Genre: Thriller
Director: Susanna White
Cast:  Ewan McGregor, Stellan Skarsgard, Damian Lewis, Naomi Harris, Jeremy North, Khalid Abdall
Runtime: 1 hr 48 mins
Rating: M18 (Some Sexual Scenes and Nudity)
Released By: Shaw 
Official Website: 

Opening Day: 7 July 2016

Synopsis: While on holiday in Marrakech, an ordinary English couple, Perry (Ewan McGregor - The Impossible, The Ghost) and Gail (Naomie Harris - Spectre, Southpaw), befriend a flamboyant and charismatic Russian, Dima (Stellan Skarsgård - Avengers: Age of Ultron, TheGirl With the Dragon Tattoo), who unbeknownst to them is a kingpin money launderer for the Russian mafia. When Dima asks for their help to deliver classified information to the British Secret Services, Perry and Gail get caught in a dangerous world of international espionage and dirty politics. The couple is propelled on a perilous journey through Paris and Bern, a safe house in the French Alps, to the murky corners of the City of London and to analliance with the British Government via a ruthless and determined MI6 agent (Damian Lewis -­‐Homeland).From the writer of Driveadapting the hit John le Carré novel - the mind behind Tinker Tailor Solider Spy, this taut thriller twists and turns its way around the world with dramatic consequences

Movie Review:

Based on a novel by John Le Carre, Our Kind of Traitor is a slow burner but nevertheless an arresting crime flick worth your spare time.

Perry McKendrick (Ewan McGregor), a University Professor and his barrister wife Gail (Naomie Harris) are on vacation in Morocco when Perry met and befriend a rambunctious Russian mobster, Dima (Stellan Skarsgard). Before Perry returned to the UK, Dima wants him to hand over a thumb drive containing information that linked corrupt politicians and bankers to the Russian mafia to MI6 in exchange for asylum in London. With eyes on him 24 hours a day, will Dima succeed in protecting his family from his ruthless master?

First of all, audiences who are used to the showy spy antics of James Bond and Jason Bourne will be thoroughly bored by Our Kind of Traitor. Apparently, this particular espionage thriller is a different kind of accomplishment. Director Susanna White (Nanny McPhee Returns) and Hossein Amini (The Two Faces of January) effectively tell their spy story with hardly a car chase in sight or bloody mano a mano between good and evil. Even an action sequence involving firearms happened in the dark of the night with most of it firing off-screen. What it has it’s an abundance amount of engaging narrative, plotting and outstanding acting.  

The vacation in Morocco is supposed to be a time for McKendricks to salvage their marriage after we learnt that Perry has slept with one of his students. But with Dima and his money-laundering business coming in, this emotional part of the story seems to be entirely forgotten. Other than this obvious mishap, the acting is fabulous especially Stellan Skarsgard’s scene-stealing colourful performance and not forgetting his manhood making yet another cameo. Homeland’s Damien Lewis plays the MI6 officer; Hector who is in charge of the case which conveniently has his ex-boss being one of the corrupted officials. Ewan McGregor on the other hand plays an ordinary man who has no qualms protecting the weak and innocent, a bland goody two shoes character that is unfortunately upstaged by his co-stars. 

To make up for the somewhat predictable story and lack of thrills, the movie boasts solid location shooting in London and Paris and a gripping pacing despite a tiny budget, probably a fraction of Skyfall’s marketing expenses. In addition, Oscar winning Anthony Dod Mantle (Slumdog Millionaire) provides the cinematography so you can assure the end product is fantastic looking.

For a movie that has John Le Carre himself producing and based on his own novel, Our Kind of Traitor is a respectable addition to the rest of his past works such as The Constant Gardener and Tinker Tailor Soldier Spy. However for people used to all the explosions, fancy effects and shaky cams, it’s best you don’t apply for this one.

Movie Rating:

(Stingy on the action and thrills but remains an arresting spy drama)

Review by Linus Tee

FILM MOVEMENT ACQUIRES BOO JUNFENG'S SINGAPOREAN DRAMA APPRENTICE, FROM CANNES FILM FESTIVAL'S UN CERTAIN REGARD Posted on 17 Aug 2016 Film Movement, the New York-based film distributor of first-run, award-winning foreign and independent films, announced today its acquisition of Boo Junfeng’s second feature film, APPRENTICE (2016, 97 min), about a correctional officer who becomes friends with the chief executioner of a prison and then is tapped to become his trainee. The film, which premiered in Un Certain Regard at the ... more

Genre: Horror/Thriller
Director: Koji Shiraishi
Cast: Mizuki Yamamoto, Tina Tamashiro, Masanobu Ando, Masahiro Komoto, Aimi Satsukawa, Mai Kikuchi
Runtime: 1 hr 39 mins
Rating: NC-16 (Horror)
Released By: Encore Films
Official Website: 

Opening Day: 23 June 2016

Synopsis: In this epic crossover, a university student Yuri Kurahashi (Mizuki Yamamoto) and her friend chance upon the cursed videotape, and both are doomed to die within two days under Sadako’s curse; meanwhile, a high school girl Suzuka Takagi (Tina Tamashiro) feels inexplicably drawn towards the Saeki house and thus steps into the bounds of Kayako’s curse. The two girls later meet through a medium Keizo Tokiwa (Masanobu Ando), who has a crazy plan to expunge both curses by pitting the two evil spirits against each other.

Movie Review:

Earlier this year we had Batman vs Superman. Then, we had Captain America vs Ironman. And now, we even have a representative from Asia, Sadako vs Kayako! Following all these grueling versus games, is Sadako vs Kayako worth a watch?

Sadako vs Kayako’s story revolves around two college students who accidentally watched what is believed to be the ‘cursed’ video. For those who are familiar with The Ring (1998) in the 90s, it is the same fierce spirit, Sadako we are talking about. As they witness how people around them start getting killed in freak incidents and suicide, Yuri (Yamamoto Mizuki) decides to look for ways to help her friend lift the curse.

At the same time, there are also mysterious cases of children going missing after entering a haunted house. The house has been vacant for years and it is said that whoever goes into the house never come out alive. As you might have guessed, the spirits residing in the house are Kayako (from Ju-on: The Grudge 2, 2003) and Toshio (Ju-on: The Grudge, 2002). The story progresses and eventually Yuri was introduced to a medium, who decides that the best way to combat a formidable spirit is to tackle it with another formidable spirit.

The idea of bringing together the most well-known ghosts in Japanese horror films was interesting. However, the motivation and rationale of how the story developed might just send you cackling. The plot of the movie was rather simplistic and predictable, having one event lead into another very linearly. While it is a decent story development, it is blunt to taste.

The good news is, the familiar and iconic Japanese horror is back! After all the failed Sadako franchises in recent years, the good scares are back. The build up towards the horror scenes are well done, with great audio support. The chilling atmosphere was also well sustained. And of course, there are several jump scare scenes and more impressionable scenes which will make you check your back more often.

Sadako vs Kayako may not be the most intense and scariest J-horror movie to date, but it has combined the classics and given it a modern twist. Coupled with decently good scare sequences, the curses are back strong! 

Movie Rating:

(Sadako and Kayako are back to haunt! Certainly worth a watch if you’re a sucker for J-horror!)

Review by Tho Shu Ling

ANTON YELCHIN (1989 - 2016) Posted on 20 Jun 2016 Young Star Trek actor Anton Yelchin was killed in a freak accident at his home yesterday. According to reports, Yelchin stepped out of his car in the driveway of his Studio City home at around 1:10 a.m. when the car slid backwards and pinned him against a brick pillar and a security fence, causing trauma that led to his death. It appears that he momentarily left his Jeep, leaving it in the ... more

Park Chan-wook's The HANDMAIDEN Posted on 08 Jun 2016 The Handmaiden stars Kim Min-hee, Ha Jung-woo, Kim Tae-ri, Jo Jin-woong, and is directed by Park Chan-wook. Director Park Chan-wook is one of the most acclaimed and popular filmmakers in Korea and was the winner of the Cannes’ Grand Prix for OLDBOY (2003) and the Jury Prize for THIRST (2009). He is also known for his breakthrough film Sympathy for Mr. Vengeance (2002) which script was wri ... more

CLOVER FILMS ANNOUNCES AN EXCITING LINEUP OF 18 ASIAN MOVIES! Posted on 09 Jun 2016 Clover Films is proud to announce that it will distribute an exciting lineup of 18 Asian movies in Singapore cinemas in the second half of 2016. This lineup of 18 Asian movies features an array of international stars including Jackie Chan in Railroad Tigers, Liam Neeson in Operation Chromite, Louis Koo & Nick Cheung in Line Walker, Sean Lau & Eddie Peng in Call Of Heroes, Gong Yoo in Tr ... more

Genre: Drama
Director: Boo Junfeng
Cast: Firdaus Rahman, Wan Hanafi Su, Mastura Ahmad, Gerald Chew, Crispian Chan
Runtime: 1 hr 36 mins
Rating: M18 (Mature Content)
Released By: Clover Films and Golden Village Pictures
Official Website: https://www.facebook.com/apprenticefilm

Opening Day: 30 June 2016

Synopsis: Aiman is a 28-year-old Malay correctional officer who is recently transferred to the territory’s top prison. He lives with his older sister Suhaila in a modest housing estate. At his new workplace, Aiman begins to take an interest in a 65-year-old sergeant named Rahim. Soon, it is revealed that the charismatic Rahim is actually the long-serving chief executioner of the prison. Rahim also takes notice of the principled and diligent Aiman. When Rahim’s assistant suddenly quits, he asks Aiman to become his apprentice. Aiman tells Suhaila of his new job position, but Suhaila becomes upset, as their father was actually executed by Rahim. Aiman knew this all along. Can Aiman overcome his conscience and a haunted past to possibly take over as the next chief executioner?

Movie Review:

This reviewer can’t get local filmmaker Boo Junfeng’s sophomore feature film out of his head. It’s a good thing though, because it means that this writer is still alive – alive with the ability to feel, that is. With so many superheroes, aliens, loud explosions, gunfights and car crashes in cineplexes these days, it is indeed refreshing to go back to the very basics of filmmaking – to tell an affecting story.

The young filmmaker is a wonderful storyteller who knows how to communicate with his viewers through visuals. Go check out his short films (2004’s A Family Portrait, 2006’s The Changi Murals, 2007’s Katong Fugue, 2008’s Katong Jetty and 2009’s Tangjong Rhu) and you’ll be pleasantly surprised at how his works can impact you in an incredibly moving manner. Then came his first feature film Sandcastle (2010), which made a well received debut at that year’s Cannes Film Festival Critics’ Week.

Six years later, Boo returns to the prestigious film festival with his second feature film, which was selected for the Un Certain Regard section together with 17 other films. At the heart of this quietly poignant film is the relationship between a young prison officer Aiman (Fir Rahman) and a prison executioner Rahim (a very charismatic Wan Hanafi Su). There’s also the anguished dynamics between Aiman and his elder sister Suhaila (Mastura Ahmad). There is a lot of human drama on display here, with lots of chemistry between the cast.

There are fascinating character studies throughout the film’s 96 minute runtime. We feel Aiman’s inner turmoil, feel shaken by Rahim’s authoritative presence and empathise with Suhaila’s emotions. The three actors deliver commendable performances, thanks to competent direction from Boo. Attention is paid to details, and every glance and expression is intimately dealt with.

On another level, the film explores the topic of capital punishment. There is nothing too flashy here – do not expect tension filled scenes of lethal injections, electric chairs and unjustified sentences. What you get instead is the traditional method execution by hanging.

What we respectfully admire about this film is how it tackles themes which are seemingly contentious and difficult to deal with. Boo has the ability to thread on these topics sensitively and present them in a relatable manner. As a result, the storytelling feels intimate and viewers feel like they can empathise with the characters whose encounters, simply put, are human experiences you and I remember feeling. Despite the predictable ending (really, how else would one expect the film to conclude?), this is one of those thought provoking films you walk of the theatre of, feeling contemplative about life.

Needless to say, production scale and values have gone up from Boo’s last feature. Filming was done on location in Australia at two decommissioned prisons. Funding for the production came from a few international sources.

The graduate of Ngee Ann Polytechnic and The Puttnam School of Film at the Lasalle Collegeof the Arts, though young, is a master when it comes to storytelling. This emotionally intense film is a testament to that. 

Movie Rating:

(Boo Junfeng’s impressive sophomore feature may deal with the dehumanising topic of capital punishment, but it will be one of the most humane films you’ll ever watch)

Review by John Li

Genre: Crime
Director: Johnnie To
Cast: Louis Koo, Zhao Wei, Wallace Chung, Lo Hoi-Pang, Cheung Siu-Fai, Lam Suet, Mimi Kung, Timmy Hung, Michael Tse, Wong Ho-Ying, Jonathan Wong, Stephen Au
Runtime: 1 hr 36 mins
Rating: NC16 (Disturbing Scenes and Some Violence)
Released By: Clover Films, Golden Village Pictures and mm2 Entertainment
Official Website: 

Opening Day: 30 June 2016

Synopsis: 

When three disparate souls, each with his own demons to fight, are being thrown together against the hustle and bustle of an emergency room, a hospital descends from a pristine sanctuary into an explosive battleground of stress and strife. Zhau is a young doctor who desperately needs a successful operation on a high-profile patient to redeem a previous failure which not only cost the life of a patient but her self-esteem. Han is a suspect of multiple armed robberies and homicides, who has been taken to the hospital after being shot with a bullet in his head during a showdown with the police. Officer Lok is at first sight a gung-ho policeman who has participated in the showdown, but when he makes desperate attempts to do Han in by exploiting Zhau’s weaknesses, it is apparent he is harboring a much darker secret. Shit hits the fan and all hell breaks loose when a platoon of armed robbers on a rescue mission starts fighting the police in the hospital with guns and ammunitions galore.

Movie Review:

Like ‘Office’, Hong Kong auteur Johnnie To’s latest unfolds completely in a single location, where a trio of central characters will test each other morally and mentally as their paths cross one fateful day within the confines of a busy hospital. Zhao Wei’s neurosurgeon Dr Tong Qian is a tightly wound Type-A control freak whose overconfidence has left her struggling to regain confidence over her own capabilities. Wallace Chung’s Shun is a brilliant criminal psychopath whose interrogation under police custody has had him admitted with a bullet lodged in his brain. And last but not least is Louis Koo’s Inspector Chen, who needs not only for Shun to give up the locations of his consorts who are out on the streets planning more attacks but also to cover up the ‘accident’ that landed Shun in hospital.

As scripted by To regular Yau Nai-hoi with co-writers Lau Ho-leung and Mak Tin-shu, ‘Three’ adopts the same numerical act structure. The first forms an extended introduction to Dr Tong before Inspector Chen and Shun’s arrival as well as to the other kooky patients in her ward that are a stable of any Johnnie To crime film – among them, Lo Hoi-pang as an unusually cheery nutcase and Timmy Hung as a computer nerd who refuses to be discharged even after a six-month stay. The next act sets up the conflict among the key players, in particular as Dr Tong’s desperation to prove herself by going all out to care for Shun comes at odds with Inspector Chen’s lack thereof for Shun’s physical wellbeing. Dr Tong’s proclamation that she only has a six-hour window to operate on Shun imposes a countdown on the proceedings leading up to the third and final act, which builds up and culminates in a shootout when Shun’s accomplices (played by Michael Tse and Raymond Wong) sneak into hospital to try and break him out.

All too aware that his fans have been baited on the promise of flashy gunplay, To nonetheless challenges them to wait till the very end, relying instead on solid character work to keep his audience hooked. As with ‘Life with Principle’ and ‘Drug War’, ‘Three’ is occupied with flawed characters who are trying to make the best out of bad circumstances and past choices in their lives. On one hand, Chen is trying to contain the fallout from a botched police operation that may very well cost the career of his teammate; on the other, Tong needs to regain her personal and professional composure after inadvertently causing a spinal patient to become paralysed from the waist down and rendering into unconsciousness another patient with a brain aneurysm. Neither are obviously sympathetic protagonists, and for that matter Shun’s braininess quoting from the likes of Bertrand Russell and Hippocrates leaves one torn between fascination and reprehension.

Even though no bullets are fired in the first two acts, they are thoroughly engaging to watch, bolstered by intense performance by each one of the leads. Just as gripping is the most part of the third act, staged with To’s signature stylish flair and led handsomely by Lam Suet’s amusing supporting act as a bumbling detective who first stumbles upon one of Shun’s men before exploding in a perfect storm of bullets and mayhem. Oh yes, that climactic shootout is something to behold, a four-minute single take in slo-mo that begins down a long narrow corridor and continues into the ward encircling all the major and supporting characters – and would you believe that it was filmed by the cast manually simulating slo-mo, the sequence itself taking three months to rehearse and perfect?

Yet as impressive as the staging may be, To diminishes the impact of his own work by inserting a didactic ballad over its course. Not only that, To purposefully tones down the gore most likely to appease the Chinese censors and ensure playability in that market where more than half of the film’s credited investors hail from. Ditto the happy endings that see at least three of the characters discover their moral bearings and find redemption in their own ways, resulting in Deus-ex-Machinas which are awkward to say the very least. These compromises, both visually and narratively, result in a movie that ultimately cannot measure up to his earlier classic works like ‘Exiled’, ‘Election’ and ‘Vengeance’.

Despite its flaws, there’s no question that To remains a master of his game at fusing gripping character drama and riveting gunplay with occasional bursts of eccentric humour that defined his and the Milkyway brand name. ‘Three’ has more than a couple of flashes of the brilliance that we have come to expect from To’s crime thrillers, though its significance is dulled by a sugar-coated ending that his fans will surely not be used to. We never thought we had to say this about any To film, but ‘Three’ needs more grit and to be more hard-hitting especially at the end, without which it is no more than a solid but unspectacular entry into To’s otherwise illustrious oeuvre. 

Movie Rating:

(Solid character work and intense performances make this Johnnie To crime thriller a gripping watch for the most part, let down otherwise by an artifically positive ending that feels awkward and unsatisfying) 

Review by Gabriel Chong

Genre: Action/Thriller
Director: Jazz Boon
Cast: Nick Cheung, Louis Koo, Francis Ng, Charmaine Sheh, Benz Hui, Shi Yanneng, Zhang Huiwen, Li Guangjie, Moses Chan
Runtime: 1 hr 48 mins
Rating: PG13 (Violence)
Released By: Clover Films, Golden Village Pictures and mm2 Entertainment
Official Website: 

Opening Day: 11 August 2016

Synopsis: Ding is laden with the task of finding the six mysterious undercover agents. Helping her will be Q-sir, who is a smart and quick-witted cop. Infiltrating the triads once again, Ding will face the dangers of the underground world and will be thrown into the middle of two notorious gang members: an unconventional drug lord whose actions are always a mystery, and a careful, tactical and coldblooded killer who does not let anything stop his goals. During the operation, Ding receives a shocking text stating that the sixth undercover is either of the two. Determined to finish her mission, Ding throws her life on the line and becomes tangled with the triads.

Movie Review:

Adapting a hit serial to a feature length movie seems to be a favourite commercial move for Hong Kong broadcaster TVB lately. Unfortunately, the results are mostly misses than hits. Take for example, Triumph in the Skies and Return of the Cockoo. Though these titles already had a strong fanbase, it just doesn’t translate into box-office. Definitely not a sure-win formula.  

“Never Say Die” seems to be TVB’s motto as they turned the highly rated serial, Line Walker (2014) into a high-octane, high budget action movie. Directed by the original series’ executive producer, Jazz Boon, Line Walker stars Charmaine Sheh (the only star reprising her role), Francis Ng, A-listers Nick Cheung and Louis Koo with serial stars Raymond Lam and Michael Miu nowhere to be seen.     

The movie version continues to deal with undercover police agents and their struggles as Sheh’s Ding is assigned by her superior and handler Q-Sir (Francis Ng) to uncover the identity of the last missing undercover cop. Two names came up in the end, Master (Louis Koo) and Lam (Nick Cheung) both men who worked for a major drug syndicate. Brotherhood is tested, shots are fired and more baddies are revealed so let the guessing game begins in Line Walker.  

You don’t really need to follow the TVB drama to follow the movie version. With the exception of Ding and Benz Hui’s characters, the rest of the proceedings are very much stand-alone. Line Walker largely relies on the chemistry between Nick and Louis, two of the most hardworking HK actors in the industry. The story for most of the running time focused and established the strong relations between Master and Lam, both characters assumingly came a long way. The script by television writer Cat Kwan is mostly taut and tense since it successfully keeps you guessing who is actually the real mole. Master or Lam? Are they willing to kill the other party if proven one of them is working for the cops? Furthermore, Lam’s capability is threatening the position of the current Chairman that his life could be in danger any minute.

This is not say that Cat’s script is not completely without its flaws. There’s strictly more than enough material to fill up the 108 minutes movie that the narrative turned Charmaine Sheh’s character to be the weakest link of all. Of course, it doesn’t help that Ding also conveniently disappeared for half of the movie. If you can still recall Anthony Wong’s character in Infernal Affairs, let’s just say that Francis Ng’s Q-Sir is almost a carbon copy of it. Ng is undeniably a fantastic actor even it’s mere scenes of him talking to phones and talkies. But we need to give the man more screentime for him to shine. Always looking suave and dark, Koo is not a powerhouse actor to give Master a more indepth portrayal so he is what we coined as serviceable. Nick Cheung on the other hand is far competent even if the script doesn’t allow more room for his character, a pity considering Lam is an interesting character to explore.

The money shot of Line Walker obviously points to the action sequence where Master and Lam encounter a series of heavy enemy fire followed by a frantic chase through the slums of Brazil. TVB indeed picked a good time to coincide with the upcoming Olympics I must say. Action sequences are flashy, mostly haphazardly edited and lacks the dynamics of say Cold War 2, Firestorm and Helios though Chin Ka Lok choreographs all mentioned titles. Even the climatic showdown with regular onscreen baddie, Shi Yanneng looks tired and over melodramatic.

Bogged down by the original source material, Line Walker tries hard to tie in and the end result is a marginally average action thriller. It does have its gripping moments mostly coming from character motivations not the over stylized action. Still, we wouldn’t mind sitting through this one rather than an empty Triumph in the Skies and horrendous Return of the Cockoo.

Movie Rating:

(Compelling at times due to the screen presence of Nick Cheung and Louis Koo)

Review by Linus Tee

Genre: Martial Arts
Director: Derek Yee
Cast: Peter Ho, Kenny Lin, Jiang Yiyan, Jiang Mengjie, Gu Cabin, David Lai
Runtime: 1 hr 48 mins
Rating: PG13 (Some Violence)
Released By: Clover Films, mm2 Entertainment, Shining Entertainment and Cathay Keris-Films
Official Website: 

Opening Day: 15 December 2016

Synopsis: The Third Master of the Sword Mansion decides to retire from the martial arts world. He spreads news of his own death and goes into hiding at a brothel, as a janitor named Chi. Chi lives as an underdog and falls for young courtesan Xiao Li. One day Yan, another expert swordsman whose only wish is to fight a duel against Third Master, accidentally encounters Chi. Unaware that Chi is actually his dream opponent, Yan teaches Chi his secret fighting skills. Meanwhile, Third Master’s former fiancée Qiudi tries to seduce Yan into killing Third Master as revenge for abandoning her on their wedding day. In a desperate attempt to lure the Third Master out of retirement, Qiudi commits a massacre at the Sword Mansion, laying the seed for a fierce showdown...

Movie Review:

If ‘Sword Master’ seems an odd entry into Derek Yee’s filmography in light of his recent gritty urban dramas like ‘One Night in Mongkok’, ‘Protégé’ and ‘Shinjuku Incident’, it is really a return to his ‘wuxia’ roots. Oh yes, before he came into critical acclaim as a director, Yee was better known as a former Shaw Brothers actor whose claim to fame was in such dramas as ‘Death Duel’, ‘Heaven Sword and Dragon Sabre’ and ‘Heroes Shed No Tears’. In fact, Yee also credits his 1977 breakout film ‘Death Duel’ for his latest, itself based too on ‘wuxia’ icon Gu Long’s ‘Sword of the Third Master’ and directed by the legendary Chor Yuen. But Yee’s inspiration is less his former director’s than his producer and co-screenwriter Tsui Hark, whose own flirtation with the genre left such 1980s touchstones as ‘Peking Opera Blues’, ‘Swordsman’ and the ‘Once Upon A Time in China’ series. Indeed, the powerhouse collaboration between Yee and Tsui doesn’t disappoint – visually captivating and emotionally poignant, it is as much faithful homage as it is stylish re-invention.

With a third screenwriting credit to Chun Tin-Nam, Yee and Tsui plot their ‘Sword Master’ first from the perspective of Yen Shih-san (Peter Ho), who gets the first stylised CGI-heavy swordsfight of the movie on a snowy stone bridge duelling with a vengeful but poorly matched opponent Gao looking for revenge for his second brother. Yen eventually kills his opponent, but is told by onlookers that he cannot claim to be the greatest swordsman unless he prevails over someone known as Third Master. And so he sets out on that very quest, which brings him to the Supreme Sword Manor where the Third Master’s Hsieh Clan reside. It is there he meets the Manor’s Lord and learns that the Third Master has been dead for 37 days, a news he receives with disbelief and uncontrolled rage – for ‘losing one’s biggest rival is like losing one’s soul mate’, Lord Hsieh says with utmost empathy. Turns out Yen is afflicted with an incurable illness, and his impending death coupled with a loss of purpose leaves him content to live his remaining days in obscurity at a graveyard outside Bitter Sea Town.

Without any further context at this point, the narrative shifts to a drunk man who stumbles into a brothel claiming to be rich but is only found to be penniless by its Madam after overstaying five days. And so he agrees to pay his dues by working as their errand boy named Ah Chi (Lin Gengxin), despised by most of the arrogant courtesans except one named Li (Jiang Mengjie), whom he takes a blade for after two belligerent customers refuse to pay for her service. Though it may seem that Chi acted out of love for Li, the truth is far more complicated – lost and disillusioned, Chi no longer has regard for his own life, content to live it out whether in humility or humiliation. So before Li or the brothel’s owner can reward him, Chi leaves and heads for a nondescript village to join the boorish but good-hearted Mao (Tie Nan) as a sewage collector, learning from the latter how to find joy even from such lowly professions by giving names like ‘Human Gold’, ‘Osmanthus Fragrance’ and ‘Gold Juice’ to their daily collections of human waste.

By this point, it is clear that Ah Chi is really the Third Master Hsieh Hsiao-feng that Yen seeks, who we will learn through subsequent flashbacks has tired of the blade and duty to the clan after realising how his conquests to be number one have only led to vicious cycles of killing and revenge. Certainly, Hsiao-feng’s past will catch up with him – not through Yen though but rather by his jilted ex-lover Chiu-ti (Jiang Yiyan), whom he abandoned on the day of their arranged marriage that was supposed to unite the Hsieh and Mu Yung clans. While it may seem that Chiu-ti is driven by hurt, it turns out that she is torn between love and hate. Whereas, it is her pageboy Chu who only harbours the latter for Hsiao-feng, thus setting up an ultimate showdown which pits the Supreme Sword Manor against Chiu-ti’s Seven Star Pool and the former’s other arch-rival Purple Might. What about Yen? We won’t spoil the surprise for you, but let’s just say that Yen and Hsiao-feng leave the best for last – and for good reason, mind you.

Rather than just a modern-day rehash of its predecessor, ‘Sword Master’ takes a decidedly character-driven approach to its storytelling, emphasising each one’s motivations and therefore their conflicts relative to each other. Hsiao-feng wants to escape from his birth legacy as well as his haunted past but realises that moving forward means facing up to the repercussions; Chiu-ti too is trapped by her past but her wounded pride binds her and Hsiao-feng in a vortex of hurt, hate and ultimately harm. Yen, on the other hand, learns to let go of his obsession for prestige, and his unexpected turn as protector, mentor and buddy to Hsiao-feng’s Ah Chi is a refreshing break from cliché. Li may seem like the blander female role, but there is a nice touch of irony in her (as a prostitute no less) being the virtuous one next to the vindictive Chiu-ti. Across the board, the performances are competent, if slightly mediocre, so it is a relief the well-written characters nevertheless keeps us hooked.

Just as, if not more, captivating are the visuals, which are ravishing in their own right. To be sure, Yee isn’t intending for realism here; instead, he aims for a self-aware visual artifice of sharp contrasts, switching effortlessly between studio sets and CGI to achieve an aesthetic befitting of mythology and legend, though thankfully not quite so excessive as some of Tsui’s earlier works (like ‘The Legend of Zu’). That same sensibility informs the action choreography by Yuen Bun and Dion Lin, staged with elegance and grace in every stroke – whether bands of robed assassins moving in unison from plumes of smoke, or characters somersaulting over each other, or Yen’s ’13 Sword’ fighting style that allows him to be at multiple locations in the same point of time. Each action sequence of balletic wirework is top-notch, enhanced for depth of field to give a thrillingly kinetic experience for viewers, especially those who have the privilege of catching it in 3D.

Like we said at the start, even though ‘Sword Master’ may seem like an odd addition to Yee’s directorial oeuvre, it is very much a distinguished one, informed clearly by Yee’s own love and flair for the ‘wuxia’ genre as well as that of his producer Tsui’s. It is by no means a straightforward remake of Yee’s career game-changer ‘Death Duel’ – most notably, ‘Sword Master’ does away with portraying Hsiao-feng’s duel after duel with disposable villains and focuses instead on building up Yen and Chiu-ti as credible and nuanced supporting characters, which pays off in compelling and poignant ways in the film’s third act. Fans of the genre will no doubt recognise Yee’s reverence for its tropes, especially narratively, and hopefully come to appreciate his reinvention of the visuals through CGI and impressive wirework. Oh yes, there is both beauty and thrill in the action, and ‘Sword Master’ is one of the most beautiful martial arts extravaganzas you’ll see in recent time. 

Movie Rating:

(As much faithful homage as it is stylish reinvention, Derek Yee’s update of his 1977 ‘Death Duel’ is ‘wuxia’ cinema at its best)

Review by Gabriel Chong