Cover Hard 3 (1995)

Cover Hard 3: Directed by Ringo Lam. With Andy Lau, Rosamund Kwan, Chien-Lien Wu, Ron Yuan. Andy was a child when his parents murdered by a double agent in Vietnam, Ray Liu. Andy was raised by his dad’s best friend. When he grown up, he became a pilot and Ray was a very powerful and rich man in Vietnam. After his unsuccessful attempt of assassination on Ray, he gather criminal evidence of Ray Liu for CIA in America. Knowing the only link of Ray is his daughter. While pretending a criminal boss to impress Ray and getting closer to his daughter, he fell in love with his daughter. He also did have an affair with Ray’s mistress, Mona. Andy was confused while knowing he had to kill the dad of his most loved person in the world.

“THE ADVENTURERS (Da Mao Xian Jia)u003cbr/u003eu003cbr/u003eAspect ratio: 1.85:1u003cbr/u003eu003cbr/u003eSound format: Monou003cbr/u003eu003cbr/u003eA Cambodian fighter pilot (Andy Lau) is recruited by American security forces to penetrate the inner circle of a billionaire arms dealer (Paul Chun) who murdered Lauu0026#39;s parents two decades earlier. But Lauu0026#39;s quest for vengeance is complicated when he falls in love with Chunu0026#39;s beautiful daughter (Jacklyn Wu)…u003cbr/u003eu003cbr/u003eThough responsible for some of the most popular HK action-dramas of recent times, including such well-received entries as PRISON ON FIRE (1987) and FULL CONTACT (1992), director Ringo Lam courted criticism with this ultra-commercial potboiler, dismissed in some quarters as little more than a vehicle for Asian superstar Lau, as if the actor-singer was somehow unworthy of Lamu0026#39;s u0026#39;respectableu0026#39; oeuvre. However, for all its faults – real and imagined – THE ADVENTURERS is an entertaining mixture of high emotion, brutal violence and thrilling stuntwork, headlined by some of the industryu0026#39;s brightest talents.u003cbr/u003eu003cbr/u003eEpisodic in structure, the movie follows a group of disparate characters from Cambodia to Thailand to San Francisco and back again to Cambodia, where Lau seeks redemption for a traumatic childhood incident in which his family was slaughtered by Chun and his wicked cohorts. Lam makes a virtue of the melodramatic plot and excessive action scenes, culminating in Lauu0026#39;s disastrous assassination attempt on Chun during a swanky reception in a Thai hotel, one of the most dynamic set-pieces of Lamu0026#39;s career to date. Wu – paired with Lau for the third time since their successful teaming in Benny Chanu0026#39;s A MOMENT OF ROMANCE (1990) – is Chunu0026#39;s estranged daughter, a firebrand who falls into the hands of rival gangsters and is rescued by Lau, who detains her in an effort to draw her fatheru0026#39;s attention and insinuate himself into Chunu0026#39;s criminal organization (thereu0026#39;s real chemistry between these two gorgeous young actors, exemplified by a wonderful sequence in which Lau foils Wuu0026#39;s comical attempts to escape from their country hideout), whilst Rosamund Kwan – another long-standing Asian celebrity – plays Chunu0026#39;s unhappy moll, a dignified creature whose desperate longing to escape the villainu0026#39;s clutches has appalling consequences for everyone around her, especially Wu.u003cbr/u003eu003cbr/u003eLamu0026#39;s eventful screenplay – co-written with Yip Gong-yam and Sandy Shaw – generates tension by emphasizing Lauu0026#39;s divided loyalties and highlighting the moral uncertainty of his plot to destroy Chun, and while the role is hardly a stretch for Lau (heu0026#39;s built an entire movie career on such flawed but heroic characters, ever since his debut in Ann Huiu0026#39;s 1982 feature BOAT PEOPLE), he plays it with just the right amount of compassion and nobility. Co-stars include Shaw Brothers favorite David Chiang, Ben Ng (the scene-stealing villain from Billy Tangu0026#39;s horrific RED TO KILL), and Asian-American actors Victor Wong (BIG TROUBLE IN LITTLE CHINA) and George Kee. Technical credits are superb: Wong Wing-mingu0026#39;s rapid-fire editing maintains a quickfire pace without sacrificing characters or narrative coherence, and Lamu0026#39;s high-powered direction is well-served by celebrated cinematographers Arthur Wong and Ardy Lam, who flatter Lauu0026#39;s beauty with their careful lighting schemes and underline the drama with tilted angles and fluid, mobile camera-work. Die-hard fans may have been divided by the film, but casual viewers will almost certainly get their moneyu0026#39;s worth.u003cbr/u003eu003cbr/u003e(Cantonese dialogue)”