Showing posts with label Teresa Mak. Show all posts
Showing posts with label Teresa Mak. Show all posts
Sunday, December 11, 2011
Christmas comes early in Kunming: A Teresa Mak Ga-Kei sighting!
Whatever the occasion--the googlespeak translation of the Ifeng captions mentioned fur, plastic surgery and the 12th anniversary of something--it was a red letter day here at Favorite Hong Kong Actresses when Teresa Mak decided to show up somewhere accompanied by police officers and photographers.
Ifeng
Wednesday, September 7, 2011
Teresa Mak in "My Baby Shot Me Down"
Teresa Mak joined the Hong Kong police in order to catch the criminal who murdered her sister; Jade Leung is the inspector who leads the squad and Pinky Cheung is also a policewoman and Mak’s buddy. “Brush Up My Sisters”, the air-headed, estrogen fueled failed attempt at comedy directed by Martin Lau, right? No, it’s “My Baby Shot Me Down” with Teresa, Jade and Pinky reprising their roles although with a bit less romping in the shower and a bit more rolling around in bed (although not with each other). There is less lighthearted fun, more tight lipped woe. Teresa, as Mak, is a psychiatrist/police officer who wants to crack the case of Midnight Butcher Lam Kwok Keung, thinking it will help her solve the murder of her sister, a crime that may have been done by someone copying the gruesome, ritualistic method of the imprisoned Lam. Jade is Inspector Shum, her boss while Pinky is Kammy, her comrade in arms and buddy. It may be a record for cast serendipity: Candy Chiu Jing-Yee played Teresa Mak's murdered sister in both movies.
Candy Chiu Jing-Yee
Creeped out Teresa Mak
There are several pairs in the movie: one is Inspector Shum and Sin, her sister. She went missing three years ago and showed up suddenly. Shum is thrilled that her little sister has returned and brings her home where she still has Sin’s favorite ice cream ready for her. Another is Dr. Mak and her sister, the murdered Pui. Even though she is dead—or perhaps because she is dead—Pui is in Mak’s dreams and in her waking thoughts. It is when Mak is bringing flowers to Pui’s grave that the third pair forms: movie actor Wong Wai Tim is also in that part of the cemetery at his mother’s grave. They meet, Mak tells him she and her sister were huge fans when they were young girls and sparks fly.
Pinky Cheung
The last pair is Wong Wai Tim and Lam Kwok Keung, overacted to disgusting perfection by Lam Suet. Lam is a cut-rate Hannibal Lecter—IQ of 192, lives in isolation, is firmly chained whenever he is moved—but he is more distasteful than dangerous. The scene in which he gets sexual satisfaction from rubbing Mak’s ankle while he is still chained and cuffed to a chair is as creepy and revolting as it was meant to be; perhaps more so since the idea of an orgasmic Lam Suet is not an appealing one. Lam has a psychic hold on Tim and has convinced him to continue the reign of terror begun by the Midnight Butcher. We don’t know how the serial killer got control of the actor, only that Tim’s father hated and feared women and passed that along to his son before he killed himself.
Women are killed and mutilated (off camera); Tim fantasizes about slitting open a female corpse (on camera); Lam bends Mak to his will and then refuses to give her the information she sought. “My Baby Shot Me Down” is a misogynist’s delight. It is a weak entry as a cop movie and isn’t really in the “girls with guns” genre—all the girls are armed but only Teresa Mak shoots anyone and has to be talked into it by the person she shoots. It is exceptional if not unique in one way: Teresa Mak acts. She does more than just hit her mark and say her lines, although that is what most acting, particularly on film, consists of. She has an extraordinarily cinematic face—the camera loves her—but it is more than that. Here she is able to inhabit a character that has more than one or two emotions and gives a real performance that might be the best of her career. That seems like damning with the faintest of praise so it might be better to say that she creates a character as well as anyone could have in her underwritten role and does a more professional and artistic job than the director and screenwriter could have expected or deserved.
Saturday, June 4, 2011
Shu Qi in "Martial Angels"
Shu Qi feels pensive and a bit sad--it is time to get the gang back together.
Based on who is defining the issues, “Martial Angels” was inspired by, stolen from or is a parodisic adaptation of a movie which was based on an American network television series that gave us the term “jiggle TV”. It is the perfect vehicle for the producing and acting talents of Wong Jing.
Amanda, Kelly, Rachel, Sandra and Teresa emerge from the swimming pool:
Rosemary is already at poolside:
While much of the movie is dull enough to cure insomnia there are a few wonderful scenes. The first if very brief—Teresa Mak, Rachel Ngan, Sandra Ng, Amanda Strang and Rosemary Vandenbroucke pop out of a car and walk toward Shu Qi and Kelly Lin. They are five across, hair artfully flying, looking like fashion models stomping down a runway. The style echoes scores of recent movies. In some, such as Cameron Diaz, Lucy Liu and Drew Barrymore in “Charlie’s Angels” or Shannon Elizabeth, Ali Larter and Eliza Dusku in “Jay and Silent Bob Strike Back”, the object is to satirize and comment upon such scenes in other movies but there is nothing in them as specific as in “Martial Angels” when Shu Qi says “Don’t they think they are cool”. She is pointing out how cool/desirable/ appropriate to the male gaze that the actresses are and distancing “Martial Angels” from movies with the same type of scene, but at same time, by referencing them, reminding us that this is a movie that is built almost solely around men looking at women.
Shu Qi and Kelly Lin have some unfinished business:
The other scene worth seeing is, thankfully, longer and less dependent on post-postmodernism to be funny. Sandra Ng and Wong Jing are in a parked car—just the set up sounds promising. Wong Jing plays a software security expert but isn’t concerned with hackers or other electronic thieves. His security set-up involves fingerprint recognition, cornea analysis, a vault door that weighs as much as the Titanic and a special lever that if released shuts the door on those in the vault. In order to breach this Rube-Goldberesque set of safeguards the Shu Qi’s gang has to get Wong Jing’s character’s fingerprints and the only way they can figure out to do that is to wire up Sandra Ng’s panties and bra with sensors that will transmit images of his prints once he begins to paw her.
Wong Jing needs to be seduced but is unable to cooperate:
But Wong has a problem—and Sandra has a bigger problem. Wong is still in mourning for his dead wife and even though Sandra looks just like her—or perhaps because she resembles her so closely—he is unable to maintain any sexual desire toward her. This is doubly infuriating for Sandra Ng, of course. She isn’t attractive enough for a nerdy loser like Wong to want to grab her—she looks great in this picture—and she is working against a deadline to get his prints. It doesn’t help that the rest of the gang are able to watch and listen to her and Wong. Sandra goes from flirtatious to provocative to demanding, none of which work. It is a comic tour de force by one of the premiere comic actresses of our time. Wong was smart enough to act as the straight man, feeding her lines and giving her reasons to get more and more angry with him.
There are plenty of chances to handle weapons:
Teresa Mak spends a lot of time hanging around talking:
The premise of the movie is paper thin—seven young girls were raised in an orphanage. As fate would have it they grew up to be brilliant, attractive, athletic and very crooked. A life of crime beckoned and didn’t have to beckon twice. They have all the high tech gadgets that criminals need these days—sunglasses that work as a camera, an online database that has the value of all the important jewelry in Hong Kong, microphones that pick up conversations from around corners and filter out all the background noise—but their main weapon is their undeniable beauty which is on display for just about every minute of the film. The budget for Shu Qi’s lip gloss must have been astronomical. Two of the gang were played by MTAs—model turned actress--Amanda Strang and Rosemary Vandenbroucke, both of whom look enchanting but neither of whom can really act. Julian Cheung was well cast as a plot point and Terrence Yin did a good job of impersonating a really disgusting but shallow individual. Ron Smoorenburg’s abilities were not challenged in his role as a gwielo thug with martial arts training.
One of the many annoying aspects of “Martial Angels” is that while it satirizes high tech caper movies its writing is so sloppy that it undermines its message. Lampooning movie conventions can be very funny and Wong Jing is a master of parody and pastiche—“High Risk” is an example of his ability is sarcastic ridicule—but to make fun of them the filmmaker has to show what he is disparaging. One example how got into the vault that held the super-secret software—essentially they opened the door and walked in.
Not a horrible movie but certainly not on the same level as the “girls with guns” genre of the 1990s
Based on who is defining the issues, “Martial Angels” was inspired by, stolen from or is a parodisic adaptation of a movie which was based on an American network television series that gave us the term “jiggle TV”. It is the perfect vehicle for the producing and acting talents of Wong Jing.
Amanda, Kelly, Rachel, Sandra and Teresa emerge from the swimming pool:
Rosemary is already at poolside:
While much of the movie is dull enough to cure insomnia there are a few wonderful scenes. The first if very brief—Teresa Mak, Rachel Ngan, Sandra Ng, Amanda Strang and Rosemary Vandenbroucke pop out of a car and walk toward Shu Qi and Kelly Lin. They are five across, hair artfully flying, looking like fashion models stomping down a runway. The style echoes scores of recent movies. In some, such as Cameron Diaz, Lucy Liu and Drew Barrymore in “Charlie’s Angels” or Shannon Elizabeth, Ali Larter and Eliza Dusku in “Jay and Silent Bob Strike Back”, the object is to satirize and comment upon such scenes in other movies but there is nothing in them as specific as in “Martial Angels” when Shu Qi says “Don’t they think they are cool”. She is pointing out how cool/desirable/ appropriate to the male gaze that the actresses are and distancing “Martial Angels” from movies with the same type of scene, but at same time, by referencing them, reminding us that this is a movie that is built almost solely around men looking at women.
Shu Qi and Kelly Lin have some unfinished business:
The other scene worth seeing is, thankfully, longer and less dependent on post-postmodernism to be funny. Sandra Ng and Wong Jing are in a parked car—just the set up sounds promising. Wong Jing plays a software security expert but isn’t concerned with hackers or other electronic thieves. His security set-up involves fingerprint recognition, cornea analysis, a vault door that weighs as much as the Titanic and a special lever that if released shuts the door on those in the vault. In order to breach this Rube-Goldberesque set of safeguards the Shu Qi’s gang has to get Wong Jing’s character’s fingerprints and the only way they can figure out to do that is to wire up Sandra Ng’s panties and bra with sensors that will transmit images of his prints once he begins to paw her.
Wong Jing needs to be seduced but is unable to cooperate:
But Wong has a problem—and Sandra has a bigger problem. Wong is still in mourning for his dead wife and even though Sandra looks just like her—or perhaps because she resembles her so closely—he is unable to maintain any sexual desire toward her. This is doubly infuriating for Sandra Ng, of course. She isn’t attractive enough for a nerdy loser like Wong to want to grab her—she looks great in this picture—and she is working against a deadline to get his prints. It doesn’t help that the rest of the gang are able to watch and listen to her and Wong. Sandra goes from flirtatious to provocative to demanding, none of which work. It is a comic tour de force by one of the premiere comic actresses of our time. Wong was smart enough to act as the straight man, feeding her lines and giving her reasons to get more and more angry with him.
There are plenty of chances to handle weapons:
Teresa Mak spends a lot of time hanging around talking:
The premise of the movie is paper thin—seven young girls were raised in an orphanage. As fate would have it they grew up to be brilliant, attractive, athletic and very crooked. A life of crime beckoned and didn’t have to beckon twice. They have all the high tech gadgets that criminals need these days—sunglasses that work as a camera, an online database that has the value of all the important jewelry in Hong Kong, microphones that pick up conversations from around corners and filter out all the background noise—but their main weapon is their undeniable beauty which is on display for just about every minute of the film. The budget for Shu Qi’s lip gloss must have been astronomical. Two of the gang were played by MTAs—model turned actress--Amanda Strang and Rosemary Vandenbroucke, both of whom look enchanting but neither of whom can really act. Julian Cheung was well cast as a plot point and Terrence Yin did a good job of impersonating a really disgusting but shallow individual. Ron Smoorenburg’s abilities were not challenged in his role as a gwielo thug with martial arts training.
One of the many annoying aspects of “Martial Angels” is that while it satirizes high tech caper movies its writing is so sloppy that it undermines its message. Lampooning movie conventions can be very funny and Wong Jing is a master of parody and pastiche—“High Risk” is an example of his ability is sarcastic ridicule—but to make fun of them the filmmaker has to show what he is disparaging. One example how got into the vault that held the super-secret software—essentially they opened the door and walked in.
Not a horrible movie but certainly not on the same level as the “girls with guns” genre of the 1990s
Saturday, May 28, 2011
Sophie Ngan in "Electrical Girl"
Jane Fong (Sophie Ngan) is a woman with a dark secret—or, in reality, a light secret since her difficulty is that she generates a strong electrical current when she has an orgasm. That she has a healthy appetite for sex and is extremely attractive only adds the chance of death by electrocution to the usual concerns of sexually transmitted diseases or unwanted pregnancies for unwary lovers. In consideration of the dangers to her potential partners Jane decides live an almost celibate life, using a light bulb (incandescent only, florescent bulbs are too big) to satisfy herself while masturbating in her bath.
Sophie Ngan’s matter of fact explanation, while (almost) covered with bubbles in her bathtub, is funny and sexy and gets the movie off to a memorable start. Things continue at the office; Jane and her three office mates spend a lot of time in the break room talking about their sex lives. Since the subtitles were funny (intentionally so in this case) the original Cantonese must have had the audience rolling in the aisles. Unfortunately the rest of “Electrical Girl” doesn’t match the economy of narrative and easy going humor of the first fifteen minutes of this Category III sex comedy.
Hope for Jane arrives when a friend tells her that she had sex with a doctor in his office, a doctor she had consulted because of a pain in her shoulder. Jane makes an appointment with Doctor Y. W. Kong (Charlie Cho Cha-Lee) who, from the way her friend describes his bedside manner, may be the guy who can cure her. He doesn’t—the treatment is a failure—but on the positive side the doctor survives his encounter with Jane by wearing enough insulating material to survive a lightning strike although the intense energy she emits does singe him a bit and blows out the speakers of his state of the art sound system. To her surprise Jane sees the first four of the six numbers needed to win the Mark 6 lottery while having sex with Dr. Kong and decides that winning millions of dollars is worth electrocuting a few strangers.
Charlie Cho suited up for action:
True love finally arrives in the form of Leo, the new office manager. All of the office ladies find him very attractive and all of them are more than willing to work late with him but Jane is the one he always picks. To her consternation all Leo wants to do is work even when she makes it clear that she is available. Leo is impotent, a condition that he has accepted and possibly dealt with by working 12 hours per day. Or he thinks he is impotent but is quite the opposite when sleeping and dreaming of Jane. However the conscious Leo has no social or sexual interest in Jane.
Jane is frustrated and heartbroken by Leo’s indifference to her and quits her job to work in a brothel under the tutelage of Kingdom Yuen who plays a goofy Mamasan. This sets the stage for her to encounter several long time Hong Kong character actors and for various reasons, some funny, not sleep with them.
There is a bit of a reversal of gender roles in “Electrical Girl”. It turns out that the impotent Leo only needs some electrical therapy from the right girl to cure him—this is the kind of casual thwarting of audience expectations that Hong Kong directors do very well. Almost invariably it is the female who has sexual difficulty, especially the twinned opposite of male impotence, female frigidity (not sure if that is even a term much in use anymore). It just takes the right guy with the right attitude to fix whatever problem causes a lack of desire in a woman. Here Leo seems to accept his limitations as a lover but from his reactions clearly wishes to have a sexual relationship with Jane and she is just the girl to set him to rights.
Whether one likes “Electrical Girl” is completely contingent on how one feels about Sophie Ngan’s acting talent and sensuous beauty
Friday, May 21, 2010
Wong Jing, Teresa Mak and "Love Me, Love My Money"
Wong Jing has been successful and controversial for decades. One of the most prolific filmmakers in Hong Kong in the 1980s and 1990s when movies came out faster than the distributors could get them on the screen. Strongly rumored underworld ties in a business that is rife with them; master of the casting couch in an industry that features unbalanced power relationships, unbridled concupiscence and ready availability of targets; schlock auteur when schock was king.
He is a very skillful director, something that can be overwhelmed by the baggage that he has accumulated over his career or simply overlooked because so many of the movies with his name on them seem shoddy and slapdash. What you think of Wong Jing depends on what you best remember of his work--and anyone who is a fan of Hong Kong movies has seen a good deal of it. He has also, to those for whom such things are important, introduced and featured a lot of beautiful and often talented actresses to the jade screen.
The ongoing discussion/dispute of his place in the art and commerce of film was continued on a couple of blogs recently although the post in question in neither blog concern Wong Jing. YTSL reviewed Future X-Cops while Glenn, kenixfan did Girl With the Diamond Slipper. Commentors (including me) were more interested in discussing Wong Jing than the movies at hand.
The reviews by YTSL are yet another reason to visit her blog--as if any more were necessary--something I should have remarked on before (or may have already). She is a terrific observer if film (and much else) and probably couldn't write a bad sentence if she tried.
I have agreed wholeheartedly with the last several of Glenn's reviews but the real gems of his blog are the essays and photos on his recent trips to Hong Kong. Glenn is an intrepid traveler--after wondering about Hong Kong for years he simply got on a plane and got off 16 hours later, ready to see, hear, smell and taste the place. He writes very well about his experiences and does so without the commercial sheen that "travel" writing always has.
Getting back to Wong Jing, while not a fan of his as such--I won't be standing in line when the 250 DVD set of his definitive works is available--I think that his best movies compare with those done by some of the venerated high priests of the art. A case in point is Love Me, Love My Money which is close to being a perfect romantic comedy and comparable to the best work of Frank Capra or George Cukor.
In Love Me, Love My Money tables are turned, the mighty are brought low and money is shown not to buy happiness. The social order is unthreatened--the banks re-open on Monday morning and the unlovable billionaire who has become a homeless beggar is restored to his billions. The wealthy but insensitve Richard Ma has learned his lesson--which seems to be that if you look like Tony Leung Chiu-Wai and act helpless women, after some hesitation, will line up to help you.
Shu Qi is the chief foil. She plays Choi, a hardworking stockbroker who spends her days pounding the phones along with thousands like her:
Teresa Mak plays Fong her best friend--the buddy role:
Together they are quite a pair:
Other women in Richard Ma's life include Cho Chun who plays Helena the loyal secretary who hasn't had a day off for five years:
Dr. Lam his psychiatrist who would rather get on the couch with him than listen to his problems is played by Angie Cheung Wai-Yee:
Ultimately the woman whose bond with Richard Ma tells the audience that he is not (or not only) a dull boor is Vennessa who who agrees to help him unlike every other former girlfriend Richard Ma contacts. Down to his last few coins he calls Venessa and she arrives in a cab from some far reach of the city, leading a young child and heavily pregnant with another. Vanessa has come across town in the middle of her day in order to give him money—money which she takes from her housekeeping and will have to explain where it went to her husband.
She isn’t surprised that Richard is broke, even saying that he doesn’t look like he has been robbed (the story he gave her on the phone) but that he has gone bankrupt. Vanessa obviously still thinks very well of Richard and while it is clear there is no sexual spark anymore, she is doing a good deed for someone who she knew in the past and who she remembers fondly--Richard must have been a different person at some point.
When she first emerges from the cab the audience thinks this will be a further humiliation for Richard but Wong Jing turns it into a lovely scene that validates Richard as something other than a wealthy jerk. And in some very economical filmmaking, he uses the end of the scene make Choi and Fong think that Richard is taking money from and living off of women, giving them another reason to think he is a cad and a criminal. Venessa is played by Prudence Kao Bao-Yun in this small but crucial scene:
He is a very skillful director, something that can be overwhelmed by the baggage that he has accumulated over his career or simply overlooked because so many of the movies with his name on them seem shoddy and slapdash. What you think of Wong Jing depends on what you best remember of his work--and anyone who is a fan of Hong Kong movies has seen a good deal of it. He has also, to those for whom such things are important, introduced and featured a lot of beautiful and often talented actresses to the jade screen.
The ongoing discussion/dispute of his place in the art and commerce of film was continued on a couple of blogs recently although the post in question in neither blog concern Wong Jing. YTSL reviewed Future X-Cops while Glenn, kenixfan did Girl With the Diamond Slipper. Commentors (including me) were more interested in discussing Wong Jing than the movies at hand.
The reviews by YTSL are yet another reason to visit her blog--as if any more were necessary--something I should have remarked on before (or may have already). She is a terrific observer if film (and much else) and probably couldn't write a bad sentence if she tried.
I have agreed wholeheartedly with the last several of Glenn's reviews but the real gems of his blog are the essays and photos on his recent trips to Hong Kong. Glenn is an intrepid traveler--after wondering about Hong Kong for years he simply got on a plane and got off 16 hours later, ready to see, hear, smell and taste the place. He writes very well about his experiences and does so without the commercial sheen that "travel" writing always has.
Getting back to Wong Jing, while not a fan of his as such--I won't be standing in line when the 250 DVD set of his definitive works is available--I think that his best movies compare with those done by some of the venerated high priests of the art. A case in point is Love Me, Love My Money which is close to being a perfect romantic comedy and comparable to the best work of Frank Capra or George Cukor.
In Love Me, Love My Money tables are turned, the mighty are brought low and money is shown not to buy happiness. The social order is unthreatened--the banks re-open on Monday morning and the unlovable billionaire who has become a homeless beggar is restored to his billions. The wealthy but insensitve Richard Ma has learned his lesson--which seems to be that if you look like Tony Leung Chiu-Wai and act helpless women, after some hesitation, will line up to help you.
Shu Qi is the chief foil. She plays Choi, a hardworking stockbroker who spends her days pounding the phones along with thousands like her:
Teresa Mak plays Fong her best friend--the buddy role:
Together they are quite a pair:
Other women in Richard Ma's life include Cho Chun who plays Helena the loyal secretary who hasn't had a day off for five years:
Dr. Lam his psychiatrist who would rather get on the couch with him than listen to his problems is played by Angie Cheung Wai-Yee:
Ultimately the woman whose bond with Richard Ma tells the audience that he is not (or not only) a dull boor is Vennessa who who agrees to help him unlike every other former girlfriend Richard Ma contacts. Down to his last few coins he calls Venessa and she arrives in a cab from some far reach of the city, leading a young child and heavily pregnant with another. Vanessa has come across town in the middle of her day in order to give him money—money which she takes from her housekeeping and will have to explain where it went to her husband.
She isn’t surprised that Richard is broke, even saying that he doesn’t look like he has been robbed (the story he gave her on the phone) but that he has gone bankrupt. Vanessa obviously still thinks very well of Richard and while it is clear there is no sexual spark anymore, she is doing a good deed for someone who she knew in the past and who she remembers fondly--Richard must have been a different person at some point.
When she first emerges from the cab the audience thinks this will be a further humiliation for Richard but Wong Jing turns it into a lovely scene that validates Richard as something other than a wealthy jerk. And in some very economical filmmaking, he uses the end of the scene make Choi and Fong think that Richard is taking money from and living off of women, giving them another reason to think he is a cad and a criminal. Venessa is played by Prudence Kao Bao-Yun in this small but crucial scene:
Tuesday, May 11, 2010
Teresa Mak in "The Peeping"
“The Peeping” is a political thriller uneasily mixed with softcore pornography, essentially a mystery with a twist ending interrupted by scenes of extremely attractive people simulating sex often but not always in very dark sets that kept the naughty bits properly obscured. Teresa Mak and Grace Lam were in two other films together, “Electrical Girl” and “Tortured Sex Goddesses of the Ming Dynasty” in which they were the actresses who kept their clothes on. Here they eagerly throw off their clothes and jump into bed while being watched on the cameras of surveillance expert Daniel Wu. There are plenty of twists and turns in the plot, some which make more sense than others.
Grace Lam shows up in Daniel Wu's seedy Hong Kong private detective office with an offer that is so good he almost has to refuse it--one million (Hong Kong) dollars to place audio and video devices in the apartment of a Taiwanese councilor played by Teresa Mak, record everything that happens and get the original tape with no copies made to Grace. This is an easy job for someone of Wu's skill so most of the fee must be for something besides bugging the apartment.
We are never far from the next torrid encounter between Teresa and Grace or Teresa and Daniel or even a (clothed) breast size comparison between Teresa and Daniel's girlfriend played by Yum Kong-Sau. Both lead actresses look their most erotically enchanting though when simply looking at us through the camera:
Things don't improve from here, though. The seduction/sex scene between Teresa and Grace starts out clumsily and is shot and edited more to keep everyone's breasts covered than for an erotic punch so (astounded as I am to be writing this) it simply drags to an ending.
Here Teresa might be about to tell Grace to stop standing on her toe:
Since both are experienced and talented actresses the scene gets a bit steamier as it progresses:
There a some odd scenes that seem to be thrown in to insure both an adequate running time and the requisite amount of female flesh including this one in which Daniel's girlfriend, played by Yum Kong-Sau, who is jealous of the time Daniel spends mooning over the feed from the apartment, confronts Teresa in a restroom using what she thinks is her best weapon--her breast size. Teresa wins this round although it is hard to tell why since both women are wearing lingerie that could serve as a breastplate for Queen Boadiciea:
Things go seriously awry late in the film when the characters played by Teresa Mak and Grace Lam double cross each other. One result is shown here--Daniel Wu is in the background wondering why he passed up his chance to go to law school while Grace Lam wonders why the duct tape confining her is so loose.
Grace Lam shows up in Daniel Wu's seedy Hong Kong private detective office with an offer that is so good he almost has to refuse it--one million (Hong Kong) dollars to place audio and video devices in the apartment of a Taiwanese councilor played by Teresa Mak, record everything that happens and get the original tape with no copies made to Grace. This is an easy job for someone of Wu's skill so most of the fee must be for something besides bugging the apartment.
We are never far from the next torrid encounter between Teresa and Grace or Teresa and Daniel or even a (clothed) breast size comparison between Teresa and Daniel's girlfriend played by Yum Kong-Sau. Both lead actresses look their most erotically enchanting though when simply looking at us through the camera:
Things don't improve from here, though. The seduction/sex scene between Teresa and Grace starts out clumsily and is shot and edited more to keep everyone's breasts covered than for an erotic punch so (astounded as I am to be writing this) it simply drags to an ending.
Here Teresa might be about to tell Grace to stop standing on her toe:
Since both are experienced and talented actresses the scene gets a bit steamier as it progresses:
There a some odd scenes that seem to be thrown in to insure both an adequate running time and the requisite amount of female flesh including this one in which Daniel's girlfriend, played by Yum Kong-Sau, who is jealous of the time Daniel spends mooning over the feed from the apartment, confronts Teresa in a restroom using what she thinks is her best weapon--her breast size. Teresa wins this round although it is hard to tell why since both women are wearing lingerie that could serve as a breastplate for Queen Boadiciea:
Things go seriously awry late in the film when the characters played by Teresa Mak and Grace Lam double cross each other. One result is shown here--Daniel Wu is in the background wondering why he passed up his chance to go to law school while Grace Lam wonders why the duct tape confining her is so loose.
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