Joined in 2023 
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As Chan became more respected outside of Hong Kong, however, his films began looking more polished. The budgets got bigger and the scripts he had to work with became more complex. The sweet innocence and rawness that made Police Story so enjoyable disappeared. Each film is newly restored in 4K from the original camera negatives in Dolby Vision. They come to 4K Ultra HD in 2.35:1 HEVC 2160p encodements. There are naturally incremental improvements from one film to the next given the improvements in production and the differences in age for the sources, but they all look generally good with mostly natural grain structure, outside of some occasional issues on Police Story 1 where there is some noticeable grain reduction and slight smearing, particularly early on in the film. Starting from Police Story 2, the detail, textures, and grain remain quite crisp and consistent from start to finish. The application of Dolby Vision is subtle at best, not necessarily adding lots of brightness or staggering amounts of dynamic range, but there is good specular highlight ‘pop’ to be seen in some of the neon signage and where there are explosions or any sorts of flames they looks very three-dimensional and have more color to them. The Audio
I mention all of the above because Police Story is one of those films that reached all sorts of different people in all kinds of different versions. It was dubbed, cut, edited, and then sold by practically everyone, practically everywhere. Really, contrary to what is often claimed by Hong Kong Cinema pundits, this was the film that made Chan big outside of Asia.
Police Story: Other Editions
There’s definite western influence. Leroy Neiman posters hang in Chan’s apartment. The court system was decidedly British even as the UK restructured a Nationality Act to change Hong Kong’s citizenship. Chan wants independence, away from this system and away from the richer capitalist influences, but accepts the circumstances until a breaking point. brightness and vividness of the palette in this version. Perhaps understandably, some of the outdoor material tends to pop the best, and it's here
It was four years before Chan returned to the role of Ka-Kui, but when he did the rule of being bigger and better definitely applied, as Police Story 3: Super Cop takes a step up in every department and, overall, pulls it off admirably. Hong Kong Theatrical Version – Brand new audio commentary with Asian film experts Frank Djeng (NY Asian Film Festival) and F.J. DeSanto Also interesting, Chan begins doubting his skills, adjusting to a new culture, new laws, and new rules. He’s no longer comfortable, and spends the next 90-minutes proving he’s as billed by his home office. Chan does, of course, because here in his prime circa 1992, no one did it better. Police Story III even aims to mirror western action, copying Commando and/or Predator with an explosive jungle shootout that’s just as wild, if not more so, than those counterparts. While Police Story III stalls for time in places, it’s worthwhile. The action in the first hour is spectacular. Fights in a restaurant and a playground are genuinely jaw-dropping displays of what Chan and his stunt team could do with props and their environment. The gags are endlessly inventive, and a running joke about the lead goon getting his glasses repeatedly broken is very funny in a Looney Tunes kind of way, which also fits the manic speed of the choreography (helped, of course, by some undercranking). While trying to sort things out with May, Ka-Kui gets framed by Tao's men for the murder of a corrupt cop (Kam Hing Ying). In the meantime, Selina is kidnapped and all of the charges against Tao are dropped. Forced to hide from his former colleagues as well as Tao's men, Ka-Kui decides to take matters into his own hands -- he saves Selina and proceeds to destroy Tao and his gang.Episode of Son of the Incredibly Strange Film Show from 1989 featuring interviews with Chan and actor Maggie Cheung Car chases pan around the field. Glass debris drops into the surrounds. Gunfire makes its way through each speaker. City ambiance enriches everything, and partway through, a dog barking in the left rear makes a convincing case for its presence. If Amos Burke, Secret Agent didn't exactly set the world on fire, this third Police Story film actually is rather enjoyable from both The script then has purpose beyond putting Chan in real world danger for thrills, something occasionally lost in Chan’s later films (especially into the ‘00s). There’s clear camaraderie between Chan and Yeoh beyond their athletic prowess, co-workers joined by their careers and common good. Awkward instances with Chan’s on-screen girlfriend (Maggie Cheung) sport both comic and tense attributes as the star risks exposing his undercover status in awkward ways.
The action, though, is why we’re here and from moments as small as a simple leap over a gate to the astounding mall-set sequence that closes the film (and led the stunt team to dub this ‘Glass Story’) it is impossible to overstate the brilliance of not just the choreography, but of Chan’s instincts as a director and especially as an editor. This film is a clinic in how to stage, shoot and cut action. Every element is so meticulous and even when it goes wrong (as in a bus stunt at the start), the crew keeps things running for an even greater impact. There is perhaps no better summation of Police Story than its centrepiece stunt, when Chan slides down a pole lined with (lit) lightbulbs. We see it three times in the film and once in the outtakes, so every time I watch the film, I see it four times. I still can’t believe my eyes.differences between the Eureka! Entertainment and 88 Films presentations (judging solely by screenshots), including this being slightly wider than
Original Hong Kong Version (UHD; 1:36:30) and U.S. Version - Supercop (UHD; 1:30:42) are accessible In close is much the same. Perfect, even. Facial definition comes in, full, rich, and pure. Decidedly ‘80s interior design loses nothing, with various décor and textures noted. Each film in the collection is supplied with the original Cantonese Mono in LPCM 1.0, an English dub in LPCM 1.0, and Cantonese DTS-HD Master Audio 5.1, except Police Story 3 which comes with the Cantonese Mono, Cantonese Stereo Home Video Mix LPCM 2.0, English Mono, and a Cantonese Dolby Atmos mix. Police Story 3: Supercop” co-stars Michelle Yeoh (sometimes credited as Michelle Khan) as mainland Chinese Interpol Inspector “Jessica Hana Yang”. Yeoh had established herself as a very capable action actress in films such as “ Police Assassins/Yes Madam“, “Royal Warriors” and “ Magnificent Warriors”. She would achieve worldwide fame in acclaimed productions such as “ Crouching Tiger, Hidden Dragon“, and “ Tomorrow Never Dies“, and more recently “ Shang Chi and the Ten Rings” and the smash hit “ Everything Everywhere All at Once“.Studios & Distributors: Golden Harvest Company | Golden Way Films Ltd. | Paragon Films Ltd. | Eureka Entertainment Three archival interviews with director Stanley Tong (Combined runtime approx 65 mins), including a half-hour interview from the 2005 Cannes Film Festival courtesy of the Frédéric Ambroisine Video Archive
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