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97 ga yau hei si (1997) More at IMDbPro »

2 out of 3 people found the following comment useful :-
sloppy new year's flick, 25 January 2006

Author: edmame from beanie pods

a sore disappointment for anyone who vaguely enjoyed ALL'S WELL ENDS WELL '92. while that film had a seasoned comedy director Clifton ko (whose credits include some Hui brothers classics) and an eclectic repertoire for its up-and-coming all-star cast to sink their giddy teeth into, this '97 version is at best an excuse to see top performers of their generation sharing the screen and allowing product placement at the same time. at least it's unembarrassed and defiant, as the stars know they're making crap whose outtakes at the end are more interesting than the story they pretend to tell. what's more, Roy chiao, Francis ng (who actually bothers to create some sense of character), and Stephen chow have already cemented their reputation elsewhere.

chow in particular was stuck in a rut during '97-98, after coming down from dizzying creative heights of 1996 (FORBIDDEN CITY COPS; GOD OF COOKERY) & the various iconic classics in early 90s. his lackluster work here can be attributed to several things: rushed production (scenes that amount to dull rehearsals by competent pros, as long as nobody cracked up), half-baked contrivance in script (ng's complicated courtship that also pays lip-service to '97 handover), and in terms of chow's own career -- his youth-driven, alternately lovable and cocky-outrageous persona losing its freshness, obviously having pushed itself to the limit.

although still athletic as the self-centered layabout, chow finally started looking his age in '97. add to that landing roles which no longer fit or challenged him as in his initial heyday, it's no wonder he came off pedestrian in this actor-for-hire work. the amount of chow's close-ups only amplifies his empty performance. for those following chow's evolution, he is disturbingly mechanical here, stock expressions of boredom & constipated annoyance, unusually leaden diction, inflection and all. even his work for friends/cronies like LUCKY GUY '98 managed some lively spark.

curiously, he is literally a different performer in self-initiated projects like KING OF COMEDY '99 and thereafter, dazzling with comic genius seldom seen since the silent era. given chow's frequent acknowledgment and uniquely Chinese appropriation of Chaplin-esquire, this film actually boasts 2 proud references to buster Keaton: nonsequitur shots of chow walking a cow (GO WEST '25), & deadpan, mock-elegance in caveman furs on the family lawn (THREE AGES '23.)

as for the female roles in ALL'S WELL '97: without the diamonds-in-rough performers like Maggie cheung and Sandra ng, they're no more than wallflower stereotypes (pushover wife, christy Chung's ass-kicking hot babe.)

1 out of 2 people found the following comment useful :-
I don't get Stephen Chiao, 1 January 2001

Author: Eson (hoangson@hotmail.com) from San Diego, CA

*** This comment may contain spoilers ***

This review contains minor spoilers.

I know Stephen Chow is the comedy king of Hong Kong, but I don't get it. Still, watching this reinforces the idea that you either love him or you have no idea what the big deal is. Although, the running gag about his character being a Bruce Lee fan is pretty funny.

This movie features a fairly impressive cast, but the more impressive elements don't seem to get much screen time. This is due to the rush to get the story of the relationships of three brothers crammed into ninety minutes. Emil Chow Wah-Kin, who has shown greater potential elsewhere, is in this movie briefly.

Anyway, aside from the Chiao-related humor, the biggest reason to watch this movie is that it features three fan-favorite actresses. The first is Gigi Lai, who does a good job of looking good for the brief time she is in the movie. The second is Christy Chung who actually plays an adorable mentally ill person for part of the movie, particularly when she falls and drools. In addition, she does some pretty decent kung fu work in overalls later in the movie. Third, is my personal favorite, Wu Chien-Lien. Sadly her onscreen time is short, but as usual she's a joy to watch. Also per usual, she plays someone from Taiwan or mainland China. Her best performance bit in the movie is when she acts possessed.

Not the greatest movie, but mildly entertaining. The poor production values are glaring though, and this looks like a movie that was filmed in 1980s Hong Kong. Even some of the actor (not actress) hairstyles are reflective of this.

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