“The Longest Nite” was quite a difficult film to produce, for a number of reasons. Firstly, it was shot during the chaos that followed the financial crisis in Hong Kong, since in 1998, the country recorded negative growth in all four quarters and a decline in Gdp of 5.1% over 1997. The unemployment rate more than doubled, from 2.5% in late 1997 to 5.7% in late 1998. Apart from the general situation, Patrick Yau, who was initially tasked with directing the film, hit a creative wall after shooting just five scenes. Johnnie To took over in his stead, and writer Wa Ka-fai had to rewrite the script as they were shooting. The result is chaotic, but impressive.
Under the orders of a bigger boss, two crime bosses in Hong Kong are about to end their long war. Sam, a corrupt cop who is in the payroll of one of these bosses, tries to keep...
Under the orders of a bigger boss, two crime bosses in Hong Kong are about to end their long war. Sam, a corrupt cop who is in the payroll of one of these bosses, tries to keep...
- 4/30/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Supernatural movies, featuring ghosts, “Geung si” and other entities are an important part of Hong Kong Cinema and its cultural heritage. “Encounters of the Spooky Kind” (1980), “Mr Vampire” (1985), “Rouge” (1987), “A Chinese Ghost Story” (1990) are only some of my favorite unmissable ones from the 80’s and 90’s.
Genre-bending movies, often blending horror, comedy, romance and kung fu, they are now an endangered species. After Hong Kong’s handover in 1997, many local filmmakers started making co-productions with the Mainland, where the supernatural films are considered a forbidden subject; therefore, they simply don’t get made anymore, except for some rare and brave case. In fact, those kinds of films have turned into a sort of statement by filmmakers that are committed to making Cantonese language films for distribution in Hong Kong and outside, but not the Mainland.
Some of the post-1997 local horror movies include the charming “My Left Eye Sees Ghosts...
Genre-bending movies, often blending horror, comedy, romance and kung fu, they are now an endangered species. After Hong Kong’s handover in 1997, many local filmmakers started making co-productions with the Mainland, where the supernatural films are considered a forbidden subject; therefore, they simply don’t get made anymore, except for some rare and brave case. In fact, those kinds of films have turned into a sort of statement by filmmakers that are committed to making Cantonese language films for distribution in Hong Kong and outside, but not the Mainland.
Some of the post-1997 local horror movies include the charming “My Left Eye Sees Ghosts...
- 5/10/2019
- by Adriana Rosati
- AsianMoviePulse
Prolific, and often under-appreciated Hong Kong director Herman Yau returns to the category III rated horror of “The Untold Story” and “Ebola Syndrome” with “The Second Coming”, dealing with possession, murder and dark secrets from the past. A joint Hong Kong, Taiwan and Singapore production, the film was co-directed and scripted by Ng Tin-chi, and stars Kenny Wong (recently in “Firestorm”), Tvb and Milkyway veteran Maggie Shiu, Don Li (“The Haunted School”) and young Singaporean actress Joey Leong (also in the excellent “Blood Ties”). For a modestly budgeted genre outing the film performed surprisingly well at the international box office and on the festival circuit, and has been picked up for release in a variety of countries, its popularity perhaps having been boosted by being shot in 3D. Kenny Wong and Maggie Shiu play former migrant worker couple Ming and Jen, who have made good with their lives and who now lead a comfortable,...
- 9/19/2014
- by James Mudge
- Beyond Hollywood
Asian horror makes a terrifying return with director Herman Yau's The Second Coming, available to pre-order on English subtitled DVD after completing the festival circuit. Kenny Wong (Firestorm) and Tvb veteran Maggie Shiu are in for a bumpy ride, with Joey Leong (Blood Ties) and Don Li (The Haunted School) completing the family circle. Or, you know, adding fuel to flames of horror cinema. Choice is yours really. The Second Coming is yours to own from August 14. Stay scared. Synopsis: Ming and his wife Jen lived quiet an ordinary life with their 13-year-old daughter Lucy while their 20 year-old son, Sunny is at medical school overseas. Everything seems just perfect until Ming accidentally knocks Lucy down with his Car on the cusp of her 14th birthday. From then onwards, Lucy’s behaviour turns bizarre. Sunny returns from school to find Ming more and more distant towards his sister. As Jen...
- 8/10/2014
- 24framespersecond.net
Feuding Tactical Unit Column Sergeant Sam (Simon Yam) and May (Maggie Siu) have to put their differences aside when they head into the remote mountains above Hong Kong is search of armed bandits who have just staged a daring heist. As Sam and May lead their team in sweeps through treacherous terrain and lethal ambushes, they understand the only way to survive the mission is to stick together.
- 5/7/2013
- Sky Movies
Even more foreign horrors are ready to crawl out of the shadows and into your hearts just in time for the Chinese Hungry Ghost celebration. Read on for the first details regarding this two-part terror anthology.
Screen Daily is reporting that Edko Films is ready to unveil a two-part horror feature Tales From The Dark, comprising six segments adapted from stories written by best-selling Hong Kong author Lilian Lee. The six segments will be directed by Fruit Chan, Lee Chi Ngai, Lawrence Lau, Teddy Robin, Gordon Chan and actor Simon Yam in his directorial debut. The project’s ensemble cast will include Yam, Kelly Chen, Maggie Shiu, Yuen Qiu, Josephine Koo, Tony Leung Kar-fai and Lam Suet.
The two parts of the film will be released on July 4 and August 1 to coincide with the Chinese Hungry Ghost Festival.
More on these soon!
Visit The Evilshop @ Amazon!
Got news? Click here to submit it!
Screen Daily is reporting that Edko Films is ready to unveil a two-part horror feature Tales From The Dark, comprising six segments adapted from stories written by best-selling Hong Kong author Lilian Lee. The six segments will be directed by Fruit Chan, Lee Chi Ngai, Lawrence Lau, Teddy Robin, Gordon Chan and actor Simon Yam in his directorial debut. The project’s ensemble cast will include Yam, Kelly Chen, Maggie Shiu, Yuen Qiu, Josephine Koo, Tony Leung Kar-fai and Lam Suet.
The two parts of the film will be released on July 4 and August 1 to coincide with the Chinese Hungry Ghost Festival.
More on these soon!
Visit The Evilshop @ Amazon!
Got news? Click here to submit it!
- 3/19/2013
- by Uncle Creepy
- DreadCentral.com
One of the the most prolific directors in Hong Kong, let alone the world, Johnnie To is a filmmaker who I’m surprised has never been asked to join the Criterion Collection with any number of his films. Until now, perhaps. Not only did IFC Films pick up his critically acclaimed film Vengeance (which was put out by Mpi Home Video) but they also recently asked him what his 10 favorite Criterion films were, which you can see right here. He’s very short and sweet as to why he loves these films, but while perusing the list, one can see his influence and how he crafts his films.
So we here at the Criterion Cast like to play guessing games and are wishful thinkers, so here’s a top 10 Johnnie To films that we wish could enter the Criterion Collection. Remember, a lot of hands are on these films, in...
So we here at the Criterion Cast like to play guessing games and are wishful thinkers, so here’s a top 10 Johnnie To films that we wish could enter the Criterion Collection. Remember, a lot of hands are on these films, in...
- 6/18/2011
- by James McCormick
- CriterionCast
Vengeance is another thriller which will highlight the San Francisco International Film Festival. Showing April 27th, Vengeance is set in the dark underworld of Hong Kong, China. The film also involves revenge after a French chef loses his daughter's family to a violent attack (IMDb). These early shots are very violent, so fans need to take a look at the trailer for this latest Johnnie Toe production.
A synopsis for Vengeance here:
"A French chef swears revenge after a violent attack on his daughter's family in Hong Kong, during which her husband and her two children are murdered. To help him find the killers, he hires three local hit-men working for the mafia" (IMDb).
Release Date: April 27th (Limited Release, already available on Blu-Ray).
Director: Johnnie To.
Writer: Ka-Fai Wai.
Cast: Johnny Hallyday, Sylvie Testud, Anthony Wong Chau-Sang, Ka Tung Lam, Suet Lam, Simon Yam, Siu-Fai Cheung, Felix Wong, Ting Yip Ng,...
A synopsis for Vengeance here:
"A French chef swears revenge after a violent attack on his daughter's family in Hong Kong, during which her husband and her two children are murdered. To help him find the killers, he hires three local hit-men working for the mafia" (IMDb).
Release Date: April 27th (Limited Release, already available on Blu-Ray).
Director: Johnnie To.
Writer: Ka-Fai Wai.
Cast: Johnny Hallyday, Sylvie Testud, Anthony Wong Chau-Sang, Ka Tung Lam, Suet Lam, Simon Yam, Siu-Fai Cheung, Felix Wong, Ting Yip Ng,...
- 4/1/2010
- by Michael Ross Allen
- 28 Days Later Analysis
With Hong Kong director Johnnie To having long been admired as an auteur by French film critics, his desired collaboration with European talent has been a much mooted and anticipated possibility. Finally, it arrives in the form of “Vengeance”, which sees To teaming with legendary French singer Johnny Hallyday for a thriller written by Milkyway regular Wai Ka Fai. Perhaps unsurprisingly, the film is heavily reminiscent of two of the director’s signature works, namely “The Mission” and “Exiled”, not least since its cast includes the likes of Anthony Wong, Lam Suet, Gordon Lam and Simon Yam, with support from other familiar faces including Michelle Yip, Eddie Cheung, Maggie Shiu, Felix Wong, Berg Ng, and Stanley Fung. Despite underwhelming some critics, the film played in competition at Cannes 2009, with To being nominated for the prestigious Golden Palm Award. All things considered, the narrative is pretty much standard fare for To and Wai Ka Fai,...
- 1/24/2010
- by James Mudge
- Beyond Hollywood
The new “Tactical Unit” series inspired by Johnnie To’s classic “Ptu” continues with the latest instalment “Human Nature”, which offers up another tale of morally ambiguous cops and their struggle to uphold the law while battling their own personal demons. With To again serving as producer, the directorial reigns this time were handed to Andy Ng Yiu Kuen, best known to exploitation film fans for “The Untold Story 2” back in 1998. Ensuring a welcome sense of continuity are returning series regulars and Milkyway veterans Simon Yam, Maggie Shiu, and Lam Suet, with Gordon Lam jumping onboard in a villainous role. After beginning with a shootout in which robbers from Mainland China manage to evade squad leaders Sam (Simon Yam) and May (Maggie Shiu), the plot focuses mainly on officer Tong (Lam Suet), an unfortunate man who has run up an insurmountable debt with an unpleasant loan shark (Gordon Lam). With...
- 5/10/2009
- by James Mudge
- Beyond Hollywood
“Tactical Unit - No Way Out” is the second in the series of new films following on from Johnnie To’s acclaimed 2003 police thriller “Ptu”. This time around Lawrence Lau, previously responsible for the excellent “My Name is Fame”, steps up to direct, with To acting as producer. Giving a nice sense of continuity, the cast from the original and first sequel “Tactical Unit – The Code” all return, including stars Simon Yam and Maggie Siu, along with familiar faces Lam Suet, Derek Tsang and Samuel Pang. Although the series is known for its gritty plotlines and non-judgemental approach, the film is even more downbeat than its predecessors, though no less gripping. The film takes place largely in the Temple Street district, where the gangs and police co-exist in an uneasy balance. Trouble arises one night when a man is killed and the police decide to step up their efforts and crackdown on the gangs,...
- 4/9/2009
- by James Mudge
- Beyond Hollywood
“Tactical Unit – the Code” is likely to be an enticing prospect for fans of Hong Kong action cinema, being the first in a series of follow ups to Johnnie To’s seminal 2003 police thriller “Ptu”, a film which still stands as one of the best of the genre. Here, To serves as producer, passing the directorial reins to Law Wing Cheong, a member of the Milkyway stable previously responsible for “Hooked on You” and the comedy “2 Become 1”, and who recently starred in “Sparrow”. The film was written by Yip Tin Shing, another frequent To collaborator, who scripted “Election”, “Exiled”, “Throw Down” and others, and boasts a great cast of familiar faces including Simon Yam, Maggie Siu and Lam Suet. Thankfully, the film lives up to its impressive pedigree, proving itself worthy of the Milkyway brand, and manages to transcend its low-budget roots. The film revolves around an incident in which...
- 3/8/2009
- by James Mudge
- Beyond Hollywood
Hong Kong International Film Festival
HONG KONG -- Eye in the Sky (Gun Chong) meets somewhere between Johnnie To's Breaking News and any number of great cop/gangster thrillers Yau Nai-hoi has written for To and Milkyway Image in the last decade -- of which The Mission, (rumored to be going down the Hollywood remake road), Election, Throwdown and "PTU" are just a few. This is as stylish as anything Yau has written for To, if a little more ragged in keeping with the subject matter.
The film is likely to attract a reasonable amount of interest in Asia, if only for the pedigree and stars involved, and overseas in festivals since To's name will carry it a long way. While it's sure to make it into any To/Milkyway completist's DVD collection, the film isn't strong enough to move much beyond niche markets.
The story is a simple one. The police department's Surveillance Unit, led by Doghead (Yam) with some help from a computer-bound crew under Maggie Siu, welcomes a new recruit, Piggy (Tsui), just as a complex operation against jewel thieves begins. (Jewels maintain their place as Hong Kong criminals' favored high-end target). Piggy's young, and doesn't look like a cop, which to Doghead makes her a perfect tail. The operation begins when the SU connects local lay-about Fatman (Milkyway favorite Lam) with a robbery that went off in Hong Kong's business district in broad daylight. Fatman eventually leads the squad to the mastermind behind the operation, Shan (Leung), who enjoys a good game of Sodoku on the tram when he needs to plot out his plans.
The story focuses as much on procedure as it does on Piggy and her insertion into police work. As her mentor, Doghead is supportive and understanding, and Siu's boss is a reasonable one. But Piggy drops the ball on Shan -- referred to as Hollowman -- when she's forced to make an ethical choice, her first on the job, and questions her own capabilities. Thankfully, the script avoids cliche and she's never threatened with her job or thrown out of it on the spot. But anyone even remotely familiar with To & Co. will know that situation is going to come up again. Inevitably, it will be more personal.
The film's biggest flaw may be the glaring missed opportunity to make a larger comment on the omnipresence of general surveillance in the world at large. The film does forge a decent sense of paranoia by suggesting we're being watched at all times. Hollowman and Fatman have cops on them, but cameras are everywhere. Aerial scene transitions recall grainy CCTV images. The streets are crowded and chaotic: Anyone could be watching anyone else. Sadly, the script doesn't explore the voyeuristic nature of contemporary society much beyond that.
Cheung's frantic, hand-held cinematography goes a long way to creating the atmosphere in which the cops exist and work. Constant jarring cuts and quick pans across busy intersections give the impression that the audience is trying to find a target through a crowded field as well. And Yau does an excellent job of exploiting Hong Kong's winding streets, endless alleys and overwhelming numbers.
An opening sequence, which begins on one of the city's venerable jam-packed trams and ends with a wide shot of a pedestrian crossing that fills up as if floodgates were opened, smoothly establishes the mood and pace.
Eye in the Sky is similar in tone to much of Milkyway's material. This is a world where violence hovers just below the surface of decent society. When Shan has his orders on the first heist disobeyed, he flies off the handle in a flash, and then settles down just as quickly. There's the requisite raging gun battle, but Yau and Au veer off with an unexpected, upbeat finale.
If Yau was at all uncomfortable in his first turn behind the camera, it didn't show in the performances. Fortunately, he had a strong cast to work with including young Tsui that manages to create whole characters from the near archetypes that were written. Leung and Yam could do the cop/robber shtick with their eyes closed: Each has done it time and again, often for To. Leung brings a simmering, intense rage to the character while Yam, waddling around with an extra 20 pounds, goes against type to play Doghead as unglamorously workmanlike. Yau has crafted a decent enough film, but it lacks the cohesive polish of his mentor's best work.
EYE IN THE SKY
Milkyway Image (HK) Ltd.
Credits:Director: Yau Nai-hoi
Writers: Yau Nai-Hoi, Au Kin-Yee
Producers: Johnnie To, Tsui Siuming
Executive producer: Stephen Ng
Director of photography: Cheung Tung Leung
Production designer: Raymond Chan
Music: Guy Zerafa
Costume designers: William Fung, Mabel Kwan
Editor: David Richardson
Cast:
Shan/Hollowman: Tony Leung Ka-Fai
Simon Yam: Wong/Doghead
Piggy: Kate Tsui
Fatman: Lam Suet
Maggie Siu
Running time -- 88 minutes
No MPAA rating...
HONG KONG -- Eye in the Sky (Gun Chong) meets somewhere between Johnnie To's Breaking News and any number of great cop/gangster thrillers Yau Nai-hoi has written for To and Milkyway Image in the last decade -- of which The Mission, (rumored to be going down the Hollywood remake road), Election, Throwdown and "PTU" are just a few. This is as stylish as anything Yau has written for To, if a little more ragged in keeping with the subject matter.
The film is likely to attract a reasonable amount of interest in Asia, if only for the pedigree and stars involved, and overseas in festivals since To's name will carry it a long way. While it's sure to make it into any To/Milkyway completist's DVD collection, the film isn't strong enough to move much beyond niche markets.
The story is a simple one. The police department's Surveillance Unit, led by Doghead (Yam) with some help from a computer-bound crew under Maggie Siu, welcomes a new recruit, Piggy (Tsui), just as a complex operation against jewel thieves begins. (Jewels maintain their place as Hong Kong criminals' favored high-end target). Piggy's young, and doesn't look like a cop, which to Doghead makes her a perfect tail. The operation begins when the SU connects local lay-about Fatman (Milkyway favorite Lam) with a robbery that went off in Hong Kong's business district in broad daylight. Fatman eventually leads the squad to the mastermind behind the operation, Shan (Leung), who enjoys a good game of Sodoku on the tram when he needs to plot out his plans.
The story focuses as much on procedure as it does on Piggy and her insertion into police work. As her mentor, Doghead is supportive and understanding, and Siu's boss is a reasonable one. But Piggy drops the ball on Shan -- referred to as Hollowman -- when she's forced to make an ethical choice, her first on the job, and questions her own capabilities. Thankfully, the script avoids cliche and she's never threatened with her job or thrown out of it on the spot. But anyone even remotely familiar with To & Co. will know that situation is going to come up again. Inevitably, it will be more personal.
The film's biggest flaw may be the glaring missed opportunity to make a larger comment on the omnipresence of general surveillance in the world at large. The film does forge a decent sense of paranoia by suggesting we're being watched at all times. Hollowman and Fatman have cops on them, but cameras are everywhere. Aerial scene transitions recall grainy CCTV images. The streets are crowded and chaotic: Anyone could be watching anyone else. Sadly, the script doesn't explore the voyeuristic nature of contemporary society much beyond that.
Cheung's frantic, hand-held cinematography goes a long way to creating the atmosphere in which the cops exist and work. Constant jarring cuts and quick pans across busy intersections give the impression that the audience is trying to find a target through a crowded field as well. And Yau does an excellent job of exploiting Hong Kong's winding streets, endless alleys and overwhelming numbers.
An opening sequence, which begins on one of the city's venerable jam-packed trams and ends with a wide shot of a pedestrian crossing that fills up as if floodgates were opened, smoothly establishes the mood and pace.
Eye in the Sky is similar in tone to much of Milkyway's material. This is a world where violence hovers just below the surface of decent society. When Shan has his orders on the first heist disobeyed, he flies off the handle in a flash, and then settles down just as quickly. There's the requisite raging gun battle, but Yau and Au veer off with an unexpected, upbeat finale.
If Yau was at all uncomfortable in his first turn behind the camera, it didn't show in the performances. Fortunately, he had a strong cast to work with including young Tsui that manages to create whole characters from the near archetypes that were written. Leung and Yam could do the cop/robber shtick with their eyes closed: Each has done it time and again, often for To. Leung brings a simmering, intense rage to the character while Yam, waddling around with an extra 20 pounds, goes against type to play Doghead as unglamorously workmanlike. Yau has crafted a decent enough film, but it lacks the cohesive polish of his mentor's best work.
EYE IN THE SKY
Milkyway Image (HK) Ltd.
Credits:Director: Yau Nai-hoi
Writers: Yau Nai-Hoi, Au Kin-Yee
Producers: Johnnie To, Tsui Siuming
Executive producer: Stephen Ng
Director of photography: Cheung Tung Leung
Production designer: Raymond Chan
Music: Guy Zerafa
Costume designers: William Fung, Mabel Kwan
Editor: David Richardson
Cast:
Shan/Hollowman: Tony Leung Ka-Fai
Simon Yam: Wong/Doghead
Piggy: Kate Tsui
Fatman: Lam Suet
Maggie Siu
Running time -- 88 minutes
No MPAA rating...
- 3/21/2007
- The Hollywood Reporter - Movie News
HONG KONG -- It was almost a clean sweep for director Johnnie To's dark and brooding police drama PTU at the 8th annual Golden Bauhinia Awards on Sunday. The film, about a police team's quest to find a colleague's missing gun over the course of one night, brushed aside stiff competition from Infernal Affairs II and Infernal Affairs III to win six out of eight awards up for grabs. PTU was named best film, To picked up the honors for best director, and the film's star, Simon Yam, recently seen as the villain in Lara Croft: The Cradle of Life, beat frontrunner Andy Lau for the best actor award. Yam and Lau will also be battling it out Sunday at the Hong Kong Film Awards. Meanwhile PTU's Lam Suet and Maggie Siu were named best supporting actor and supporting actress, respectively. Writers Yau Nai-hoi and Au Kin-yi took home the trophy for best screenplay.
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