Writer
Gillian and Charlene, as usual, play a couple of mis-matched partners who come under the tutelage of the slightly nutty and love-sick Black Rose (Teresa Mo), a former kung fu-fighting super-hero who grooms them for a life of fighting crime. Ekin Cheng plays a dim-witted cab driver who wears a Robin costume and becomes Charlene's love interest. There is a bit of "comedy" as Rose confuses Ekin with her former lover and Gillian become jealous. A lot of time is wasted with this Three's Company-style shtick until eventually, some shred of a conflict comes forward, as the girls must battle a former protege of Rose who has taken to kidnapping to pay the bills.
Hong Kong in the 90's - the women's movement and attitudes towards love and sex is depicted through experiences of three women.
A Story in Beijing City is a Hong Kong made-for-TV movie starring Kara Hui.
One of the three Hong Kong movies entitled Fatal Love that came out in 1993. Starring Lester Chan and Lau Wai-Man.
Ah Man
After fleeing vietnam, John joins his brother on board his ship, running illicit goods into Hong Kong. The rest of the ship's crew are under the command of Keung and they have a sideline in pirating, targeting vietnamese refugee boats in particular. On one such boat, they come across Gary and his sister, who is promptly killed, along with the rest of the crew: Gary only being saved, thanks to John throwing him into the sips hold, where he hides, struck with amnesia, until they arrive in Hong Kong. once there, Gary manages to flee the ship, but soon finds himself wanted by both the pirates and the police, namely inspector Yeung, with John stuck in between his brother and his friend...
Facing Sun
A righteous straight-laced China Public Security officer with supernatural powers is sent to Hong Kong to catch two ruthless thieves. His police tactics proves hilarious when he teams up with his Hong Kong counterpart.
Chor Yuen was Gu Long before he started filming Gu Long. The director's first wuxia film, made at Shaws' rival Cathay, finds him relishing in a mode of expression that would later become the signature style of the 'martial-arts suspense thriller' mini-genre. Chor grafts the quasi-psychological stylishness of his Cantonese melodrama onto this actioner, laying on thick the atmosphere by dialling up the fog machine and unleashing the colours from his camera's palette. He also stages his fights in modern dance-like choreography, with moves that are more graceful than ferocious and paused poses that are longer on expressive narcissism than continuity of action. Cold Blade is the quiet beginning of an aesthetic.
