The Blade is probably Tsui Hark's most stunning achievement in the nineties, a film which rolls along on the director's ephemeral style but points the martial arts genre to a long lost realist tradition. Tsui's realism is best described as the "earth, dust, and mud" variety.
Nouveau cuisine meets the Hong Kong Nouvelle Vogue, or Chinese Nationalism hits the kitchen. Tsui Hark's Chinese New Year movie is a journey-man, patchwork comedy, too oddball, too fragmented and too off-the-wall to be truly successful.
The film that is set to launch Jackie Chan into the American market. It is, at best, an average Jackie Chan picture. Set in the Bronx (but actually shot in Vancouver), Chan is a Hong Kong cop who is in the Big Apple to attend his uncle's wedding.
Typically lush, over-produced piece of flummery from Tsui Hark, featuring Charlie Young and Nicky Wu, his two leads from The Lovers. They are cast as a Peking Opera actress and a bank clerk respectively.
A Hong Kong Western that starts off with a grand Jacobean-style massacre (reminiscent of the family slaughter in Leone's Once Upon a Time in the West): Chow as the man with no name known only as "the killer" dispatching armies of bad men inside a hotel and pursuing a young boy whom he spares at t
Melodramatic thriller about a cop (Tony Leung) using the moll of a dead gangster (Rosamund Kwan) to nail her new lover，a cocky Asian-American drug smuggler known as King (Michael Wong). Rosamund Kwan excels as the moll, Coco Hsu. She mixes brittle emotions with gritty sensuality.
Jackie Chan is a garage hand-cum-car racer who helps the police intercept Cougar, an American professional killer-cum-car racer. Cougar escapes from police incarceration and kidnaps Jackie's two sisters, ensuring that they meet and settle scores in a car race in Japan.
Hardened convict Ah Mo (Leon Lai) has his eye on Jojo, the fiancee of a 'chuppie' Ah Wai. Jojo, in turn, is attracted to Ah Mo. Their romance is tinted by the theme of pre-destiny, or yuanfen. Can a woman with upmarket tastes fall in love with a regular bad guy?
Private Eye Blues is decidedly funkier than most of Eddie Fong's previous films.
Treasure Hunt gives credence to the charming French word divertissement so that anybody approaching it will know it is a morsel and not a meal.