A man travels from China to Vietnam, on the brink of war with America, to retrieve his uncle and cousin but find complications when he falls in love with a female gangster with a dangerous ex.

A.Better.Tomorrow.III.1989.BDRIP.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 58 min
Size: 	2.55 GiB
Video
Codec: 	x264
Resolution: 	1024x542 
Aspect ratio:  	1.889
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.225
Audio
#1:  	Chinese 1.0ch AC-3 @ 192 kb/s

https://nitro.download/view/91F1C5F9CEDF908/A.Better.Tomorrow.III.1989.BDRIP.576p.x264.AC3.KJNU.mkv

Language(s):Cantonese, English, Vietnamese
Subtitles:English

The post Hark Tsui – Ying hung boon sik III jik yeung ji gor AKA A Better Tomorrow 3 (1989) first appeared on Cinema of the World.

Nearly two decades after scripting the Infernal Affairs trilogy which has been liberally remade and borrowed from, Felix Chong’s new crime thriller does some pilfering and copying of its own. Spotting Project Gutenberg’s high-profile, largely Hollywood influences isn’t difficult, but derivation is rarely as entertaining as this slick Hong Kong effort about a high-stakes counterfeiting operation — and rarely comes with such compelling and engaging performances from the starry likes of Chow Yun-Fat and Aaron Kwok.

Like Infernal Affairs, it’s easy to see Project Gutenberg swiftly receiving an English-language remake, although the familiarity of one specific part of its narrative — it’d be a major spoiler to say which, however — might hamper its fortunes. In the interim, the film has proven a huge Chinese success, and currently sits 12th at the country’s box office for the entirety of 2018. Already open in Hong Kong, Singapore, Australia and the US as well, the movie’s latest stop is the Tokyo International Film Festival. Beyond its theatrical run, streaming interest should also be healthy.

Marking Chong’s first stint in the director’s chair in four years, Project Gutenberg sees failed artist turned gifted forger Lee Man (Kwok) spin an intriguing story during a police interrogation. Extradited from a Thai prison by Hong Kong detective Ho Wai-tam (Catherine Chau) and her team, he’s the only surviving member of a crack counterfeiting squad other than the elusive mastermind, who’s known only as Painter (Chow). The cops expect Lee to spill everything that he knows about his boss, and they’ll do whatever it takes to ensure that’s the case. Eventually he does — and what a tale he has to tell — but only after the enigmatic Yuen Man (Zhang Jingchu) helps loosen his lips.

By Sarah Ward28 October 2018

17.4GB | 2h 10m | 1920×804 | mkv

https://nitro.download/view/2D7031552C2FC1E/Project.Gutenberg.2018.CHINESE.1080p.BluRay.x264-WiKi.mkv

Language(s):Chinese
Subtitles:English,Chinese

The post Felix Chong – Mo seung AKA Project Gutenberg (2018) first appeared on Cinema of the World.

Hong Kong native Jennifer (Cherie Chung) moves to New York City to study for her Master’s Degree and to reunite with her boyfriend Vincent (Danny Chan Bak-Keung). There, she meets her very distant relative Samuel Pang (Yun-Fat Chow), a street smart and wise-talking waiter-by-day and gambler-by-night, who helps Jennifer settle in her apartment building in the outskirts of Brooklyn. When Jennifer discovers that Vincent is being unfaithful, she nearly puts all her plans to a halt. But, Pang talks sense into her and helps her adjust to her new life in the Big Apple and without Vincent, resulting in an unlikely relationship.

2.24GB | 1h 39m | 1024×552 | mkv

https://nitro.download/view/74E6ECC78B7CDF3/An.Autumn’s.Tale.1987.BDRIP.576p.x264.AC3.KJNU.mkv

Language(s)Cantonese,English,Japanese
Subtitles:English

The post Mabel Cheung – Chou tin dik tong wah AKA An Autumn’s Tale (1987) first appeared on Cinema of the World.

Synopsis: In this stylish musical, a CEO’s plan to take her company public hits a roadblock when an audit exposes a great deal of corruption. As a result, the stock bonus her former mentor had promised her is in jeopardy.

4.36GB | 1h 59mn | 1280×536 | mkv

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Language(s):Cantonese, Mandarin, English
Subtitles:English

The post Johnnie To – Hua li shang ban zu AKA Office (2015) first appeared on Cinema of the World.

A young heroic cop in the jungle of Thailand attempts to rescue a beautiful girl from being sacrificed to the “Worm Tribe” she belongs to. As a result, the cop is damned with seven “Blood Curses” which burst through his leg periodically. When the seventh bursts, he will die, but Betsy, the beauty he saved stops the curse with an antidote that lasts only one year, so on the advice of Wisely (Chow yun Fat) he heads back to Thailand to find a permanent cure. Action ensues as the cop and cohorts battle the evil sorcerer of the Worm Tribe, a hideous bloodthirsty baby like creature and “Old Ancestor,” a skeleton with glowing blue eyes that transforms into a monster that is a cross between Rodan and Alien. (from IMDB)

1.14GB | 1h 17mn | 720×384 | mkv

https://nitroflare.com/view/B0E0F3C46DC23DF/The_Seventh_Curse_%281986%29.part1.rar
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Language(s):Cantonese
Subtitles:English, Chinese

The post Ngai Choi Lam – Yuan Zhen-Xia yu Wei Si-Li AKA The Seventh Curse (1986) first appeared on Cinema of the World.

Quote:
Hong Kong, 1980. The Vietnam War has been over for five years and the ethnic cleansing of Chinese has begun. As the “boat people”, refugees of Vietnam, flood out of the country, Hong Kong becomes know as “port of first asylum”. Among these boats is Wu Yiet (Chow Yun-Fat), a former South Vietnamese soldier still recovering from the ravages of war. For him, Hong Kong is the first step for life in the United States, and he soon falls for fellow immigrant Sum Ching (Cherie Chung). Yet the promise of a new beginning doesn’t come easy: the refugee camps have been infiltrated by murderous Viet Cong agents, and an act of violence forces Wu Yiet on the run and deeper into a vortex of crime and brutality. Can he and Sum make it to the United States, or will he forever be stuck in the perpetual cycle of killing inherited from the war? Cora Miao (The Terrorizers) and Lo Lieh (all sorts of bad-assery) co-star in Ann Hui’s grim study of immigrant life. Alfred Cheung’s writing famously won Best Screenplay at the 1st Hong Kong Film Awards.

After tackling the mystery film in The Secret and the horror comedy in The Spooky Bunch, The Story of Woo Viet provides us with Ann Hui’s take on the urban crime drama. Yet, even among the various gritty, realist crime dramas that trickled out of the Hong Kong New Wave, Woo Viet deserves special notice. Perhaps more than any other, Hui’s film breaks with the commercial ambitions of Hong Kong cinema, more attuned to the social-realism of 70s Western cinema (and which was slowly creeping into Chinese and Taiwanese films at the time). While the basic outline of a genre film is perceptible, Hui’s film owes very little to the Action and Melodramatic tradition of HK filmmaking. Films like The Club and Man on the Brink may have provided a look at a social milieu until then ignored by HK cinema, but they were still in essence action films. A movie like Dangerous Encounters – 1st Kind may have been uncommercially bleak and violent, but you can’t deny the kinetic thrill provided by Tsui Hark’s various setpieces. The entire New Wave itself was initiated by a kung-fu film: Jumping Ash. The “action” here isn’t mannered or precisely choreagraphed; they’re brief and unsettling bursts of violence which happen too quickly and too shockingly to thrill.

The influence of the crime genre isn’t absent: the theme music purposely brings to mind film noir, a late scene is a riff on one from The Godfather, and in certain ways, it echoes Oliver Stones’ treatment of Cuban refugees in Scarface (and with the film getting a wider release than usual, including a screening at Directors’ Fortnight, you must wonder whether he saw it). Yet, Hui’s focus isn’t on subverting genre thrills, but instead on social realism, on the plight and vulnerability of the Vietnamese immigrant, as well as the capturing the psychological turmoil of her characters as they find themselves stuck in a perpetual cycle of violence and hopelessness. Her film is subdued, mininimalist and quietly intense, in line with anguished cries of urban squalor like Taxi Driver and The Claws of Light (if not as good as either).

It’s a byline she would carry to its conclusion with the following year’s The Boat People, a film which owes nothing to HK Genre cinema, and which is about as close as the industry got to “art” cinema at the time. In fact, that may ultimately be Hui’s ultimate legacy to the New Wave: directors like Tsui Hark, Kirk Wong and Alex Cheung were harbingers (and later participants) of the “Second Wave” of the latter 80s, where the techniques and styles of the New Wave were re-appropriated in a completely commercial form which disregarded its most radical aspects. Yet Ann Hui, along with Patrick Tam and Allen Fong, were perhaps too far ahead of the curve: their films point towards the “Third Wave” of the 90s, the emergence of a serious, personal and independent cinema in HK, epitomized by the films of Wong Kar-Wai, Stanley Kwan and Fruit Chan. It’s no surprise that after these two films, she would retreat to more commercial fare, lending her deft touch to romantic dramas and period pieces (with the occasional excursion back like Song of the Exile and Ordinary Heroes). The Story of Woo Viet isn’t a perfect film, but it is an emblem of how uncompromising and unconventional the films of the HK New Wave could be.

2.13GB | 1 h 29 min | 1024×576 | mkv

<https://nitro.download/view/01969E45FBCC4A0/Ann_Hui_-_(1981)_The_Story_of_Woo_Viet.mkv
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Language:Cantonese
Subtitles:English

The post Ann Hui – Woo Yuet dik goo si AKA The Story of Woo Viet (1981) first appeared on Cinema of the World.

Quote:
Like an eager frequent flyer, Western paternalism changes destinations but not its baggage. The Children of Huang Shi takes the good intentions and terrible methods of The Constant Gardener and Blood Diamond and takes them to China, where another traumatizing upheaval is whittled down to window-dressing for the personal romance and redemption of a couple of chalky-white stars. Business as usual for Roger Spottiswoode, who in the 1983 thriller Under Fire envisioned the Nicaraguan revolution as mere scrim on which a hotshot American reporter could get his shit together. The adventure-seeking outsider this time around is real-life British journalist George Hogg (Jonathan Rhys Meyers), who arrives in late-1930s China as invading Japanese forces plow the land, slaughtering everyone in their way. Summarily getting himself on the wrong side of an Imperial rifle in the Nanking occupation, Hogg is saved by Chen (Chow Yun-Fat in a glorified sidekick part), an explosives expert in the Chinese communist guerilla resistance, and taken to Huang Shi, the dilapidated yet somehow pastorally photogenic site of an abandoned orphanage for boys. He takes to cultivating the land and teaching locals how to repair broken machinery, but for all the lip service about finding yourself in another culture, Hogg is simply killing time before the return of Lee (Radha Mitchell), the diligent American nurse and mandatory Caucasian love interest whose presence further turns any historical events into wallpaper. The protagonist’s journalistic occupation—”You can tell the world what’s happening here,” Chen tells him, just like the African sacrificial lamb in The Last King of Scotland—is a wan attempt at hiding the fact that, with far more interesting perspectives available from Chow’s resistance fighter or Michelle Yeoh’s opium supplier, the decision to focus instead on a pair of pallid Western humanitarians boils down to racial preference and box-office priority. Spottiswoode concludes with moving footage of the surviving orphans remembering their savior, but in Children of Huang Shi colonialist condescension still has the final word.

1.37GB | 1h 47mn | 656×288 | mkv

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Language(s):English
Subtitles:English, Chinese

The post Roger Spottiswoode – The Children of Huang Shi (2008) first appeared on Cinema of the World.