Wai-Keung Lau

Mao Zedong as the savior of the revolution. The CCP is facing some tough uphill battles, then Mao has the bright idea to involve the farmers in his political battle. A neglected group that is pretty sizeable, which means the potential is there to flip the balance. With the new manpower, they try to get a hold of Nanchang, a strategic stronghold.

I'm usually not a big fan of war cinema, but I was properly impressed by Lau's direction. Epic in scope, sporting superb cinematography and with some very impressive settings to boot, there's lots to love here. The story is cheesy though and it's obvious that the larger-than-life narrative isn't a proper representation of what actually happened all those years ago. I liked it as a generic war flick and just ignored the rest.

The start of the film is somewhat reminiscent of Lau's Young & Dangerous series, with two brothers joining a criminal gang and working themselves up in the ranks. A failed romance breaks up their brotherly bond and they find themselves on opposite sides of each other, with the police close on their tails. A pretty typical crime plot in other words.

The second half of the film is quite a bit darker and grimmer than I expected, which certainly helped with the overall appeal. Performances are somewhat decent (with the exception of Eugenia Yuan, who shines bright here), and the presentation is okay but a little by the numbers. There's not enough here to make the film stand out, and where it does go off the beaten path is probably where fans of Hollywood and Hong Kong cinema may struggle. Good film though.

Emperor Yong Zheng founded a special team of extremely skilled fighters. He uses them to eliminate his strongest opponents with surgical precision. The Guillotines are feared warriors, but when a new Emperor takes over they are made obsolete. Their group isn't disbanded, but the missions they get are way below their level of competence.

The film takes a flying start, with some superb action sequences that drive up the tension right from the beginning. As things progress Lau tries to sneak in more drama, sadly the plot and cast really aren't fit for this. The presentation remains lush and the finale delivers, but by then it's a case of too little, too late. Still, if you love a good Hong Kong blockbuster, this is an easy recommendation.

Fujiwara used to be a tofu deliverer for his father. To meet the delivery deadlines, he became quite the driver. Fujiwara develops an affinity for the racing sport, and after winning his first race, he feels determined to make it his ultimate life goal. He directs his focus on drift racing, but becoming the best will require more than just technical skill.

It's a bit odd characters kept their Japanese names, but the solid cast is sure to make you forget about that quickly. Jay Chou, Anne Suzuki, and Jordan Chan are perfectly cast. The races are lovingly shot and edited, the drama is a little light but it doesn't annoy and the pacing is on point. Quite a bit better than I expected going in, Lau did well.

Chicken is part of San Luen, a Taiwanese Triad gang. He is chosen to marry Nanako, the daughter of a Yakuza leader. It's an important marriage for both gangs, but then the leader of the San Luen gang is murdered. Everyone suspects Chicken is the culprit, a hit to further his own career within the gang. Chicken will have to prove his innocence if he wants to survive.

Characters are introduced, gangs get cozy with each other, and then the backstabbing begins. Born to Be King is a straightforward crime flick, this time focusing on Chicken's characters. It's best seen when you've already familiarized yourself with the Y&D cast, but even as a stand-alone film, this works well enough. Solid genre work.

Yeh is a skilled sword master who decides to make a little comeback. He wants to fight Snow, a famous master who lives in the Palace. The fight is planned for New Year's eve, but in the run-up to the fight strange events take place around the castle. Yeh is the obvious suspect, so he'll have to clear his name before he can concentrate on his actual goal.

Having actors like Andy Lau and Zhao Wei on board is always a bonus, even when your film relies quite heavily on fantastical fights to impress its audience. Think Storm Warriors or Zu Warriors, with a little goofy comedy on the side. The effects can be a little flaky and the ending is a bit too serious, but other than that, I had a really good time with this one.

Cloud and Storm are two brothers who are raised by an evil lord. He murdered their parents when they were just infants and took them in, hoping to use their special powers in his quest to conquer the world. His plan fails when he drives the brothers apart and they find out about his intentions. Storm and Cloud vow to revenge their parents and stop the lord in his tracks.

The practical effects and action look great, the CG is a real eyesore though. Luckily, the fights get crazier and zanier as the film progresses, so at least the CG is pretty functional. The cast is top notch and the pacing is slick even though the runtime is quite long. Solid blockbuster entertainment is Lau's strong suit, The Storm Riders is a perfect example.

A group of youngsters loves to hang out together. When they finally graduate from school, Uncle Bee approaches them and recruits the boys into his local Triad branch. When a friend of theirs joins a competing Triad gang the boys want to prove themselves and do their very best to impress Uncle Bee. Slowly they begin to rise through the ranks.

Because it's a prequel, many of the original actors aren't present (or maybe that's why this sixth part turned into a prequel), which is a shame for the final episode in a lengthy series. If you love yourself some old-fashioned Hong Kong crime cinema, it won't matter too much though, Lau delivers. Chances are slim he'll ever return to the Y&D universe (I don't think the Chinese censors would be too happy), but at least he left us with quite a few quality films.

Chan Ho Nam maintains a good relationship with Chicken, who built his own little Triad gang in Taiwan. Nam tries to unite the two groups, but not everyone is happy with this evolution, as it is certain to shift the power balance. When Nam returns from Taiwan, he gets into trouble with Tai Fei, who controls the Causeway area. A dispute that is poised to blow up.

The start of the film is a little slow, but once Anthony Wong joins the party, part 2 gets a serious quality injection. There are a lot of characters to keep track of, but they play clear roles in the setup of the broader intrigues, and Lau has a solid grip on the narrative, keeping things easy enough to follow. The result is a fun Hong Kong crime flick that should get people excited enough to watch the rest of the series.

The plot is a simple twist on the first film. A young police offer infiltrates as a mole in a dangerous Triad gang. The Triad gang is playing a similar game and sends one of their guys to infiltrate the police force. Fate has it that both will need to work together when they are facing a common enemy, a second Triad gang that is marking its territory.

Andy Lau and Tony Leung are gone, but Anthony Wong and Eric Tsang are just as good (if not a tiny bit better still). The editing is a little slicker, the music a bit more fitting, and the plot just a tad edgier. The finale has a few too many reveals, which drives up the runtime, but other than that this was a perfectly fine crime thriller. Hong Kong and Lau know how to hone their skills.

The story is both a sequel and prequel to the first film. Part of the film sees how Ming picks up his job again, suspecting another promising superintendent to be a mole for the Triads, while the other half harks back to the past, following Yan on his first undercover mission.

Leung and Lau are both splendid, the film ties together some remaining strands in interesting ways and the switch between both timelines is interesting. The presentation is a tad basic though, with too strong of a focus on the narrative. A fun film and a worthy finale, but not impressive enough to be a personal favorite.

When Hero becomes the pupil of a famed sword master he couldn't be happier. When he comes home he finds his parents murdered in cold blood. After he avenges his parents, Hero feels devastated and moves to the USA. Sixteen years later his son wants to make up for lost time with his dad, and tries to seek him out.

The CG isn't the greatest and it's not the be t martial arts action you'll see in your life, but that's not what you should expect from a Lau film. A capable cast, slick pacing, and proper production values make this an enjoyable ride, showcasing his talent to adapt to whatever genre he is working in. Not the greatest, but this was a fun and amusing action filler.

Chan Ho Nam and Chicken have been pals in crime forever, but with Chicken gone, Nam will have to fend for himself. He finds a new girlfriend and gets chummy with some members of the Tung Zing gang. Nam is a good mentor, but the Triad life is different from what it used to be and many gangsters are re-schooling themselves into genuine businessmen.

Ekin Cheng really grew in this series and owes a large part of his career to his role here. The rest of the cast is on point too, the plot is fun (but generic, so be sure to try and spread out the Young and Dangerous films) and Lau knows how to build up an epic series. It's not top-tier material, but I think it's hard to overestimate the place and importance of this series in the HK movie industry.

After a particularly rowdy night in a karaoke bar, Peiru messes up when she throws up on Zhengdong, a police officer trying to help her. To her surprise, Zhengdong isn't too shaken by the incident, and not long after he tries to befriend Peiru. She has a relationship with a wealthy businessman, but her friendship with Zhengdong quickly turns into something more.

The performances are good, the presentation is pleasant and some of the dramatic notes work well. The plot (and dramatic punchline) are very predictable though and some additional sideline drama only adds unnecessary sentimentality. It's certainly not the worst film in its genre, but don't go in expecting too much subtlety.

Hei is a police detective who is investigating the murder of his father-in-law. Even though he does a very thorough job, every angle or detail he checks out leads to another dead end. Hei is faced with a perfect crime, and so he calls in the help of Bong, a private detective. Bong is dealing with mental issues, but he is known for digging into a case like no other.

The performances are solid (but what did you expect, with Leung and Kaneshiro as leads), the presentation is slick and the film hits all the genre notes. The twists are a bit basic though and Lau puts a strong focus on the story, which draws out the runtime. Confession of Pain is a more than adequate blockbuster, it's just that the potential was there to do more with it.

Sam is a Hong Kong police officer who catches a powerful Triad boss. Sam's wife works for the justice department and puts the guy in jail. When they are on vacation, Sam's wife is murdered, after which Sam quits the force and opens a cafe. A little while after a Japanese tourist walks into his bar. She looks exactly like Sam's former wife.

The basics of the film are familiar, but Lau adds a few neat touches that help to set it apart from similar films (and Hong Kong has quite a few). The performances are decent and the ending packs a refreshing punch, the presentation feels a little sloppy though and the balance between various elements could've been better. Not bad, but not one of Lau's best ones.

Nova is a young martial artist tasked with protecting the Avenging Fist style. The Red Dragon clan wants to learn the style as they believe it's what prevents them from taking over the world. Nova seeks out the help of several other martial arts masters, hoping they can aid him in his quest against the Red Dragons.

This film is all about the action, which is why action choreographer Corey Yuen received director credits. Having someone like Sammo Hung on board is also quite handy, though the weight gags were a bit much, even for me. I almost felt sorry for him. The effects are crappy and the two leads are pretty bad, but the energy is awesome and the way Lau leans into the cheese is exemplary. Good but pulpy entertainment.

Nam is slowly climbing the ranks of the Hung Hing Triad, his good friend Chicken is sent to Taiwan to hide from the cops. Both continue their criminal career separately until their bosses get in a bit of a scuffle. Chicken's boss makes some outrageous demands that Nam's boss isn't even willing to discuss. The two will be forced to take sides.

The actors were still getting to know their characters and by itself, this isn't the most notable Hong Kong crime flick. But as the film that started a 6-film franchise (and some spin-off), it's perfectly serviceable. Lau would improve on the formula in the sequels (as he always does), but fans of (Hong Kong) crime cinema should really give this series a go. Good fun.

Ho Nam is still rising in the ranks of the Hung Hing Triad. He was made leader of the Causeway Bay area, but this also puts a target on his back. Nam is held responsible for the assassination of one of the other leaders, concocted by some of his adversaries. He'll have to do his very best to clear himself of the accusations raised against him.

This third part feels familiar and doesn't tinker too much with the core elements of this series. It sticks with its primary cast, it adds a few new adversaries, and off we go for 100 minutes of betrayal and murder. It's pleasant crime fare that banks on familiarity and pacing, setting things up for better sequels to come. Another solid entry in the franchise.

When Yu Lan arrives at the Emperor's Palace to serve as his concubine, she is young and naive and she has trouble standing up for herself. In time, she learns to handle herself better and the longer she remains there, the more cunning and backhanded she becomes. Lan wants to take over the Emperor's role, but she's not the only one.

Jing Wong's influence is still somewhat visible in this film, it would be a couple more years before Lau would learn to stand on his own two feet. Don't expect too much action, this film is more focused on betrayal and court drama. The performances are decent, the presentation is okay and the evolution of Yu Lan is pretty fun, it's just not a film that stands out in any way.

Melvin grew up in the center of the Triad districts, but he always kept out of their way. When one day he rescues a woman from the clutches of a rowdy gang, he ends up in jail for inadvertently killing one of the gangsters. When he finally gets out he seeks out the woman, but he'll find that his past will weigh heavily on the rest of his life.

This film was a great tryout for both Cheng and Lau. The plot is a tad more character focused and the film lacks the epic proportions of the Young and Dangerous films, but the setting, the cinematography, the story beats, and the plot structure all feel very familiar. Good fun if you like Hong Kong crime cinema and essential for fans of Lau's crime work.

Fai is a low-ranking Triad member, who finds himself haunted by the ghost of a young woman. She claims to be his lover from a previous life. He doesn't remember any of it, but he is willing to help her out. She was murdered and her skin was used to make a lantern. The lantern is in possession of a rival Triad clan, so Fai's task is to retrieve the object in order to set her free.

Ka Fai is perfect for his part, and so is Yau. While the setup is pretty grotesque, don't expect any true horror from this film. Hong Kong ghosts are rarely scary, the mix with other genres makes it even harder to create even the tiniest bit of tension. But it's a pretty enjoyable genre mix regardless, so if you crave some solid Hong Kong genre filler, Lau has you covered.

A small town is hit by some very peculiar murders. The victims are found with two holes in their necks. It's pretty obvious the village has a vampire problem, so they rely on a Taoist priest and his two disciples to save them from the evil that haunts them. The vampire has some tricks up his sleeve though, making the job of the priest much harder than he anticipated.

Lam Ching-Lying is here, the face of an entire niche. Other than that, Lau sticks to what was popular back then, meaning the cinematography is on point, the martial arts action is solid and the fantasy elements look pretty cool. It's not a film that is remarkable in any way, but if you like the Hong Kong vampire niche this film won't disappoint.

Yan is an undercover cop who worked himself up in a big Triad organization. After ten years, he finally made it to where he wanted to be. Ming is a Triad mole who joined the cops when he was 18. With the help of his bosses, he was quickly promoted to a meaningful position. When Ming is ordered to arrest his Triad boss, the two moles will have to get very tactical if they don't want to blow their cover.

Leung and Lau are good but Wong and Tsang are better. The plot is fine, but not all that special, the cinematography (and certainly the editing) felt a little hasty. Infernal Affairs is a perfectly serviceable blockbuster filler, though I actually liked the sequels better. At least it wasn't bested by Scorsese's remake, but that's hardly praise coming from me.

When the leader of the Hung Hing Triad comes to pass Ho Nam and Ho Bun travel to Thailand to find Yang, the former leader's younger brother. When they are gone, others see their chance to upset the power balance, hoping to come out better in the end. When they finally locate Yang, the three of them return to their home turf as quickly as possible, before the damage becomes unrepairable.

This fourth part is a little fleeting and inconsequential. It might have worked better as a spin-off episode, but fans of Hong Kong crime cinema won't be too disappointed in this film. The cast is solid, the familiarity works in the film's favor and there's still plenty of gang action and intrigue. Andrew Lau did well, but he did better in parts 2, 5and 6.

Sam is a wealthy bachelor. Many women are interested, but he has a hard time finding the right one. His first three marriages failed, but he can't give up on love. Then he meets Milan, a young woman who works in a casino. Sam and Milan fall in love and things seem to be going well. Once they're married though, their relationship begins to show the first cracks.

The first hour is solid. Andy Lau can do this kind of thing with his eyes closed, Qi doesn't have much trouble playing the love interest either, but there isn't that much sparkle. The second half should've been cut down or shortened, as a more streamlined film would've been better. In the end, it's not a terrible film, but it's a bit of a sappy blockbuster that isn't quite as good as its cast and crew would suggest.

A criminal staying in The Netherlands is in love with a young paintress. He sends her flowers to show her his love, but he won't confront her directly, fearing his job might put her in danger. Then a detective comes along and the girl mistakingly assumes he's her worshipper. The criminal is furious and finally comes out of hiding to stop anything from happening between the two.

The setup of the romance is nice, though a little slick. I didn't really care for the crime elements that were added though. The performances aren't the greatest and the romantic triangle could've been stronger, but all in all, it is a quirky little project that should go down easy for fans of Lau's work.

Alan has been missing for a week already. The trail leads to an abandoned amusement park that is supposedly haunted after a young girl was murdered there a decade earlier. Alan's mom can mark ghosts with her camera and believes her son is already dead, but his friends decide to check out the park regardless. One by one they go missing.

The setting is perfect for a horror flick, only Lau doesn't really know how to use it. He throws in all kinds of horror clichés, but because there are so many it becomes impossible to build up any tension, let alone deliver real scares. It's still a somewhat okay horror film, as Lau keeps throwing different ideas at you, but for me, it's more proof that Hong Kong somehow has trouble making scary flicks.

Three womanizers return home defeated. While taking the bus, they are kidnapped and brought to hell for their sins. Sadly, hell is quite full and there is.o place for them, so they are sent back to Earth. Only this time they have to go through life as women, and they'll be subjected to the same nasty tricks they've been pulling for years. Only by finding true love will their curse be reverted.

It's a rather messy film that constantly switches between tone and genre. Lau is pretty good at that, but it does make it hard to care much about any of it. Ekin Cheng isn't the best man to lead a comedy like this, the rest of the cast isn't strong enough to cover for him. It's still decent genre fluff, but not a very notable film in Lau's oeuvre.

Sky is a formidable racer. In a showdown with Hung, he beats him fair and square. Hung can't really handle the loss and he keeps pestering Sky. So Sky travels to Thailand to reconnect with his father, a superb racer in his own time. His father is willing to help Sky become an even better racer and defeat Hung once and for all.

This felt a bit like a lesser Benny Chan film, or maybe just a try-out before taking on the Initial D franchise. The races are pretty fun, but the extended block of drama and romance that was added to pad out the runtime is a nuisance. It mostly hampers the middle part, and the ending is fine again, but if they'd left 20 minutes on the cutting floor, they'd have had a better film.

Ella and Mike run into each other in a place where singles mingle. Mike is a slick businessman, Ella is a divorced mother. After a short romantic adventure, Mike falls for Ella's charms. Ella is hesitant as she doesn't really trust Mike, but he insists, as he is unable to forget about their time together. Mike keeps pushing until she finally caves.

Maggie Cheung and Leon Lai are solid actors, but to see them struggle and suffer through their English dialogues is rather painful. It doesn't help the romance, neither does the generic setup, the bland score, or the predictable outcome. Sausalito feels like one of Lau's learn-as-you-go experiments, so unless you're a big fan of his work (or the lead actors), approach with caution.

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.

Enroll is a seasoned but somewhat unruly FBI agent. He is assigned a young protégé who he needs to train, not something he's actively looking forward to. He is currently trailing a violent rapist and killer, who he hopes to track down by finding a missing girl. It turns out his new protégé will prove quite helpful in his quest to catch the bad guy.

The plot is pretty generic, the cinematography is bland and the actors don't make much of an effort. The soundtrack was the only notable thing here, but that's hardly something that is going to save a film like this. I'm not surprised Lau moved back to Hollywood after shooting The Flock, it isn't a terrible film, it's just extremely basic and forgettable.

Wah is a gifted dance instructor. He looks like a nice guy, but he is quite mean and spiteful underneath. When two women join his dance school, Wah is delighted. One's a young and wealthy socialite, the other a simple waitress. Both are romantically interested in Wah and try to win his favor. Wah doesn't mind, but suddenly finds himself loving the wrong woman.

Lau's direction is unremarkable, the cast looks like it's running on autopilot (only Sandra Ng makes an effort, in one of her most feminine roles ever) and neither the dancing nor the romance elements are on point. This felt a lot like generic shelf filler, which is a bit surprising considering the flow Andrew Lau was in back then. For completists only.

Two brothers are polar opposites. One is a reasonably successful singer, the other a sneaky jewel thief. They are leading completely different lives, but even so, they decide to open up a nightclub together. They mean well, but when the bar attracts the wrong kind of clientele, trouble starts brewing and the relationship between the two is heavily tested.

A generic genre film, that's what you're getting. Second-rate actors in lead roles, a very predictable plot, bland cinematography, and a negligible score. Nothing about this film draws attention to itself. It's a good way for a director to get himself acquainted with his job, but sadly, it doesn't make for a very good film.

Steve and a few of his pals work in his uncle's garage. They love to tinker with cars, and they don't mind taking them out for a spin. Steve falls in love with a singer in a local bar, what he doesn't know is that a Triad member also has the hots for this girl. Steve isn't willing to back down that easily, so he is willing to go against the Triads to win his lady's heart.

The story is pretty generic, then again, so is the rest of the film. The performances are pretty weak, Lau's direction is very basic and the film looks dirt cheap. None of this is very unexpected of course, and the runtime/pacing make sure I never got too bored watching. Unless you're a real Lau adept or a big fan of race films, there's not much reason to prioritize this film.

Unless you've been living in a cave for the past two years, you're probably already familiar with the plot, even when this film isn't very interested in giving a proper, historically correct recount of the events. Early 2020 the corona virus suddenly hits Wuhan, a state of emergency is declared, and the hospitals do their very best to get a grip on the pandemic.

There's hardly a coherent plot, characters merely exist to symbolize the Chinese spirit, the way China handled the beginning of the pandemic is described as some kind of incredible success story and there's not a single ounce of critique or self-reflection. A film like this is really in bad taste, I generally don't care too much about a little extra heroism in films, but this was just utterly insane and completely tone-deaf.

Wesley is a special agent who tracks down aliens on Earth. He is tracking a female specimen who is looking for her brother. Wesley ends up in the middle of a government conspiracy involving tests on extraterrestrials, and he discovers several alien races are involved in this hot mess.

Hong Kong was never too good at sci-fi, it's insane that they took a film with a silly premise like this and tried to turn it into something serious. The special effects are dreadful, the tone of the film is all wrong, and even Andy Lau can't save this disaster. It's a real train wreck, and that's about the best thing about this production.

A crafty lawyer is trying to outsmart the law. He comes up with elaborate plans to create situations where it is actually legal for him to rape women. He kills his victims too and makes it look like suicides. When the best friend of one of his victims finds out she didn't kill herself, she vows to track down the culprit and clear her best friend's name.

I was pretty surprised to see Simon Yam here, then again he did take on quite some questionable roles at the start of his career. The presentation of the film is drab, the performances are poor and even though the setup is somewhat interesting, the direction is just messy and unfocused. Not Lau's proudest moment, luckily he would redeem himself in the years to come.