Get ready to play a game of death… and another… and another. This wild documentary dives into the Bruce Lee exploitation craze.
A look back at the largely undocumented period of early Chinese-language horror cinema, beginning in Hong Kong and the Shaw Brothers and graduating to Taiwan and the production of Calamity of Snakes in 1983.
An insightful look at the history of Hong Kong's exploitation cinema, from the early days of the Shaw Brothers and such shockers as "Killer Snakes" through to the advent of the Category III rating in 1988 and then the June 4th massacre in Beijing. The latter led to a panic in Hong Kong, before the Handover of the former UK colony to Mainland China, and a number of motion pictures proceeded to take freedom of speech (and sometimes political symbolism) to the extreme. This is the story of one of the most curious and invigorating periods in exploitation filmmaking.
Eastern Heroes: The Video Magazine - Volume 1 is a Documentary on Hong Kong cinema.
A cut-and-paste movie combining footage from two 1990 HK gangster films with shot-on-video dialogue featuring Joe Lewis, "Chaplin Chang" and director Godfrey Ho in a rare acting role. There is no discernible plot.
Gordon Anderson (CIA. Ninja. Ninja Hunter) must face his toughest challenge yet when King Ninja steals a top secret formula known as DAK10 that can activate the desire to kill...
Godfrey Ho is considered a master of B-movie Hong Kong actioners. However, a number of his movies are Z-grade movies made with a "cut-and-paste" technique. He would shoot footage for one movie, often using Caucasian actors for exportation, then edit the scenes into several other movies, mixing them with footage from old, unfinished or unreleased Asian movies (using Thai as well as Chinese or Filipino footage), then trying to make the story somewhat coherent through dubbing and voice-overs. He would then have four or five movies while having spent the budget of one. Ho states this style of filmmaking was enforced on him by producer Joseph Lai. He effectively retired from direction after 25 years making genre films in Hong Kong, Taiwan, and the Phillipines, he was most recently teaching filmmaking at Hong Kong Film Academy.
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