Showing posts with label Teddy Chiu. Show all posts
Showing posts with label Teddy Chiu. Show all posts

Friday, January 27, 2012

Tough Beauty And The Sloppy Slop (1995)

1995 - Tough Beauty And The Sloppy Slop (New Treasurer Films Co. Ltd)


[Hong Kong production filmed in the Philippines, sometimes listed as “Tough Beauty And Sloppy Slop”]


Directors Alan Chui [Chung San], Yuen Bun Screenplay Foh Ging-Yiu Producers Chung Wai-Shing, Lam Wai Cinematography Stephen Poon Tak-Yip Composer J. Galden Editor Yiu Tin-Hung Action Directors Alan Chui [Chung San], Lee Chi-Git Planning Shum Wai Production Manager Jeng Shing-Miu Art Director/Costume Designer Buboy Tan Lighting Paul Yip Pak-Ying Presenter Woo Man-On, Ng Ming-Choi Props Elson Ho Wai-Keung Assistant Action Directors Hon Chun, Chow Gam-Kong


Philippines Crew Alex Austero, Orly Centeno, Renato Gracilla, Teddy "Tsiu"/Chiu, James Gaines, Eduardo Cabrales, Jany Chua, Jessie Manaloto, Felix Calderon, Maning Sta Maria, Princ Atelagos, Cinilo Lim Pim


Cast Yuen Biao (Li Chin Tang), Cynthia Khan (Captain Yiang), Waise Lee [Chi-Hung] (Wai), Monsour Del Rosario (Major Sandos), Yuen Wah (Mainland drug seller), Billy Chow [Bei-Lei] (Leader of counterfeiter gang), Tam Suk-Mooi (Yu Yung Chi), Jerry Bailey (Mr Ramos), Peter Chan Lung (Mainland drug buyer), Shum Wai (Mr Wu), Wong Ngok-Wa, Lam Wai (Hong Kong official), Alex Man Chi-Leung (Officer Wan), Leung Shun-Yin (Wan's mother), Alan Chui Chung-San (Peter Wu), [uncredited] James Gaines Jr (James), Teddy Chiu


Three high-octane cops--an unorthodox one from Hong Kong, a straitlaced one from the Mainland, and one from the Philippines--join forces to demolish an insidious counterfeiting ring. Cops-and-robbers action fare taken to its most gleefully bullet-ridden extreme.


Cynthia Khan (presumably "Tough Beauty") and Yuen Biao (presumably "The Sloppy Slop") do their take on "Police Story 3", masquerading as unsavories and busting some bad guys out of jail to win their trust. After succesfully infiltrating the evil gang, they must resort to some oft-wacky techniques to protect their true identities...


Phil Mills' review from the Far East Films website:


Mainland Officer Yiang (Khan) is on the tale of Wai (Lee), a high profile leader of a money counterfeiting scheme. Annoyingly, he persistently evades the long arm of the law due to his men's unfathomable loyalty to the cause but the Police are handed a loophole when it turns out that his wife is currently in prison in the Philippines. Yiang goes undercover to befriend her in the hope that it will lead her to Wai and during her time inside she is given a contact by the name of Li (Biao), a Hong Kong policeman who poses as her husband to keep up the facade. When Li helps to free the two friends all goes according to plan and the undercovers become members of Wai's gang, running various errands for him whilst supposedly hiding from the police. When it becomes apparent that there is a man behind the man, the two officers must use all their wits to avoid revealing their identities and try to bring the entire ring down.


The first thing that is instantly noticeable about this bizarrely titled 'Police Story 3' imitation is that this is low budget film making of the highest order. Film quality is poor and scripting is minimal, providing a springboard for a set of action sequences that will hopefully allow the film to capitalise on current box office successes. Established talent in the form of Biao and Khan (albeit stars that are down on their luck) are drafted in to bring recognisable faces to the charade but even their combined talent cannot help to make the story rise into the realms of rational thought. This is not to say it is completely unwatchable, just in a sort of P.S.3 through very clouded glasses type of way.


Never let it be said that a lack of script can mean the film is a total disaster though as the combination of classic action and quality cameos make this a film not to be overlooked. Yuen Biao can never have too much screen time when it comes to kung fu as far as I'm concerned and although he is not exactly tested to the full extent of his ability here, he does provide some noteworthy action moments for this performance. If anything, it's the choreography that lets the production down as the main dosage is simplistic to say the least with very little room for the extravagant. There is however an attempt to mix it up a little with a few acrobatic tricks thrown in along with slow motion gunplay that pops up now and again to impressive effect. Billy Chow is most likely the cream of the crop as he gets an extended appearance as the final opponent and it's worth the wait as he unleashes his powerful bootwork that compliments a satisfactory amount of martial artistry.


'Tough Beauty And The Sloppy Slop' has it roots firmly set in the Hong Kong style of film making that emerged from the 1980's. Who needs a huge budget or a masterful script when you can put together a fun action movie with some over-the-top fights accompanied by a little slap stick comedy. Despite the cash-in elements taken from other movies of this kind, it still provides enough entertainment to make it stand out and with a little more money and thought it could have become a classic of the genre.


Review from the Chop Sockey Cinema website:


A multi-national gang headed by Mr. Wei (Waise Lee) and his boss (Billy Chow) and is using counterfeit money produced in the Philippines to buy and traffic them in mainland China and Hong Kong. In a police co-operation, Captain Yiang (Cynthia Khan) from mainland China is sent to the Philippines to join undercover Hong Kong cop Li Chin Tang (Yuen Biao) and Phillipino cop Major Sandos (Monsour Del Rosario) to solve the case. Together they must defeat hordes of gun-totting, martially inclined baddies, all while comedically trying to stay undercover.


This 80's styled mid-90's movie of an interesting title pairs martial arts and acrobatic phenom Yuen Biao with Cynthia Khan (In The Line Of Duty IV) under the direction of Biao's former Peking Opera classmate Yuen Bun. It's usually shrugged off as another semi-decent Supercop rip-off, and for good reason - it's just that. From the basic low-budget shootout opening, it's apparent that this Phillipino production will linger in mediocrity for the remainder of its duration, only made watchable by the saving graces of its two stars (referring to Yuen Biao and Monsour Del Rosario) and a superb villain, veteran Billy Chow (even though he only gets minutes of screen time and the one finale fight).


The fighting is fairly average. Choreography is basic kickboxing (80's style) and has enough of power and speed to mildy satisfy the taste for violence, but all of the fights are too short, and the camerawork isn't good enough to capture the action well. The fighting lacks energy and is slow way too often (for the exception of Yuen Biao, Billy Chow, and Monsour Del Rosario). Although most of the fighting appears to be tight, it's easy to spot off-timing reactions everywhere. The first martial arts fight is very brief, Cynthia Khan fighting Yuen Wah, and ends with Wah's double crashing through a scaffold. Looks very painful. Good end to a bad fight. The stunts would all be half-decent if not for the constant cutting (sometimes absolutely ridiculous like Yuen Wah and Cynthia Khan jumping off of a 3-story roof and landing on their feet), close-ups, and overall cheapness present in virtually all of them.


Phillipino Olympic Tae Kwon Do master and World Champion Monsour Del Rosario steals the show in whatever scene he's in offering some of the best Philipinno movie fighting ever (although only seconds of it are featured here). Had the fights been longer, and with better camerawork and stunts, this movie could have really been something with such talent.


The film wisely relies on comedy to carry through the plot in moment devoid of action, but comes across uninspired, and offers little to enhance the viewing experience. The chemistry between Yuen Biao and Cynthia Khan is good enough to keep viewers from being bored, but there are too few jokes of too little comedic value. Khan is slow and unconvincing in the fighting bits, but she looks good so that's forgivable, whereas Biao is noticeably kicked back instead of kicking bad guys. When he's taking part in the action, it's of course to his standard, but that's not much in terms of quantity.


The finale is definitely worth the wait, and is climatic enough. Rising tension explodes in a raging gun battle featuring some good (but short) martial arts showdowns. The automatic weapons are put to good use in the best action of the movie, and the fights are very well done here as well. Khan is at her best in the 2-on-1 face-off against Billy Chow with Yuen Biao. Hands down the best and longest fight in the movie, but Chow and Biao are capable of better. Fast, crisp kickboxing, great falls and stunts. Fantastic 4-star fight (minus the ending) that is worth watching even if the rest of the movie isn't.


Tough Beauty And The Sloppy Slop also featured a load of Hong Kong stars in cameos, but with such a basic film, it doesn't really add much. It's a mediocre attempt, but hey, you can't blame them for trying. Martial arts action movies were on the decline, and if the Phillipinnes were the only place to get it done, then why not - it's better than nothing. It will take more than the casual fan to enjoy the whole thing however.


Danton's review from the Hong Kong Movie Database:

This B-movie shot in the Philippines plays like a throwback to the kind of cheap action films that studios like D&B Films churned out in the late Eighties. Starring Cynthia Khan and Yuen Biao, as well as Waise Lee as the villain (along with Billy Chow and Yuen Wah), it depicts the story of Khan and Yuen going undercover to infiltrate a money-forging, drug-smuggling crime syndicate. While doing so, they not surprisingly are given ample opportunity to put on a display of their Martial Arts skills. In fact, much of the story is really just filler material designed to bridge the time between the various shoot-outs and fisticuffs.


There's not much originality here, nor any great acting or story to speak of. Which is not necessarily a bad thing: the flick never tries to be more than a brisk, generic, action-filled time-waster, along with some banter between the two stars that is driven primarily by Cynthia's well-established prudishness. If you're in the mood for some mindless action fun, this movie certainly delivers, especially in the final explosive showdown with Billy Chow.


Not as good as the better known films in this genre, but I'd still give it a marginal recommendation.









Thursday, May 19, 2011

Bruka Queen Of Evil (1975)

1975 – Bruka (Emperor Films International)

[Philippines release date 18th July 1975; a Hong Kong-Filipino co-production, export title “Bruka Queen Of Evil”]

Director Albert Yu Producer Jimmy L. Pascual [other sources credit Jimmy with Screenplay] Dialogue Yuen Shiao Po Cameraman Leung Kwok Kuen Music Chow Fu Liang Editor Lee Yam Hai In Charge of Production Fely Pascual Production Manager Vic Kwong Assistant Director David Yau Interpretor Teddy Chiu [as Tedmund Chiu] Special Effects Michael Fung Lights Chui Kwok Kuen Makeup Soledad Mauricio Wardrobe Romana Tablate Stills Wong Tit Huang Setting Maurio Carmona Props Ng Chau Electrician Tiburcio Pacia

Cast Alex Lung, Rosemarie Gil, Etang “Ditched”/Discher (Bruka), Sandra de Veyra, Yukio Someno, Anthony Lee, Michael Kwan, Charlie Davao, Connie Angeles, Darius Razon, Tintoy, Matimtiman Cruz, Roldan Rodrigo, Bruno Punzalan, Greg Lozano, Ramon D’Salva, Pedro Faustino, Alfonso Carvajal, Eileen Montinola, Ben Manalo, Michael de Mesa, Rocco Montalban, Kristina Kasten, Sancho Tesalona, Eddie Nicart, Jimmy Cruz, Gigi Vellasenor


Review by Andrew Leavold


Back in 1974, a Filipino producer named Jimmy L. Pascual ended his two year run of Hong Kong-based kung fu productions and brought his film outfit to the Philippines to make a film called Devil Woman. Essentially a chop sockey cashing in on the kung fu craze like Pascual’s previous films (The Bloody Fists [1972], The Awaken Punch [1973] amongst others), Devil Woman is a rudimentary revenge saga with fantastic elements and snake motif, a familiar ingredient in Asian horror. Despite the regulation atrocious dubbing and wooden dialogue, Rosemarie Gil is positively regal as the snake-haired queen seeking revenge on the townsfolk for burning her parents alive, and the film was a minor hit, even receiving a theatrical run in the US, and has retained a small fanatical cult following thanks to Quentin Tarantino’s regular screenings.

For years, fans of Devil Woman saw posters for a film called Bruka Queen Of Evil featuring Rosemarie Gil’s distinctive coiffure, and assumed it was one of Devil Woman’s numerous export titles. When a trailer finally appeared, the Devil Woman herself, Manda the Snakewoman, was indeed in the film – but with entirely different footage of bats, walking trees, and an army of little people. Was this the Filipino cut of Devil Woman for the local market merely redubbed and resold, or an entirely different film? Alas, no version of Bruka could be found, even amongst the most intrepid of Asian collectors.

Imagine my surprise, then, to discover a copy of Bruka Queen Of Evil last month in my post box. Ten minutes later, I can confirm Bruka is no Devil Woman. Although made by the same production team and with many of the original’s cast, its immediate sequel Bruka is an entirely different creature. A quantum improvement on Devil Woman, the film throws open Manda’s own personal narrative, giving her both a legacy and a destiny, and adds a new protagonist’s magical quest against a seemingly improbable array of oddities.

Bruka begins as Devil Woman ends, with Manda engulfed in flames as she falls over a cliff. Miraculously she survives, and wakes in a cave next to a white-haired hag and a cadre of dwarves. “I’m your grandmother,” the hag Bruka declares, and to prove the point, unfurls her fifteen-foot snake body. She then shows Manda flashbacks to her birth in a crystal ball, revealing Manda’s mother to have chosen a mortal husband over her reptilian heritage. Manda’s so happy at the family reunion, she literally dances for joy! Surrounding her is a brand new arsenal for her protection: bats, rock creatures, tree-men, and shape-shifting dwarves into snakes. Veteran contrabida Charlie Davao is the test case, a poor villager who sees a figure under a sheet in his yard. It turns out to be a wooden cross covered in reptiles who almost drown him in venom. And with that, the Devil Woman sequel has already shape-shifted itself to the next level of weirdness.

Grandma Bruka now gives her granddaughter a special gift – a black stone which turns her head full of angry snakes into human hair for as long as she keeps the stone in her mouth. To test the theory, she goes for a jungle stroll and kisses the first unfortunate hippie with a guitar who stumbles upon her. Spitting out the stone, the snakes pounce. Exssssscelent! In Bruka, Manda is no longed killing simply for revenge, and is instead awakening her true inner evil, and exploiting her outward normalcy to indulge her more primal, destructive instincts.

In Bruka, Manda faces a new antagonist in the shape of poor and angry Chinese Hong Pin (Pascual’s kung fu kicking regular Alex Lung). He takes on the job of finding rich Mr Tony’s daughter Louisa to buy food for his ailing family. In an eerily effective sequence he walks into a village obliterated by Manda’s snake scourge, bodies strewn everywhere covered in flies and bite marks, and he helps bury the bodies alongside a priest (Ramon D’Salva) and his hunchbacked assistant. The forest is full of peril, warns the hunchback, and Hong Pin must seek a hermit’s help. And as if on cue, Bruka’s dwarves burst into the church, dissolve into snakes and cover the priest and cripple. With the hermit’s rope-belt-turned-into-a-pole, Hong Pin makes his way through hostile territory, through all manner of creatures, to the cave containing Louisa and her virginal companions, all ready to be sacrificed to the Snake Queens’ insidious blood cult.

Pascual’s Philippines output for his Emperor Films International included another starring role for Lung, Dragons Never Die (1974), released in the US on a double bill with Devil Woman, and three Tagalog horror films released in 1975 alone for the local market (Isinumpa, Pagsapit Ng Dilim and Pandemonium: Lupa, Langit At Impiyerno). But if there was ever destined to be Filipino Lords Of The Rings with evil, fondling, Riverdancing hobbits and bleeding trees, this is the one film to rule them all. Those with a snake phobia, BEWARE; those with eyebrows ready to be raised and a keenly-honed appreciation of the absurd, enjoy, and I’ll see you at Ermita’s all-dwarf bar Hobbit House for after-movie rum cocktails.

Wednesday, March 18, 2009

Blood Ring (1991)

1991 - Blood Ring (Davian International Ltd)


Director “Irvin Johnson”/Teddy Chiu Writer Ron Davies Producer David “Hunt”/Hung Executive Producer Anjantre Hunt Associate Producers Andy Andico, Vivian Andico Music William Yusi Cinematography Arnold Alvaro Stunt Coordinator Manny Scott Stunts Wayne Alexander, Henry Hutton, Oliver Nesbitt, Steve Robertson, Keith Young Technical Equipment Coordinator Oli Laperal Jr


Cast Dale Cook (Max Rivers), Andrea Lamatsch (Susan Dalton), Don Nakaya Neilsen (Don Carlio), Steve Tartalia (Philip Dalton), James E. Gaines (Stevens), Ned Hourani (Madigan), Norman Howard (Dingo), Nick Nicholson (Mr Gordon), Richard Olney (Rodrigo), “Cris”/Kris Aguilar (D'Excutioner), Louie Katana (Opponent), Dave Davis (Ring Announcer) Carlio's Goons Ramon Jiminez, James Brewer, Darwin Combs, Joseph Al, Philip Gordon, Larry Caravajal, Sanit Larrauri, Ommar Saad Dingo's Men William Romero, Charles Vincent, El Helw Atef, John Innab, Bernard Huggins, Anton Aguas, Adam Phillips Stevens' Goons Geno Bolda, Craig Judd, Saifan Atef, Vic Saad Guards Lou Degg, Eric Van Heddigan, Frank Massuer, Tony Wilson, John Crocker Punks Steve Rogers, Jim Moss, Adrian Felix, Peter Rattin, Didi Holster Pre-Fighters Allan Kahl, Isham Zamel

Tuesday, March 17, 2009

The Labyrinth Of Love (1993)


1993 – Il Labirinto Dei Sensi (Variety Film Communications)


[export title “The Labyrinth Of Love”, also known as “Eleven Days Eleven Nights: The Labyrinth Of Love” and “Eleven Days Eleven Nights Part 6: The Labyrinth Of Love”; released on French DVD as “La Maîtresse De Saigon”]


Director “Joe D'Amato”/Aristide Massacessi Writer Leslie Wong Executive Producer Tony Bennett Music Piero Montanari Cinematography “Federico Slonisko”/Aristide Massacessi Editor Kathleen Stratton Casting Maning Sta. Maria Production Design Jojo Magno Costume Design Noel Ribaya Makeup Mabel Gilardi Production Supervisor Allen Curtney Production Manager John Smith First Assistant Director Teddy “Chu”/Chiu Second Assistant Director John Wood Property Master Clifton Peak Sound Supervisor Lucy Edwards Supervising Sound Effects Benny Goodman Boom Man Michael Kwang Dialogue Editor Charlie White Sound Edward Yen Gaffer Henry Armstrong Key Grip Joe Brenner Stills Martha Harris First Assistant Camera Dan Robertson Second Assistant Camera Chen Kaige Grips Su Ming Ming, Chang Yi Best Boy Sam Partland Electricians Li Pei, Cheng Wen Camera Operator Jim Scory Wardrobe Assistant Ann Trainor Assistant Editor Loretta Yung Transportation Captain Cheng Kung Transportation Coordinator Roger Schmalberg Production Assistants Gary Green, Ruth Cheng Production Secretary Paula Gonzales Production Coordinator Glenn Newman Script Supervisor Jenny O'Keeffe Location Manager Xiao Qin Pan Production Accountant Sylvia Ring


Cast Monica Seller (Valérie), Steven Rogers, Lora Luna, Mike Monty, Muriel Lim, Ricky Jonez, Liezl Santos


Synopsis: "Valerie, a maid of French descent (Monica Seller), comes to work for a family in Saigon of the 1930s/40s. One by one, she seduces the members of the family: the dame de la maison, the widower, young gay sonny with his friend from university, and grandpa."

The House Of Pleasure (1993)

1993 – La Casa del Piacera (Variety Film Communication/Produzioni Cinematografiche Massaccesi [PCM] International)


[export title “The House Of Pleasure”, also known as “Eleven Days Eleven Nights: The House Of Pleasure” and “Eleven Days Eleven Nights Part 7: The House Of Pleasure”]


Director “Joe D'Amato”/Aristide Massacessi Writer Dan Chang Executive Producer Tony Bennett Music Piero Montanari Cinematography “Federico Slonisko”/Aristide Massacessi Editor Kathleen Stratton Casting Maning Sta. Maria Production Design “Joe”/Joey Luna Costume Design Cesar Jose Production Supervisor Allen Curtney Production Manager John Smith 1st Assistant Director Teddy “Chu”/Chiu 2nd Assistant Director John Wood Property Master Clifton Peak Camera Operator Jim Scory 1st Assistant Camera Dan Robertson 2nd Assistant Cameraman Chen Kaige Script Supervisor Jenny O’Keeffe Supervising Sound Effects Benny Goodman Dialogue Editor Charlie White Sound Supervisor Lucy Edwards Sound Man Edward Yen Boom Man Michael Kwang Assistant Editor Loretta Yung Production Accountant Sylvia Ring Production Coordinator Glenn Newman Production Secretary Paula Gonzales Location Manager Xiao Qin Pan Wardrobe Assistant Ann Trainor Makeup Artist Mabel Gilardi Key Grip Joe Brenner Best Boy Sam Partland Grips Su Ming Ming, Chang Yi Gaffer Henry Armstrong Electricians Li Pei, Cheng Wen Transportation Coordinator Roger Schmalberg Transportation Captain Cheng Kung Stills Martha Harris Production Assistants Gary Green, Ruth Cheng


Cast Irina Kramer (Lady Eleanor Sutton), Nick Nicholson (Lord Sutton), Marco S. Gonsálvez (Lin), Andrea Ruiz, Liezl Santos, [uncredited] Teddy Chiu


Synopsis: “Lord Gregory Hutton (Nick Nicholson) takes his beautiful young wife Eleanore (Irina Kramer) on a business trip to the Far East for their honeymoon. They stay at the house of Lin, a young local owner of a silk farm and fashion factory whose father only recently died. Lady Eleanor finds herself attracted to Lin and soon is tempted by his advances. But it is not all as it seems. Lord Gregory seems more and more indifferent, and Lady Eleanor starts to get confused. Money is in the game.”

Email interview with Nick Nicholson:


Andrew: Do you remember starring in Joe D’Amato’s The Labyrinth Of Love?


Nick: Yes, the soft porn movie. Well, the guy treated me pretty decent as he had been a war correspondent in Vietnam and he knew that I was a vet. We had a form of mutual respect. It was his pal (don't remember the name though) who was an asshole. Constantly complained that I didn't have a tuxedo. I mean... who the fuck owns a tuxedo over here unless you are some goddamned millionaire of which I'm not! One day I had had enough and I told him to shut his mouth or go out into the street with me so I could kick his funky Italian ass... We shot for several days and It wasn't too bad. The actress was some dumbass Russian model they picked up in Italy somewhere. She had great tits and ass but couldn't speak a word of English. I couldn't speak her language and so there was no middle ground to get to know her better. I have heard that this guy has a bad rep, but I can't say anything negative. The pay was low (as always) and it was par for the course.


"Joe D'Amato"/Aristide Massacessi does get a bad rap in many circles, but I've been watching his movies for over 20 years and always find something cool in the rattiest of his productions. You said "shot in a few days" - is that true? He was the master of the quickie, but that's insane! Also, most of the credits have English or Chinese pseudonyms. Was it mostly an Italian or Filipino crew? And was D'Amato also behind the camera? Being the master of all trades, it would have cut time down even more!


Joe was doing the camera work and Teddy Chiu (explains why Mike Monty got in the action.) directed it! The crew were all Filipinos and fellow guild members! It was actually pretty relaxing working there except for the asshole who kept complaining that i didn't have a tux! The food was decent and I actually had fun! I think I shot 5 days and got decent pay as well...


How do you mean Teddy Chiu was directing? You mean, since D'Amato's English was non-existent? He's actually listed in the credits as "assistant director, Teddy Chu".


Well, you know the funny thing about credits... most of the time they are bullshit, but yes, it was Teddy directing...

Sunday, March 15, 2009

Angel In The Dark (1991)

1991 - Angel In The Dark (Davian International Ltd)


[Released on Dutch VHS as "The Destroyer: A Fistfull Of Dynamite"]


Director “Irvin Johnson”/Teddy Chiu Producer David Hung


Cast Romano Kristoff (Kickboxer), Zibel O'Grady (Prostitute), Rachael Murray (Daughter), Jim Gaines, Nick Nicholson (Pimp), Mike Cassey (Casey)