Teleport City is, by and large, a cult film site. It would seem, upon first impression, that a film like Captain Blood, or many of the old films that I regularly watch, would be ill at home here. After all, they are classics. Does anyone need one more person telling you Captain Blood is great? Or that any of these old films are great? I mean, everyone already knows that, right? It’s common knowledge, and everyone has seen these films a thousand times. Well, while that may have been true at some point, it hardly holds up well today. In fact, even many of the best-known films of the 50s and earlier have, in today’s pop cinema landscape, been so completely forgotten that they have achieved a level of obscurity that rivals that of any of the other cult films we might be prone to discussing. This they accomplish despite being widely available, widely discussed in the past, and cherished by the handful of people who still bother with old black and white films.
It’s no secret that since the tail-end of the 1990s the Hong Kong film industry has had a rough time. After being gutted by gangsters for decades and plagued by the most rampant video piracy in the world resulting in films being available on bootleg VCD before they even opened in theaters, Hong Kong’s once illustrious cinematic juggernaut found itself on thin financial ice. Big stars were either getting to old to perform as they once had or were simply packing up and heading for the greener pastures of America. The new generation of stars, culled primarily from the ranks of teen models and pop idols, did little to spark interest in the new generation of films.
Technically, this should have been the first Hammer horror film I reviewed, if for no other reason than the sake of some chronological order running through this ongoing journal. This is the one that started it all. Well, no, technically I guess Quatermass Xperiment started it all, but this is the one that really made “all” all that much more. But in our zeal to watch a good vampire movie, we skipped ahead a bit and went for Horror of Dracula first. A faux pas, perhaps, but thanks to the miracle of hyperlinks and the web, you can always read this one first then skip on back to the other one. Or you can do what most people are probably doing anyway, and just not worry about it.
Stanley Tong sucks. I don’t make such sophisticated statements without some degree of deliberation and thought, and after years of giving him the benefit of the doubt, I’m left with no alternative than to pass judgement on this Hong Kong director, and my judgement is that I could never see another Stanley Tong film in my life, and I wouldn’t be all that upset. Any number of things about his work annoy me, but first and foremost is his ability to make even the most dynamic stars uninteresting and dull. I mean, this is the guy who had Jackie Chan, Michelle Yeoh, Ken Lo, and Yuen Wah together in the same film (Police Story III: Supercop) and made them all disappointing. Oh sure, Michelle did the stunt where she jumped the motorcycle onto the moving train, and that was cool and all, but ten seconds out of a ninety minute film hardly justifies the tedium. What kind of fool puts Jackie Chan and Yuen Wah in the same film and doesn’t think to stage a fight scene? Or Jackie Chan and Ken Lo? Or Jackie Chan and anybody? He might as well not have even been in that movie. Tong went on to make Rumble in the Bronx, one of the most ludicrous of all Jackie’s films but at least it was fun and Jackie fought a hovercraft. Tong then redeemed himself slightly with the above-average Police Story IV: First Strike. But then he made Mr. Magoo, and it was all over.