust in women though and decides to hide his past. Choi on the other hand thinks he's just a player who likes to live off of other people's money.
Tony Leung and Shu Qi are some of Hong Kong's biggest acting talents, but romcoms aren't really their thing and the romance just fizzles. There are some decent gags and funny moments along the way, but they are few and far between, and they happen whenever Wong abandons the romantic plot. This is just too basic to be good, but it's not entirely terrible either.
Together with partner in crime Siu-Hung Chung, Jing Wong adapts a popular manga for the big screen. It's pretty weird to see Hong Kong handle what is a typical Japanese high school brawler, it's no real surprise then that the result isn't really all that great. But that's pretty much what I expect when Hong Kong tries to do Japan.
The plot is pretty basic, especially when you've seen these types of films before. Edward, a brainiac kid, ends up in the wrong school by accident and finds himself amongst a bunch of violent kids who have to fight their way to success. Edward of course has no option but to adapt to his new environment.
The comedy is pretty poor, the romance doesn't work, the actors don't really fit their parts and the entertainment value is pretty low for a film that should be all about fun. The fights are pretty decent though, sadly there aren't quite enough of them to save this film. Just watch the Crows or High & Low franchises instead.
With the Hong Kong movie industry in shambles, Jing Wong understood all too well there was just one thing that would draw people to the movies: familiar faces. And so he summoned the Young & Dangerous stars to helm one of his films, complemented with a few other bankable actors.
Plane's life collapses when his girlfriend is killed by a hitman. One year later he is partnered with a rookie cop. They get off on the wrong foot, but after a while they become friends. Things get a little weird when he is introduced to his partner's girlfriend, who looks exactly like his former girlfriend.
The plot isn't that great, the action is decent but nothing too spectacular and the comedy is a little simple. Wong didn't put much effort into this film and it shows. On the other hand, there are a few fun scenes, the pacing is solid and it's never truly boring. Mediocre filler for people who just can't get enough of Hong Kong cinema.
An uncompromising lunar comedy by the incorrigible Jing Wong. While that actually sounds like a pretty solid match on paper, '96 was not a good year for Hong Kong cinema and it's not surprise then that this film felt rather cheap and unpolished. That does take away from the overall appeal, even though it's a hardcore comedy.
The film is based on some TV show I've never seen before, so no doubt there were some jokes that were lost in translation (but that's generally the case when you're watching Hong Kong comedy as a Westerner). That said, the film is a pretty basic lunar comedy, meaning a plot that makes little sense, lots of familiar faces and quick cameos and some utter randomness that you can't help but smile about.
Pak-Cheung Chan is the lead man here, can't say I'm his biggest fan. Luckily he's surrounded by lots of better actors, the pacing is pretty madcap too. Still, you're stuck with a rather unfunny lead and a film that looks as if it was shot, scripted and editing in less than a week. There are some decent laughs, but Wong can do so much better than this.
The downfall of the Hong Kong film industry. Just one or two years before the release of this one they delivered sprawling action spectacles without even breaking a sweat, High Risk in contrast feels dull, cheap and second-rate. Just a vague memory of what good Hong Kong action is all about.
The film is set up like a simple Die Hard clone, with some John Woo elements thrown in for good measure. Take away the backstory and what is left is a hardened criminal taking a giant hotel hostage. It's a bit tougher and edgier than its Western peers, but because the execution isn't really there that doesn't make much of an impact.
Jet Li is criminally underused, Jacky Cheung isn't strong enough to carry the film. At least the action is plentiful, so it never gets truly boring, but with the talent involved the result is simply underwhelming. It's passable filler if you're really starved for some Hong Kong action, but unless you've seen all the classic films of that era there's really very little reason to watch this.
This is Jing Wong milking the heroic bloodshed genre dry while trying to cash in on John Woo's original films. When Wong is in this particular mode you can expect a quick cash grab, and that's pretty much what you're getting, though there are some decent moments hidden away here.
One of the perks of Return to a Better Tomorrow is a (relatively) early performance by Ching Wan Lau, one of Hong Kong's more interesting actors. Together with Ekin Cheng and Michael Wong he forms a trio of Triad members that ends up being ambushed by one of their companions. The guns come out and it doesn't take long before people start dying left and right.
The drama isn't great, neither is the cheesy soundtrack (though truth be told, these weren't Woo's strong points either). The bigger problem lies with the action, with is somewhat decent, but never quite as stylish, violent or over-the-top as it should've been. Not a terrible film, but there are many better heroic bloodshed films out there.
Jing Wong introducing Andrew Lau. Say about Wong what you will, he helped a lot of important people in Hong Kong make inroads into the movie industry. Wong rarely did it with good films, then again it is quite normal in Hong Kong to learn the trade director some simple genre work.
That's pretty much what you're getting here. A very plain story about an undercover cop who starts to doubt his loyalty to his job. It's all pretty cliché, Jacky Cheung isn't really the man for the job either, but it goes through all the motions and it's clear that Lau took a few pointers from this film.
There are a few decent action scenes and some moody moments, I'm pretty sure core genre fans probably won't be disappointed by this film either, it's just that Hong Kong/Andrew Lau made way better action thrillers. To Live and Die in Tsimshatsui is decent but generic genre work, nothing more, nothing less.
Here we find Jing Wong joining forces with Wai-Man Yip to deliver a run-of-the-mill romcom slash Aladdin rip-off. The film screams quick filler and that's exactly what you're getting here. Even then there are some funny bits that betray Wong's talent, though I'm not sure if it's worth the trouble for most.
Ko doesn't have the easiest life, but she gets a lucky break when she finds a magic pearl. The pearl has a genie inside, who grants Ko three wishes. If the story sounds slightly familiar it's because Wong doesn't even try to hide his inspiration, but at least it's a decent enough premise for some HK romance.
The performances aren't terrible and Jing Wong cracks a couple of nice jokes at his own expense, other than that this film is pretty bland. The cinematography is cheap and unpolished, there are too many gags that don't land and it's so forgettable that you'll have forgotten all about it by the next day. Simple filler.
Vintage Jing Wong. It feels a lot like a film I've already seen, then again Wong made a bunch of similar films around that time. The quality of these films is rather low, but the pacing is nice, the atmosphere is extremely light-hearted and while far from great, they make for an amusing 90 minutes. Decent filler.
Decent comedy filler. The kind that isn't all that good, nor has any intention to rise above itself, but still knows to charm with its spirited performances and light, breezy tone. Jing Wong has Andy Lau to thank for it, without him around I feel Wong's oeuvre would've turned out a lot worse.
One day Kwai discovers that he owns shares in the family business. Both his uncle and half-brother, who run the company, aren't too happy with Kwai joining the team and they instruct three managers within the company to dissuade Kwai from taking an interest. Instead, they befriend Kwai and will do anything to keep him on board.
A pretty simple setup that offers enough opportunities for some light but predictable comedy. Thanks to fun secondary parts of Sandra Ng, Richard Ng and Pak-Cheung Chan Andy Lau doesn't have to do all the heavy lifting, but stand-out cinema this is not. Just simple, ever so slightly amusing filler.
Wong's direct follow-up to The Crazy Companies (probably shot back to back too, maybe even simultaneously). If you liked the first film you'll have no trouble loving this one, if, on the other hand, the first one didn't really do it for you, there's little here apart from being a neat little completionist.
Tsui has run his company into the ground. He lost everything, even his relationship is no more. He and his friends come up with a plan to offer their services to their direct competitor. They work their way up in no time, but their trail of deceit is hard to conceal and before long they're trying their very best not to get caught.
The principal actors of the first film are here again, Jing Wong opens up another can of silly, madcap comedy and everything is neatly wrapped up in under 100 minutes. This is a vintage Wong comedy. A bit too much so, as I didn't find it very memorable or distinctive, but if you're looking for simple filler this is a pretty decent option.
Jing Wong refining his gambling formula before making his big statement with God of Gamblers. That means Born to Gamble is a pretty basic film, almost a work in progress. You can see the blueprint of Wong's later success and there are some funny bits, but it's mostly just generic romcom stuff with a bit of gambling thrown in.
Alex is a prosperous gambler who can't seem to stop winning. Things become a bit more complicated when he meets Mina, the love of his life. Mina hates everything to do with gambling, so Alex is forced to hide his love for it. A classic setup for a romcom, and Wong isn't too interested in doing anything different with it.
Jing Wong's performance is notable, so is the amusing ending (mahjong presented as some kind of magical sport remains fun). Other than that though, it's mostly just mediocrity, with a disappointing performance by Chan and a level of predictability that makes it little more than random genre filler.
A star-studded 80s Hong Kong romcom that proved to be quite popular, so much in fact that it spawned two sequels. While that sounds promising on paper, the film itself really isn't all that great. Unless you're a big fan of the somewhat lechery Hong Kong comedy of yonder, there isn't much here.
A quartet of young guys treats itself to a little vacation in Thailand. They're on the prowl and it doesn't take too long before they run into two beautiful women. The winner of a game will decide who gets to pick his favored prey, the other girl will have to be won over by the remaining three.
With people like Maggie Cheung, Eric Tsang and Chow Yun-Fat on board, the casting stands out. The material is quite lowbrow though and in the hands of Jing Wong there's no chance at all that it's going to get elevated along the way. This is very basic entertainment and as such it's certainly not terrible, but it's not really worthy of recommendation either. Jing Wong fluff.
Jing Wong's riff on Superman, though like most of his films, Flying Mr. B isn't a straight parody or rip-off. Instead, the Superman thing is just a blip that starts off another silly Wong comedy, with plenty of other parody and plain old Hong Kong comedy moments thrown in for good measure.
A genius scientist invents a little pill that turns him into Superman. But his general wits are questionable, as he fails to cover up his invention. Pretty soon everyone wants to get access to his pill. Luckily, he'll get the help of Super Girl to ward off all the people who want to get to the pill forcibly.
Some funny parodies and a nice part for Wong himself. The comedy is okay, other than that the film feels quite rushed and cheap. The cinematography is poor, the score sounds generic and there's an excess of cheese. It's amusing enough if you're looking for a simple Hong Kong comedy, but it's hardly a stand-out in Wong's oeuvre.
One of the very early Jing Wong films. Like most of his contemporaries, Jing Wong is a "practice makes perfect" kind of director, meaning that a lot of his early work just isn't that great. Hong Kong Playboys is a prime example. It's somewhat decent filler, but if you're looking for a proper Wong film, it's better to skip this one.
Sheng is a real player, but he has some serious competition. When his mom returns from Canada, she brings Ah Mei with her. Sheng and Ah Mei immediately hit it off, but Sheng has his eye on Ying-Ying, a rich girl. Ying-Ying accepts Sheng's marriage proposal, but then Sheng starts to doubt his choice.
Hong Kong Playboys feels like a series of sketches. Wong only cares about the romcom aspect of the film, both score and cinematography are well below par. The performances are okay, but nothing great. Just one of those simple films in Wong's extensive oeuvre. Not terrible once you've seen all his more famous films, but hardly worth the trouble if you're not halfway through his oeuvre.
It's easy to forget Jing Wong started his career as a Shaw Bros director. Mercenaries from Hong Kong isn't the usual Shaw Bros material though, instead we get some kind of John Woo-like vehicle, with Wong focusing almost exclusively on (gun) fights. It's clear that this isn't really Wong's forte.
Luo Li is a veteran who fought in Vietnam and Cambodia. He and his palls are trying to reintegrate in society, but they've got very little to show for their heroic actions. And so Luo Li ends up working for shady criminals. He is hired to assemble a crew and retrieve a wealthy man from clutches of his abductors.
There are quite a few familiar Shaw Bros faces and there's plenty of action, even so the film never really finds its footing. The action is pretty tame, the blood is fake, and the actors don't feel quite at home when they can't perform their usual martial arts wizardry. It's one of those films that illustrates the problems the Shaw Bros studios were facing back then.
Not sure if I'm surprised to see Jing Wong resurface in the recent boom of Chinese genre cinema. He may be getting a little order, but it's a work ethic that suits his perfectly. Filling shelves with popular genre cinema is Wong's shtick and since he'll probably be making films until he's actually physically uncapable, it's a match made in heaven.
The story is a simple one. A man solicits at a restaurant known for giving unjustly imprisoned people a second chance. Things go well until an old enemy resurfaces. The people at the restaurant decide to help him out, but the secret deals between the police and the Triads make it hard to get a proper revenge.
Though Wong should be able to make this type of film with his eyes closed, he can't fall back on seasoned actors and cinematographers to elevate his film, which is a bit of a problem. Queen of Triads 2 pales in comparison to most of his other work, there are a few decent action scenes (and of course some gambling action), but it's hardly a film worth pursuing. Filler for the needy.
A very run-of-the-mill Jing Wong romcom production. The kind that shows Wong has good ideas and can make fun, entertaining cinema is he really commits to it, but also shows that too often he takes the easy way out and builds his films on a couple of smart ideas, while padding the rest with mediocrity.
The story is nonsensical, but at least it's somewhat original for a romcom. Riley is about to get married, but suddenly finds himself under a spell that makes him resistant to the advances of other women. The problem is that Riley is also starting to doubt his own marriage. Trying to save his future life, he consults a priest to get rid of the spell.
A fun cameo by Jing Wong himself and some mental/madcap scenes kept me somewhat engaged. Most of the jokes bombed though, the performances weren't all that great and once the charm of the premise wore off it was obvious there wasn't too much appeal remaining. Basic Hong Kong comedy, decent filler, nothing more.
A somewhat surprising misfire from Wong. What you get here is his take on Ho-Cheung Pang's Men Suddenly In Black, but without all the wit and cinematic prowess. Maybe it's because Wong is a little too obvious with his references here, which makes his film come off that much worse.
Five men organize a party for their old teacher. Five women join the party, but then their teacher collapses. He gives the men one last assignment: get their mistresses to sleep with them. The five feel obliged to grant his wish, but they'll have to do their very best to keep their wives out of the loop.
Wong found a solid cast and there are some fun references to various other films, but none of it comes off as very spirited. It really feels like Wong was trying to cash in on whatever property was popular back then. The result is pretty half-arsed and forgettable. You're better off watching some of his other comedies first.
Beauty on Duty is Jing Wong trying to revive the comedy he was known for at the very start of his career. Situational comedy, lots of overacting and simple formulas. The problem is that is comes off rather stale and uninspired, as if he wasn't really feeling it himself and was just going through the motions.
Chung Oi Fong is a young cop who saves Fat Wai from hired killers on one of her first patrols. Fat Wai has information that can implicate a big Triad boss. He's willing to testify in court, but only when the police promises to protect his daughter. Fong and her partner are put on the case, but the Triad isn't just going to back down.
Charlene Choi and Sandra Kwan do their best, but they can't really save the material. There's none of Wong's usual goofiness, no obvious film references. This film simply didn't make me laugh. Apart from the decent pacing and one or two sly smiles, there wasn't that much to like. For Wong completists only.
Another one of Jing Wong's flimsy attempts to cash in on something popular. Wong is clearly hoping to localize the Sex and the Cities template here, but the result is pretty half-arsed. Rather than a modern/contemporary look at a couple of women in the big city, Wong tries to relive the heydays of the 80s (apart from some crass dialogs).
Selina is approached by an ex-boyfriend, who wants her to take care of his unwieldy daughter. Selina is a psychoanalyst and promises to help out, though when she gets together with her friends, a group of young women who are facing their own (romantic) woes, you can't help but wonder if it's going to do her any good.
The cast tries to make the best of it, but it's not that easy porting the Sex and the City concept to Hong Kong. Most actors appear a little lost, and Wong has no idea how to make it relevant. There are only a handful of decent moments, including a short cameo by Tony Leung, apart from that this is little more than bland filler.
When it's popular, you can be certain Jing Wong wants his piece of the pie. Even (or especially) when the material is quite dubious. Not quite sure why he ended up directing the fourth one in the series, but don't expect him to suddenly raise the bar. While it's easily the best film of the bunch, it's hardly worth bothering with.
The plot is as basic as can be. Daniel is an ex-CIA agent who got shafted because of his sexist behavior. He lives next to Kwan, an attractive writer. It doesn't take long before Daniel becomes infatuated with Kwan. Pretending to be a lawyer, he frees to convicts in order to help him out with his devious plan.
A dumb plot and cheap styling, what you do get here is a half-decent cast. Nick Cheung, Anthony Wong and a remarkable cameo from Yonfan are the highlights of the film, but even they can do very little with the material at hand. Unless you have a thing for cheap erotic thrillers, there's nothing here.
If you're wondering why this apparent sequel was made before Woo's Hard Boiled, it's because both films are factually unrelated to each other. "Smart" marketing linked this to Woo's successful heroic bloodshed classic only to increase sales. Of course, Jing Wong's film is little more than an attempt to cash in on the success of A Better Tomorrow and The Killer.
The Red Army is on a mission to kill the Daka Lama. He predicts his own ill fate, later that evening he gets seriously wounded. The Red Army fails to kill him, but he's lost a lot of blood and because he has a rare blood type, a race against the clock starts to find an appropriate donor.
With people like Andy Lau, Alan Tam and Eric Tsang on board, this film may sound promising, but in reality it's a pretty cheap knock-off. The first half is boring, the second half pretty action-filled, but the action scenes feel bland and uninspired. If you want heroic bloodshed, there are much better options out there before you should even consider watching this one.
A desperate attempt by the Shaw Bros studios to cash in on a popular genre. For Jing Wong, this is business as usual, though I have to say that he can do a lot better than Perfect Girls. It's a truly pedestrian romcom, one of those film that isn't particularly romantic and fumbles the comedy.
Lin is promised a big inheritance, but only if he manages to marry within 100 days of his grandfather's death. If he fails to do so, he'll see his entire inheritance slip through his hands. Lin isn't very good with women, but he can't pass up the money, and so he'll have to do his utmost best to conquer his shyness.
No random parodies or funky weirdness, instead we get a recycled story and lots of situational comedy. The pacing is decent enough and the film is short, but other than that, there are no redeeming qualities. Not even a decent cast was able to save this one. Predictable, unfunny and boring filler.
One of Jing Wong's lackluster comedies. It's one of those films that thrives on coincidences, weird plot twists and gross over-acting, hoping that a lot of fuss and noise will translate into laughs from the audience. Usually Wong can handle this type of material, but this one turned out to be a dud.
Two cousins inherit a home. Things quickly escalate when one of their tenants comes home deadly wounded, whispering a secret code to them. The cousins don't quite know what to do, and before they know it the Triad is on their tail. The police is also eying them with suspicion, so they have nowhere to go.
Maggie Cheung is a big name, but together with Carol Cheng she falls prey to helpless overacting. Pak-Cheung Chan isn't great either, it's Jing Wong himself who gives the best performance (and that's quite telling). The plot is too predictable, the film lacks actual comedy and the execution is rather cheap, the only redeeming quality is the pacing. Far from great.
The third entry in a bad, bad series of films. It's slightly better than the second part, but if you're looking for fun Hong Kong/Jing Wong comedies, you better look elsewhere. There may be some A-listers involved in this production, but each every single one of them fails to raise the quality of this film.
Four pals are starting to grow a little tired of their girlfriends. During a conversation, they come up with a plan to swap girlfriends. After a lot of convincing, the girls actually agree with their moronic plan. Of course, nothing goes according to plan and it doesn't take long before it gets very messy.
Jing Wong is good when he can do wacky comedy and brazen parodies. Situational comedy isn't really his thing and when he's working on part 3 of whatever series (as obvious as a cash grab can get), there simply isn't that much there. The actors are just there for their paycheck, apart from a handful of scenes it's really not worth checking this one out.
Regardless of all the big names involved, Fascinating Affairs is a pretty rushed and flat hotchpotch of genres that never really finds its footing. Loud, poorly acted, lazily directed and often aimless, it's a film that seemed confident that star power would be enough to attract people. Poor filler, only for true completists.
A film made back when Jing Wong was working hard on establishing his comedy style. I Love Lolanto is little more than a work in progress, with Wong trying to figure out what works and what doesn't. That means this film is mostly for Wong completists and hardcore fans of 80s Hong Kong comedy.
Lolanto is a shady car mechanic who cheats a wealthy businessman out of his fancy car for a short time. Things get tricky for Lolanto when he discovers that he messed with a gangster. While the crook chases Lolanto throughout Hong Kong, Lolanto is also crushing hard on the daughter of an infamous Triad boss.
Pak-Cheung Chan is Wong's partner in crime here. I'm not a big fan and actually prefer Wong's performance, which should be pretty telling. The film looks rather cheap, the comedy isn't all that funny, the plot is pretty bland. That leaves the decent pacing, which turns this film into poor but passable filler.
Another early Wong comedy. That means it's best to keep your expectations low, especially when you're not too taken with 80s Hong Kong comedy. Wong delivers a vintage genre flick, but falters when it comes to the execution. A comedy has to be funny to be successful, sadly, this film is not.
Chan, the son of a wealthy businessman, is desperate to get a girlfriend. His best friend takes him on a vacation to Waikiki, but that trip ends in failure. Back home, they run into two women. While the encounter is a little awkward, Chan shows interest in one of them. Getting her to date him won't be easy.
Kenny Bee lacks the charisma to carry a film like this. Maggie Cheung and Rosamund Kwan on the other hand are perfect for their parts, but they're given very little to work with. The usual romantic troubles are pretty predictable, the comedy is tepid and the film looks dead cheap. Very basic filler, unless you're very desperate for a Hong Kong romcom.
Jing Wong is a versatile man, but there's one thing he can't do: drama. He's stayed away from drama films for most of his career, Crying Heart is the only film to my knowledge where he couldn't resist the temptation. I respect him for trying, but this turned out to be a downright disaster and quite possibly the worst film he ever made.
Fat doesn't have too many friends and has to raise her only son by herself. Bee is a mentally challenged boy, and Fat worries about what will happen to him after she dies. Luckily, she gets a little help from a friendly neighbor, who doesn't mind keeping an eye on Bee when Fat isn't around.
Patrick Tam's performance is atrocious. It's as if nobody told him Wong was making a drama for a change. The plot is extremely melodramatic, the characters feel empty, the direction is tepid and drama just keeps piling up. Crying Heart is everything a good drama shouldn't be. Unless you want to quench your morbid curiosity, this film has absolutely nothing to offer.
Hong Kong horror cinema is rarely played straight, especially the older films. It's no surprise then that Haunted Jail House is really more of a comedy, with the horror elements coming right out of the plot (read: it's about a ghost). But even when you don't expect anything scary, this is still a pretty big dud.
Jane is a ghost cursed to haunt a prison, until she finds a way to escape. She befriends Blackie, a prisoner who is looking for a way out of her predicament. They plan their escape, but Chesty, another prisoner, gets in the way. Jane is furious and takes over Chesty's body, which creates a lot of chaos.
The performances are tepid, the direction is plain, the comedy is bland, the horror completely absent. None of that is all too surprising when you're familiar with Hong Kong cinema, but even compared to its peers, this film is a total waste. Haunted Jail House is one for the bottom of the pile.
A poor sequel to a film that wasn't very good to begin with. It's a bit of a surprise to be honest, considering the director, the cast and the plot, this could've been a really fun Jing Wong comedy, instead, we're left with a perfunctory film that belongs to the worst Wong ever directed.
The story shows promise. Pat becomes the director of Channel 9, a mediocre TV station. He puts his heart and soul into the job and introduces some new ideas that turn things around. The competitors of Channel 8 are jealous and will do anything in their power to stop Pat's success.
There are some interesting ideas here, but the execution is just dead poor. Wong underused his cast, the comedy is extremely bland, and the film looks like a throwaway sequel. It's just way too obvious this was nothing more than a quick cash-in after the success of the first film, but if you're a completist like me, there's no way around this one.