Gap tung kei hap

During the eighties, Hong Kong cinema had some of the most enjoyable action films on the planet, and this was one of them.

Basically the plot revolves around two soldiers, one good and one bad, fighting to the death and being frozen in ancient china. They are then thawed out in the eighties, forced to battle once again but now with greater powers.

Although a great deal of the film is based on how the two soldiers react to there new surroundings, with some interesting results, the film is more about the action sequences, which are all pretty impressive. It has to be said that the final sword battle between the two foes is one of my favourite sequences in history, even though it is clearly a rip off of highlander. Of course, like many Hong Kong flicks, it is done 10 times better then the American version. This is a pretty good way to introduce yourself to Hong Kong cinema.

i thought this movie was a GREAT one. Its about a hero and a villain from ancient china getting teleported to modern times. Storyline is definitely good for action movies. The acting was great as Maggie Cheung put up a charismatic performance as usual, Yuen Biao was wonderful at acting like a conservative ancient times man, clueless about modern times. Wah Yuen was one of the coolest villains I've ever seen, You just cant help but like him. The fighting scenes were great and kept you glued to your seat unlike a lot of other kung fu movies. Overall this was an amazing movie, i wouldn't even think about giving it less than a 9

Opera School colleagues Yuen Biao and Yuen Wah face off in this action/drama film, (oh, and Maggie Cheung tags along for good measure). This film has seems to have slipped off the radar somewhat, but if you manage to see it, you'll find it has some very powerful moments.

The scope of the film is huge. We start off in Imperial China (the Ming Dynasty), where we are introduced to the characters of Fong Sau-Ching (Biao), and Fung San (Wah) - perfect symbols of good and evil respectively. As in real life, the two are 'brothers', in that they have trained and lived together as Royal Guards. However, Fung has become corrupted, and is a known rapist and murderer. Fong must capture him within twenty days, or face execution himself.

Did I mention that they travel into the future Hong Kong, the year 1989? Well they do via a Buddhist Wheel - a kind of primitive Delorian (but built sturdier).

This film is by no means perfect, but it's main draw-cards are the exquisitely choreographed (though all too rare) action sequences, and the overall excellent production values. The performances vary somewhat, (Yuen Wah is maybe a little too comical in his delivery), but the film is ripe with powerful scenes and a surprising amount of subtext, if you're willing to look for it.

The most interesting contrast the film makes is between the past and the (then) present. We find that honour, loyalty, and friendship mean totally different things in the modern age, and Biao's character has the most difficulty adjusting to his surroundings. Wah's character however (rapist, thief, murderer) adjust very quickly, and has even managed to adopt the most cutting-edge in fashion. The subtle distinctions drawn between Hong Kong and the Mainland are also of interest - though how relevant they are today I cannot say.

Clarence Fok has undertaken a very ambitious task here - a film that deals with so much (in my mind) cannot succeed in every area. However, it does succeed in the most important areas for me, and I can only recommend at least one viewing. It does, however, seem to improve with multiple viewings. The rich visuals and and action sequences alone make this a stand-out from it's era.

I really like this beautifully shot and choreographed action-fantasy/time travel yarn from Clarence Fok, the director of the moody "Gun and Rose" and the highly regarded "Naked Killer". It is an ambitious, rich production that boasts several stunning martial arts sequences and not a few jaw-dropping stunts. It is such an aesthetically rich and varied piece of entertainment that it never fails to please.

Yuen Biao plays the film's hero, a Ming Dynasty palace guard who resumes his pursuit of a nasty rapist/butcher, the great Yuen Wah ("Eastern Condors"), in the 20th century after their bodies, long encased in ice, are thawed. There are elements of Schepisi's wonderful "Iceman" here and aspects borrowed from Mulcahey's "Highlander", but, despite the film's varied influences, this is a fresh, fascinating synthesis of its raw elements and a damn great example of energetic film-making.

Biao is excellent as the naive palace guard who comes into contact with sweet-natured callgirl Maggie Cheung. He is totally believable as the fish out of water and stunning when asked to demonstrate his extraordinary physical skills. A fight atop a crane is masterful, as is a snow-bound sword fight, a duel inside a museum and a heart-stopping leap over a speeding car on a freeway. Yuen Wah, whose character warms immediately to 20th century firearms and criminality, is also amazing in his demanding, bone-punishing role.

Fok, who always brings a strong visual style to his movies, directs the sometimes brutal action with consummate professionalism and fills the cast list with memorable character actors and assorted beauties. A great score helps, too.

A gem.

"Iceman Cometh" starts out as a manhunt by Ming royal guard Yuen Biao after a rapist-killer of thirteen women in the royal palace, including a relative of the emperor. The guard is transported along with the killer to a snow covered area by a Tibetan wheel with time travel properties. After the two are frozen in the snow, a scientific expedition finds them years later and brings their frozen bodies back to modern Hong Kong. The guard and killer are accidentally thawed out, and the guard ends up getting involved with a call girl (Maggie Cheung)

Maggie Cheung steals every scene she is in. Yuen Biao is tops in action scenes with his opponent, the actor who played Panther in "Supercop," but Biao is no match for Maggie. She uses him first as a housekeeper to clean up her messy apartment, then as an enforcer to shake down her clients for additional payoff money. She is the one with most of the problems, from a pimp who threatens to throw acid in her face if she doesn't go out with a client to her later run in with the rapist murderer.

The movie also has some nice technical effects when the Tibetan wheel goes into its time traveling mode at the end of the movie, but the real special effect is Maggie Cheung's acting range. She can project some personality on the screen.