It tells that Tang Yongqiang lives with his wife and children in a village house in the New Territories. Although his wife has a job, Tang Yongqiang is unemployed and has no income. He lives on CSSA. The relationship between the two couples gradually faded, and his wife even went out of the wall. Tang Yi was angry and beat his wife. The wife left Tang and ran away with her lover. When two female social workers followed up the case of Tang’s troubled family, they discovered that Tang Zheng was holding their children at home and demanding to meet with his wife. In the end, LPG was detonated. The police searched evidence and gave confessions at the scene, and discovered the bodies of the victims of the missing girls in two recent cases. Everyone was terrified.
Wu Ma ( who played the awesome singing and dancing Taoist ghostbuster from the Chinese Ghost Story movies) is slumming it here as a King of Gamblers who gets knocked down my his rival and then dies at the hand of his son's terrible soup...or something.
Hong Kong ghost story.
Two absolute strangers both desperately struggling to find themselves make a hilariously funny partnership for money. Their plan - a bank robbery! Meet Ah Lee, a well-educated middle-class professional who is deep in debt because of a so-called friend. Then there's PaPa, an inexperienced and very outdated crook who is heartbroken by the recent break-up with his girlfriend. When PaPa decides to teach Ah Lee the art of robbing a bank, the two men discover more than just a thing or two about themselves!
Mimi Chan
The "Hu-Du-Men" (loosely translated as "stage door") is an imaginary line separating the stage from reality, and a line that must be crossed each and every night by Sum (Josephine Siao), the aging star of a Cantonese Opera troupe. Nearing the twilight of a storied career, Sum must face a variety of challenging new obstacles, including the possible emigration of her family come 1997, the appearance of a promising young actress (Anita Yuen), the hiring of a Western-schooled stage director (David Wu), the surprising revelation of her daughter's sexuality, and finally the reappearance of a shocking secret from her past. Through it all, Sum must retain her professionalism and dignity, as the "Hu-Du-Men" between the stage and her life begins to blur. Emotional, intimate direction and Raymond To's intelligent, relevant screenplay make Hu-Du-Men worthwhile cinema, but it's Josephine Siao's brilliant, emotionally dynamic performance that sets this film above the rest.
