When Des Mangan said that this was the most action packed of the In the Line of Duty Movies he was not wrong. We open with a fight scene between a Chinese immigrant and five tough guys, and the immigrant wins. Basically the action of this movie is almost non-stop and it keeps you focused right through to the end. Sometimes simply watching kung-fu fights, one because bored of them, but this movie seemed to give life into these fights.Basically a Hong Kong cop (Cynthia Kahn) and a Seattle cop (Donny Yueng) are working together to bust a drug ring operating between Seattle and Hong Kong. Another immigrant sees a cop who has just been shot after witnessing the CIA backstabbing the drug ring and taking the drugs for themselves. The immigrant takes the film and flees while being chased by many nasty people. As the CIA have control of a lot of law enforcement agencies, this guy finds himself not only fleeing the crooks, but also the police and other authorities.Soon he returns to Hong Kong and proves to the two officers that he is innocent, but can identify the villains, so they find themselves the target of assassins. After getting into lots of trouble and trying to root out corrupt cops, they confront the baddies, have a big fight, and win. Nothing deep, but simply a movie one watches for the action as that is what entertains people these days (and those who find American action to be quite dry, turn to Hong Kong cinema to see what it is really done.)

Yeah, no. This film was awful. The choreography was so forced, and the characters had no depth except for Yat Chor Yuen (which is a shame as this is his last film). Donnie Yen is so blasé that his character is just another "hard cop without any conflict" and Cynthia Khan cannot take over for Michelle Yeoh, no matter how hard she tries.Yeun plays Luk, a just legalized Chinese immigrant in America who witnesses the CIA murdering a cop who are selling drugs for money to support their Latin American conquests(hang on, it gets better). Yen and Khan, two Seattle detectives, follow Luk to Hong Kong where their captain turns out to be a CIA operative who happens to be undercover as an officer for years, built up a relationship with Yen's character, and is in on the whole affair. Right. Not only that, but he kidnaps Luk's own mother to get at him.This film obviously hates the CIA, which there is nothing wrong with nowadays, but the story seems right out of a paranoid schizo's mind. Woo-ping Yuen's choreography is surprisingly clichéd and unremarkable given that he would do "The Matrix" and "Crouching Tiger" later. The blood looks like ketchup and hot sauce which was probably the best part considering this film was made in 1989, not 1954 and in Technicolor.The music sounds like it's from a workout video by Jane Fonda and the cinematography is just static. Lighting is just that, light, and the relationships are forced. In fact, no one seems to have a real relationship except for Luk and his mother (which is actually rather sweet).Overall, the only saving grace is from Yat Chor Yuen (brother of Woo-ping) and the rest is just a mess. Worth a look if you're a die hard Yen or Yuen fan, but other than that, there's nothing to recommend.

Sliding in between the fall of old school kung fu and the enthusiasm for wire-work in the 90's In The Line of Duty (or In The Line of Duty 4 or a variety of other names) is one of the greatest of all kung fu actioners made outside of a traditional setting and one that marvellously bucks the trend for keeping action mostly to a few impressive set pieces rather than spreading it evenly throughout. Here the action comes thick and fast, and as directed and choreographed by Yuen Woo Ping it looks great on screen. Wirework and editing trickery is kept to a minimum and the only impediment to following all the action is its speed and virtuosity that ensures every second of each fight offers up excitement, blink and you're sure to miss a good move and powerful blow. Performances in the fight scenes are at a high from all involved, a young Donnie Yen unleashes a dazzling storm of leg fighting fury, Cynthia Khan melds agility and elegance with her talents in ass whuppery, even in a sad sack role Chor Yuen gets to show off some good moves. There's a fine array of baddies as well, the towering Michael Woods gets a ferocious roof top fight scene whilst John Salvitti excels in an alley confrontation. What plot there is concerns an immigrant (Chor Yuen) who gets accidentally involved with drug dealers and corruption when he is suspected of having a vital tape recording. Fortunately help is at hand from Cynthia Khan's Yeung Lai Ching and Donnie Yen playing the imaginatively named Donny. Further smarts in this line come from Michael Wong playing, yep, you guessed it, Michael Wong. Plot and characters simply aren't an issue in the film though, this is mindless stuff and the sort of film where the plot vanishes into the ether of memory as soon as the film is over but the fighting remains. Occasionally the film makes bizarre feeling forays into comedy, sentiment and police ethics, such interludes are somewhat jarring but never take too long and are approached with such a heart and commitment from the players that its hard to grudge them. There's little more to say since there isn't much to the film, but it is certainly a must see for fans of the genre. The only notable criticism I can make is that the fighting is generally too clean for the amount and force of the blows being exchanged. It means that the fights can go on for a decent quantity of time, allowing maximum showcase of the talents involved, but on the other hand it's somewhat unrealistic as all involved would have been more or less demolished by most of the show-downs. Still, this is only a minor caveat to a wondrously entertaining film. If you like martial arts action and haven't seen this film yet, do yourself a favour and find a copy. You can thank me later

Between 1984 and 1991, after the demise of the traditional kung fu film, and before things really started going downhill with excessive wire-work, Hong Kong action movies moved through a kick-boxing phase which introduced more pragmatic fighting but retained some old-school sensibilities. Of all the films produced in these five/six years "Witness: ITLOD 4" is hands down the best. Here's my reasons why: the pacing is superb. You watch action films for action - and Yuan Ho-Ping,as is his wont, keeps the movie going at a breathless pace with a fight or chase almost every five minutes.Yuan Ho-Ping uses his strict rhythmic parameters so the action is clear and we can enjoy every movement. Some classical moves are dropped in just to make the action a little prettier. Long shots and close ups are used when appropriate and to give variety - all typical Yuan Ho-Ping trademarks and this is what sets him apart from inferior filmmakers in the genre. He also introduces some great novelty fighters - the female foreign fighter who looks like an English teacher with a heroin habit, the crazy eyed foreigner in the alley with the eccentric fighting style and of course Michael Woods.The syncronisation of the action and sound effects is SO crisp here and the sound effects have never sounded better - deep body blows and crisp "pak" sounds - music to my ears! The soundtrack music is superb! A little bit like the repeated theme of "Halloween" - it's icy and sinister - a delicious backdrop for the brutal and surgically precise action. There's a way that the theme anticipates the action in the way that a repeated theme introduces particularly nasty sequences in a Lucio Fulci film.Silence accompanying action. I love the way that characters roll over, across in and out of cars and buildings in silence. It may not have been a deliberate device - but the fact that HK films are shot silent and then dubbed later sometimes results in some very interesting dynamics.You enter into a world of claustrophobic and relentless brutality - which slips in and out of a cartoon universe where people take beatings with tire-irons and walk away intact one minute, and end up bleeding and lifeless in lift shafts in another. Yet in this icy universe of remorseless violence there are moments of compassion - for example when the "witness" is allowed to visit his mother - but this touching scene is, once again, abruptly terminated and violence resumes.On top of the best action you will ever see, there are also the qualities to the film I have listed above. This all results in a quite extraordinary film with a very distinctive feel and ambiance. It's strange - I've never experienced the same kind of quality with any other Hong Kong film. When I first showed this to friends they demanded repeat viewings - it's like a roller-coaster ride that leaves you craving yet another adrenalin rush.