• • • November 4, 1996 11:00PM PT The Chinese Feast Liu, who (per the movies prologue) lost out in a contest five years ago against the same Mainlander, is now an alcoholic derelict. Hawling him back to Hong Kong, Sun and Ka-wai race to rehone his five key senses so he can rep Aus eatery in the contest, based on three dishes (bear paw, elephant trunk, monkey brains) in the famed, multicourse Qing & Han Imperial Feast. Pic is essentially a modern-day version of the rival-schools costume dramas, with cooking skills replacing martial arts expertise. In between, however, Tsui has some pre-97 sport showing disorganized but fast-thinking Hong Kongers teaching a few things to humorless, arrogant Mainlanders. The movie also pushes a philosophy that runs through many of Tsuis pictures: that success in any endeavor can only be achieved by group effort. Cheung and Yuen show fine screen chemistry here, with the former clearly having a ball goofing around, and the latter giving a passable impression of Chung King Express discovery Faye Wong in red hair and loopy clothes. Production values, from the gorgeous main title onwards, are top of the line and, as in that great other Chinese food movie, Eat Drink Man Woman, the vittles look good enough to, well, eat.

Feast III: The Happy Finish The survivors are saved by the mysterious prophet, Short Bus Gus, who seemingly has the ability to control the beasts. Dreamworks blender template. He leads them into the sewers as they travel to the big city.

Liu, who (per the movies prologue) lost out in a contest five years ago against the same Mainlander, is now an alcoholic derelict. Hawling him back to Hong Kong, Sun and Ka-wai race to rehone his five key senses so he can rep Aus eatery in the contest, based on three dishes (bear paw, elephant trunk, monkey brains) in the famed, multicourse Qing & Han Imperial Feast.

Pic is essentially a modern-day version of the rival-schools costume dramas, with cooking skills replacing martial arts expertise. In between, however, Tsui has some pre-97 sport showing disorganized but fast-thinking Hong Kongers teaching a few things to humorless, arrogant Mainlanders. The movie also pushes a philosophy that runs through many of Tsuis pictures: that success in any endeavor can only be achieved by group effort. Cheung and Yuen show fine screen chemistry here, with the former clearly having a ball goofing around, and the latter giving a passable impression of Chung King Express discovery Faye Wong in red hair and loopy clothes. Production values, from the gorgeous main title onwards, are top of the line and, as in that great other Chinese food movie, Eat Drink Man Woman, the vittles look good enough to, well, eat. The Chinese Feast (HONG KONG) Production: A Mandarin Films, Film Workshop production. Produced by Wong Hark-hoi, Raymond Wong.

Executive producers, Wong, Tsui Hark. Directed by Tsui Hark.

Screenplay, Tsui, Ng Man-fai, Tseng Tsung-tai. Crew: Camera (color, widescreen), Peter Pau; editor, Mak Tsi-sin; music, Lowell Lo; production design, William Chang; food design, Tsui, Chang, Man Nim-tsung; stunt director, Yuen Pan; assistant directors, Tsui On, Cindy Chan; second unit camera, Poon Hang-seng. Reviewed on Eastern Heroes vidcassette, London, July 27, 1996. Film Festival.) Running time: 107 MIN. With: With: Leslie Cheung, Anita Yuen, Kenny Bee, Ni Shu-chun, Lo Ka-ying, Zhao Wenzhuo, Hung Yan-yan. (Cantonese & Mandarin dialogue) Hong Kong helmer Tsui Hark is in top form with The Chinese Feast, a comic kung-food movie about dueling chefs thats funny, skillful and a heart-warmer to boot. Pic lacks the sheer action smarts to break out theatrically in the West, but is a tasty treat for aficionados of eastern fare and could clock up some business on video.