I'm trying to expand my martial arts movie collection. What movies can you reccommend?

P.S./ if anyone mentions any flick containing any of these people:

Cynthia Rothrock
Don "The dragon" Wilson
Lorenzo Llamas

...you will be stabbed with a spoon!


"Conan, what is best in life?"

" To crush your enemies, to see them driven before you, and to hear the lamentation of their women."


http://www.myspace.com/the_ill_fremen

Bruce Lee in one of those Bruce Lee movies, but Chuck Norris refused to fight him, and that delayed my client's career damn near 20 years.

FUCK KUNG FU MOVIES. Fake ass shit.........

**getting that Eugene Levy money since 2005!**

http://www.kungfucinema.com/reviews/burningparadise.htm

Ask for a darker, more sweeping, and exploitive version of Fong Sai Yuk (1993) and you'll be introduced to Burning Paradise. This impressive film shares the same style of choreography and lead character as Jet Li's former vehicle, but it's creative roots reach closer to the influence of Ronnie Yu's disturbing, yet masterful fantasy epic, The Bride with White Hair (1993).

It isn't really fair to compare Burning Paradise to Fong Sai Yuk solely on their shared principle character. Sai Yuk is a popular Cantonese folk hero who has appeared in numerous films with various interpretations of his exploits portrayed. In this film, he is a Shaolin student running with his master from the murderous clutches of Manchu soldiers who have destroyed Shaolin Temple. They evade their pursuers long enough for Sai Yuk to meet a pretty, young woman (Carman Lee) sold into prostitution who is also in hiding. Events lead to their capture and Sai Yuk finds himself locked away in the Red Lotus Temple which has become a house of horrors run by the sadistic Elder Kung (Wong Kam Kong). After barely surviving a fight with a traitorous former Shaolin monk, he's thrown into a pit of dead bodies where other hapless victims of Kung's brutality rest. Meanwhile, the girl is chosen to be Kung's latest conquest and he offers her some privileges. Upon her request, he orders Sai Yuk to be saved. Yet, Kung's twisted indulgences mixed with a realization that he's essentially trapped in the Temple along with the prisoners puts the girl's life in jeopardy. Sai Yuk finds an unlikely ally within the Temple and mounts a massive escape along with hundreds of fellow monks as the temple's guards, a plethora of deadly traps, and the powerful Elder himself stand in the way.

The first impression one receives is that the film is quite visually arresting. Opening scenes in the deserts of mainland China featuring an army of armored soldiers on horseback battling a single fighter with one enormous sword are always good ways to begin a film. Ringo Lam who is well known for his gritty, gunplay classics such as City on Fire (1987) takes his expertise and penchant for violence to the martial arts genre. Considering the film's mostly darkened interiors and a heavy load of wirework within seemingly confined spaces, his direction is surprisingly tight with hard-hitting choreography from Chris Lee clearly laid out. The film was produced by Tsui Hark who was responsible for the rebirth of the genre in Hong Kong in the early '90's. The higher quality of the production from creative set designs to dramatic lighting clearly shows his demanding influences. While the fight scenes are plentiful and high on visual impact, the real draw are the sets themselves. Not since Indiana Jones went swinging through the dark underbelly of an Indian temple have set designers had so much to be proud of in creating such a sinister and effective underground labyrinth for extended action sequences to be shot.

Fong Sai Yuk is played by Willie Chi (Drunken Master III), a once-rising talent whose impressive martial arts presentation on screen is reason to wonder why his film career was so short (although I would speculate that he may have moved to television production where classic martial arts programming continues to flourish in Asia). Wong Kam Kong has the meatiest role as the contemptible Elder Kung and gives the most engaging dramatic performance, leaving the film's younger stars to rely on their physical and aesthetic qualities to carry their characters.

Burning Paradise is a polished and very rich film experience that hasn't received the appreciation or exposure it deserves since its initial release which was a box office failure. This may have been due to the film's extremely grim tone which deserves to be classified within the horror genre. A fair amount of gore including bodies cut in two and piles of rotting corpses is complimented by a mood of despair and futility that begins once introduced to the Red Lotus Temple and doesn't leave until our hero does. It will not appeal to everyone, but the film is very well made and delivers some real hard-hitting action.

http://www.kungfucinema.com/reviews/blade_1995.htm

his gritty and violent remake of The One Armed Swordsman is a masterwork of martial arts filmmaking and represents the very pinnacle of Tsui Hark's skill as a director and of the genre itself. For it's stark imagery and raw intensity, The Blade is a personal favorite that slices it's way into a more ambitious realm of poetic savagery that Hong Kong's film industry sadly never had a chance to explore further.

Tsui Hark has made many films before and after, but nothing quite compares to The Blade. The film came at the end of a cycle of martial arts films that Tsui Hark himself had begun with The Swordsman in 1990. Most of these films were essentially remakes of 1960's and '70's era Shaw Brothers classics, but they were infused with advanced wirework techniques and often featured more physically demanding stunts and martial arts proficiency from the likes of Donnie Yen and Jet Li. Dozens of swordplay and fantasy films flooded theaters in a rabid burst of energy and creativity from experienced filmmakers who seemed to be racing against time in order to get as much done before the dreaded handover of Hong Kong to Communist China in 1997, where it was thought that heavy government regulation of the film industry would begin. By 1995, the bubble had all but burst with some of the best filmmakers already jumping ship to work in Hollywood as local movie goers increasingly put their money down to see big budget Hollywood productions instead of homegrown fare. Plus, the martial arts film genre seemed to be bled dry. But on this final point, nothing could have been further from the truth.

In retrospect, The Blade is a visionary film that dropkicks the genre into a tactile world of visceral action and vile corruption far removed from the chivalrous knight errantry that populated early classics. Even Tsui Hark's kung fu epics of a few years prior such as Once Upon a Time in China seem like idyllic havens of martial frivolity in contrast. What really sets this film apart is a sense of realism and connection with humanity unheard of in most Hong Kong martial arts films, but not unlike a jet propelled version of character driven chambara classics from Japan like The Tale of Zatoichi.

Both the camera techniques and narrative betray a strong influence from Wong Kar-wai's Ashes of Time (1994). This is another, more cerebral swordplay tale infused with Wong's art house sensibility. But like Steven Spielberg, whom Tsui Hark is often compared with, the filmmaker is out to please a wider audience. Even with edgy direction and an unusually strong and contemplative female presence, The Blade still encapsulates the very essence of the most exciting and popular swordplay films. It is this tenuous balance that Tsui Hark sustains flawlessly.

The film is narrated by the lead female character, Ling (Song Lei) who puts a lyrical spin on the typical revenge plot with a subplot of her own that shows how women attempt to find some level of control in a cruel world dominated by male aggression and lust. She is the daughter of a master sword maker who plays with the affections of two workers at the Sharp Foundry, a weapons shop in a frontier town in China's barren Western territory. One of them is Ting On-man (Vincent Zhao) who is chosen to be the master's successor and this draws plenty of criticism, especially from his rival Iron Head (Moses Chan). Larger events draw them into a bloody confrontation with marauding bandits after they attempt to avenge the brutal death of a monk. The monk's fight with the bandits is the film's first action sequence and it quickly establishes a darker, more realistic style of combat. There is no gratuitously loud sound effects, excessive wirework, or bravado. The massively built monk is easily a match for any number of bandits, but they fight dirty and ambush him with bear traps, a vicious weapon that comes into play again as On-man faces the bandits himself. In a long and wonderfully kinetic scene, On-man finds himself overwhelmed by bandits while attempting to save Ling from their clutches. This is where he loses his right arm after it gets stuck in a bear trap.

It would do well to take a moment to point out Tsui Hark's brilliant direction. The camera is kept close to the action and is even attached to people and objects as they roll and bounce along. Everything is a whirl of maniacal motion best described as the martial arts equivalent of the opening battle in Saving Private Ryan. Tsui balances these scenes with richly detailed and decrepit sets, almost always shot at odd angles or heights to lend a morbid vibrancy to the entire film.

On-man is separated from his friends and nursed back to health by an orphan living in a run down house. Considered dead by the Foundry workers, On-man attempts to find a new life as a cripple, working as a waiter and enduring scorn and even attacks from wandering bandits. He initially buries a broken sword (which the film's title refers to) left by his long dead father. But upon finding a unique kung fu manual he begins to train in an unusual style of swordplay. This is where Vincent Zhao truly excels and provides us with a magnificently fresh approach to swordplay. With only one arm, On-man perfects a spinning and leaping attack, augmented by a chain which he attaches to the shortened blade to whip it about at enemies. This technique proves to be most effective against attacking bandits on horseback. On-man eventually turns his attention to finding Flying Dragon (Hung Yan-yan), the man who killed his father and now threatens the Sharp Foundry. Their fierce fight at the end of the film is one of the greatest and most brutal sword fights in cinema history.

Notable is the lack of big name actors to this film. The star, Vincent Zhao is a hugely underrated martial arts actor who showed up too late to fully benefit from the kung fu boom. He has continued to appear in martial roles, but they are generally either inferior films like Body Weapon or Chinese television series that may never see the light of day in the West with translated dialogue. The rest of the cast is young and relatively unknown, but each and every one turn in particularly good performances that are full of energy and passion. Zhao bristles with menace and despair as he copes with the loss of his arm. The orphaned boy he hooks up with perfectly captures the desperation that all of the victims of bandit attacks exhibit. Tsui Hark's integrated focus on Ling's attempts to find On-man and the contrasting struggles of a prostitute resigned to her fate and played with zest by Valarie Chow adds dimension to the film. The director is well known for his strong female characters and these women are no different.

Its nearly impossible not to write at great length about The Blade when it comes so close to presenting the perfect marriage of classic martial arts action and a modern, deconstructionist perspective that eschews idealism. The old Shaw Brothers classics, including the original One Arm Swordsman had begun to break away from the tame Chinese operatic sword duels of old, but this re-imagining proved that there was still plenty of bloodied road not traveled in this genre. More recent swordplay films, including Tsui Hark's The Legend of Zu have returned to more fanciful depictions of dueling inspired by comic books and myths. For the time being, The Blade marks the end and also the greatest example of a very short, but sweet period in Hong Kong film that appeared on the verge of opening the swordplay genre up to the kind of brutally epic and humanist standards it deserves.

http://www.kungfucinema.com/reviews/taichimaster.htm

Premise: Two friends and Shaolin brothers enter the world only to go seperate ways that leads to explosive confrontation as the Ching government attempts to crush the weakening Ming rebellion.

Review: Two friends grow up together in a Shaolin temple learning kung fu under the watchful eye of their caring teacher. As young men, they enter a contest to see who will proceed to the next level of training when Tianbao (Chin), the eldest takes his unrestrained anger out on a fellow contestant. When the master of the temple takes offense, Junbao (Li) defends his friend and both men are sent packing. On their own in the world, they soon find their paths moving in opposite directions when the more ambitious Tianbao, who is seeking power joins the corrupt government forces. Junbao sides with rebel forces who oppose the over taxation of the local villagers. When Tianbao's ambitions lead him to betray his old friend, Junbao temporarily goes mad. His recovery coincides with the enlightened understanding of motion in nature, forming the basis of Tai Chi which he must use to defeat his former friend.

Every element of a classic Yuen Woo Ping film is represented in this highly satisfying Jet Li vehicle. Wo Ping has a knack for combining exuberant humor, intense action and dazzling martial arts choreography that is seen here in full force. A highlight among numerous entertaining battles occurs when Michelle Yeoh is squared off against another female in a restaurant. They twirl and crash over tables, tossing chairs high. Yeoh ends up on stilts, kicking with incredible grace. Although little romance was written into their teaming, Li and Yeoh have a solid chemistry that makes one consider what Crouching Tiger, Hidden Dragon might have been like with Li in Chow Yun Fat's role as originally intended.

According to John Charles in The Hong Kong Filmography, 1977-1997 Donnie Yen was to have originally played Tianbao. While a second pairing of Yen and Li after Once Upon a Time in China II would have been great, Chin Siu Ho deserves credit for giving a terrific performance as the villain. Early on, there is a desire to see Tianbao side with Junbiao. Instead, Chin turns Tianbao into an increasingly evil villain. Even the fighting styles are consciously designed to highlight the opposing personalities of Junbao and Tianbao. Tianbao's personality is overbearing and cruel so his kung fu is the same. In one scene, he almost loses favor with his master, a white-haired eunuch named Liu Jing due to his obscene cruelty when fighting. In contrast, Junbao is in harmony with the world, finding peace in everyday affairs. It is natural for him to embrace the teachings of Tai Chi which encourage a balance with nature and movement. The final battle between the two is a splendidly choreographed example of these two polar opposites.

While the part where Junbao dips into an overdone state of shock disrupts the flow of the story a bit, Wo Ping's The Tai Chi Master is one of his best. Top notch performances by Li and Yeoh with brilliant action scenes makes this a must see film.

http://www.kungfucinema.com/reviews/fistoflegend.htm

Premise: Remake of Bruce Lee's Fist of Fury has Jet Li as Chen Zhen, a martial artist and patriot who returns to Shanghai after learning that his master has been killed. While struggling against discrimination, Chen discovers the truth behind his master's death and helps fight against Japanese out to destroy the school.

Review: Without a doubt, Fist of Legend is Jet Li's finest film and arguably one of the greatest martial arts films of all time. Ironic and all the more impressive considering that the style of combat and demeanor he adopts for this film are not his specialty.

In the early 1930's, Shanghai is under occupation by various foreign powers including Japan who is using this foothold to prepare for an invasion of the mainland. One of the opposition leaders to Japan's influence in China is Fok Yuen Gaap, a kung fu master and founder of the Jin Wu school. A local Japanese General by the name of Fujita (Billy Chow) has had the teacher poisoned before a match with the leader of a competing Japanese school which results in his death.

As the film begins, Fok Yuen Gaap's leading student hears of his master's death and rushes back to Shanghai from Japan where he has been studying. Chen Zhen (Jet Li) arrives to find the school's reputation in tatters. Unable to believe that his master could have lost a match, Chen challenges the Japanese master who fought Yuen Gaap and beats him easily. This confirms his suspicion and after performing a crude autopsy discovers that Yuen Gaap had been poisoned. With the destruction of China's martial arts reputation and the impending invasion in mind, General Fujita kills the Japanese schoolmaster in order to frame Chen for murder but his trial is thrown out after Mitsuko (Nakayama Shinobu), his Japanese girlfriend shows up to claim he was with her at the time of death. Freed of these charges Chen now has to face discrimination against Mitsuko by his own brothers at the school which leads to a confrontation with Yuen Gaap's successor, Ting On. Chen beats Ting On in a fight and goes to live in the country with Mitsuko. Their solitude is broken after General Fugita sends Matsuko's uncle (Yasuaki Kurata) to kill Chen. Chen is beaten by Fumio but the samurai has great respect for Chen and spares his life.

Meanwhile, the Jin Wu school has been formally challenged by General Fujita. Ting On manages a painful recovery from the disgrace of losing to Chen and visits him knowing this may be his last chance to see his old friend. Matsuko returns to Japan and Chen accompanies his friend to the challenge. Ting On is no match for the brutal Japanese officer's karate skills and Chen steps in to fight which leads to the general's death. To appease tensions between Japan and China, Chen agrees to accept responsibility for the General's death, but his friends may have other plans.

To begin with, this story which ties together the pre-World War II tensions between China and Japan as well as the changing face of martial arts in the modern world has become the foundation for so many kung fu movies. Its difficult to convey just how important was Lo Wei's creation of Chen Zhen (AKA Chen Jun) as portrayed by Bruce Lee to the Hong Kong film industry. But few if any films ever came close enough to the original or even dared to try for fear of failing to live up to Lee's performance. Donnie Yen may have opened up the possibly for another direct feature film adaptation after his successful Fist of Fury television series premiered on Hong Kong television. Shortly after the filming of that series came Fist of Legend that brought together the creative mastery of Jet Li in Bruce Lee's role, several Yuen brothers including Yuen Wo Ping doing choreography, and Gordon Chan whose eclectic skills as a writer and director helped bring about such memorable films as Fight Back to School (1991) and King of Beggars (1992).

Fist of Legend is a powerhouse film that gets just about everything right when it comes to creating a modern martial arts film. The filmmakers carefully steered away from the one-sided depictions of racial intolerance by Japanese with a refreshing relationship between Jet Li and a Japanese woman played by the lovely Nakayama Shinobu. In a memorable scene where Chen pauses during a tense fight with his old friend at the Jin Wu school, he looks at purposefully at Matsuko just before he decides to go on the offensive. This seems to underline the fact that Chen is fighting for more than just Chinese independence, but also for equality and tolerance in general, something Bruce Lee's Chen would never had been so sensitive to.

The Yuen brothers obviously decided early on not to replicate Lee's moves and it was a good idea. Jet Li is a student of northern wushu which is soft, rather than southern boxing which is where Bruce came from with his former Wing Chun training. As Li was portraying a student of "hard" kung fu, his approach is much more intense and brutal in its execution than ever seen before. He would go on to replicate this style in Kiss of the Dragon (2001) and to a lesser degree in The One (2001). Yuen Wo Ping smartly allowed various elements of Li's own moves to be incorporated, thus creating a visually stunning repertoire of moves which Li unleashes upon his foes from agile kicks to rapid punches. The choreography is some of the best ever conceived of by the Yuen brothers. Every move and every camera shot is dynamic and creative without being too fantastic. You rarely if ever see the same move or angle and lots of little touches such as slaps to the face add that bit of zest to each battle.

The costumes, sets, and acting performances are all top notch. Having Yasuaki Kurata portray a sort of mentor and foe to Jet Li was a masterstroke of casting. Kurata has been in dozens of Japanese vs. Chinese martial arts films and many of them quite good, although he was usually cast as the bad guy. This is perhaps his finest performance in terms of acting and likely his last great martial arts role. Chin Siu Ho who once gave Jet Li and Michelle Yeoh a run for their money in The Tai Chi Master (1993) deserves special mention for his stellar performance as Ting On, the new master of Jin Wu school. Again, the filmmakers expanded on the original story by including a rivalry between Ting On and Chen, one that nearly destroys him. In fact, he steals Jet Li's dramatic thunder by being the most distraught protagonist. On the flip side, Jet repeats his stoic image he perfected in Once Upon a Time in China (1991). Unfortunately, he isn't able to capture any of the raw intensity that Bruce Lee was so capable of. This may be another reason why other characters such as Ting On are given more time in the spotlight.

Another complaint I have is how Jet Li's character seems to simply saunter into the final showdown with General Fujita by tagging along with Ting On. Despite Fujita's attempts to have Chen dealt with earlier on, there isn't any real emotion invested in Jet Li's battle with Fujita. The impression I get is that this Chen Zhen spent all his frustration and anger after his first encounter with the Japanese karate school. But, that's a small gripe next to the incredible physical performance Li gives. For sheer kickass entertainment, you cannot beat Fist of Legend. By any standard, this is a classic of martial arts cinema and if you haven't seen it yet, I pity you.

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"A man who is good enough to shed his blood for his country is good enough to be given a square deal afterwards. More than that no man is entitled, and less than that no man shall have." - TR

That general ain't fuckin around.

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Photo zine(some images NSFW): http://bit.ly/USaSPhoto

"This (and every, actually) conversation needs more Chesterton and less Mike Francesa." - Walleye

http://www.kungfucinema.com/reviews/onceuponatimeinchina.htm

Premise: Foreigners are threatening the sovereignty of China and exploiting the people through the trade of opium and slave labor. The legendary Wong Fei Hung is instructed by the local magistrate to defend the region. When corrupt officials and a rival kung fu expert side with the foreigners, Fei Hung finds himself in prison and his love interest, Aunt Yee sold into prostitution. With help from his students, Fei Hung must save Aunt Yee, defeat his nemesis and teach the "foreign devils" a lesson.

Review: Imaginatively choreographed, a gripping story of epic proportions, a quality DVD release, and Jet Li in top form -- this film belongs in any serious kung fu aficionado's collection. From two combatants exchanging blows while both dodging a large wooden beam that twists dangerously in the air to a tense climax as the same combatants balance and swing from the top of tall bamboo ladders, OUATIC bristles with memorable scenes. Fans of Yuen Biao may be disappointed to see his character, Foon lacking kung fu skills yet teamed with Kent Chang, he adds a crucial degree of humor and objectivity. Jet Li is a natural for this role which calls for composure and graceful martial skills. Jackie Chan had also played the character of Wong Fei Hung years before in Drunken Master and would reprise his role later. Where Jackie used his comical Keatonesque antics to good effect for a more mischievous portrayal, Jet relied on more flowing, controlled action to create a purposeful character who is admired for his strength of character. The "foreigners" are horribly typecast considering how recently the film was made and lack any depth although an apparent effort was made with a Jesuit priest who tries to aid Fei Hung.

OUATIC is quite enjoyable, although paced more modestly than some of Jet Li's other films. The action is interwoven with the story, rather than dominating it and that should appeal to a wider audience.

http://www.kungfucinema.com/reviews/onceuponatimeinchina2.htm

Premise: Jet Li returns as the famed hero, Wong Fei Hung who finds himself and his two companions caught up in a struggle by the fanatical White Lotus Cult to force foreigners out of Canton while a fledgling movement to make China a republic is threatened by a ruthless official (Donnie Yen).

Review: Could Tsui Hark's modern retelling of the legend of Wong Fei Hung get any better? The answer is yes! This sequel to Once Upon a Time in China (1991) packs in even better fights thanks to choreography by Yuen Wo Ping, while retaining the details that made the first film so entertaining.

At the end of the 19th century, famed martial artist and doctor Wong Fei Hung (Jet Li) arrives in Canton with his loyal attendant Foon (Max Mok) and love interest Aunt Yee (Rosamund Kwan) to attend a Western medical seminar. But, the streets are teeming with members of the White Lotus Cult, a religious group of extreme nationalists whose seemingly all-powerful leader (Hung Yan Yan) is stirring up his flock to kick all foreigners out of Canton. The medical seminar is interrupted by flaming arrows loosed from White Lotus members and Fei Hung decides to return home amid concerns over the growing violence. Yet, after hearing of trouble at a foreign language school, Fei Hung and his companions go to the aid of the young children which draws Fei Hung into a confrontation with the cult's leader who turns out to be a charlatan. Before leaving Canton, Fei Hung also assists a pair of rebels sought after by a local Chinese official (Donnie Yen). This leads to a fierce battle between the two martial arts masters.

The sheer level of master talent going into this picture may go unappreciated by general Western audiences, but fans know that having Tsui Hark, Yuen Wo Ping, Jet Li, and Donnie Yen all working together is a recipe for cinematic dynamite. And what a bang. This second entry in the OUATIC series that includes six films is generally regarded as the best and I must concur. I could banter around with various high points of the film, but I'll cut to the chase and just state the real reason -- choreography by Yuen Wo Ping. I'll be the first to admit I'm a shamelessly biased fan of Wo Ping's work, but the proof is in the pudding. Compare the fights in this film to any other in the series, especially the finale and you'll see. While all of the other films had great choreographers and memorable scenes, OUATIC II gels better than the rest and the impressive skills of Jet Li and Donnie Yen clashing is magnificent to behold. Yen's towel tossing scene is one of the greatest fights in film history while Jet Li's table-stacked bout with Hung Yan Yan is Wo Ping at his irreverently creative best.

Tsui Hark manages to revisit most of the first film's themes of nationalism, blind obsession, and sacrifice without appearing redundant. In fact, the undertone of the film is much more playful while dealing with the difficult Boxer Rebellion era in Chinese history which might be another influence by Wo Ping who has a tendency to be more playful with the action and characters when he's directing. The "foreigners" play less of a role in this film and the slave trade is replaced by a fight for Chinese democracy, a topic that was on many minds as 1997 and the handover of Hong Kong to Chinese rule drew near.

The casting provides an additional backbone to the film. Max Mok, who replaces Yuen Biao as Foon, Fei Hung's loyal companion provides fittingly boyish levity while veteran genre actor, David Chiang makes a welcome appearance as one of the rebels. Rosamund Kwan exudes wit and charm as Fei Hung's aunt (by marriage) who has a passionate love of the modern world and an even greater love for Fei Hung. Donnie Yen is perfectly cast as an intensely driven official who both admires and despises Fei Hung. Lastly, Jet Li continues to add his own take on the Fei Hung character portrayed by numerous actors before him. What Li manages to bring forth is an appealing combination of authority and awkwardness that he seems to play with ease, possibly reflecting a duality of his own personality.

For general Western audiences, I'd like to say that OUATIC II is a more accessible Hong Kong action film with it's balance of action, drama, and humor, but a characteristically flippant use of whimsically violent imagery within a real world setting may not appeal to sensitive viewers. But for sheer Hong Kong style bravado, this film delivers a visually jam-packed feast of stylized action within a historically-based tale that boldly echoes the concerns of today's society. Around here, we call that art.

http://www.kungfucinema.com/reviews/sevenswords_103105.htmr

A resurgence in wuxia pien, or Chinese swordplay films, comes along every few years, sparked by new technology and the universal appeal of martial arts. The genre can be a little problematic for Western viewers, given the supernatural elements like flying warriors, magic swords and the convoluted plots. But if you can accept the fantastic elements, wuxia stories function as parables of the kind of choices people make when they become powerful. Mastery of martial arts is the source of power here, but all weapons can be turned against their masters. Every move can be fraught with danger or opportunity. Both Ang Lee and Zhang Yimou were drawn to make wuxia films in order to explore the psychological depths of a few individuals caught up in these circumstances. Now Tsui Hark has weighed in with Seven Swords, an epic adventure that opens the story up again, and puts the focus back where it belongs, on strategy!

Veteran kung fu actor and action director Liu Chia-liang (Lau Kar Leung) plays Fu Qing-ju, a former torturer for the Ministry of Punishment under the Ming Dynasty. Displaced by the new Manchu regime, he recruits six other swordsmen to join in fighting his former protege, Fire-wind, played by the extraordinary Sun Honglei. The Manchus have offered a bounty for the heads of native Han fighters who might conspire against them, and Fire-wind has turned traitor to collect the rewards. Fu finds his allies on Mount Heaven, in a swordplay school run by master sword maker Shadow-glow (Ma Jingwu). Shadow-glow arms Fu, four of his students (played by Donnie Yen, Leon Lai, Dai Liwu, Duncan Chow), and two inexperienced villagers (Charlie Young, Yi Lu), and sends them down the mountain to fight Fire-wind and, by extension, the Manchus. Think of Seven Swords as an appetizer. The film sets up the characters with their back stories, and sows the seeds of camaraderie and conflict that will blossom much later. Tsui plans at least one sequel, and a total of seven films have been proposed.

The master strategist of Seven Swords is Fu, and it’s a pleasure to watch Liu take charge of the elaborate game of snares and feints that he plays with his former student. Fire-wind must have been an apt pupil, because he can anticipate traps as well as set some of his own. The innocent villagers turn out to have their own secret past, and former Shaw Brothers stars Jason Pai Piao and Chi Kuan-chun are solid as the headman of Martial Village and his second-in-command. As one of the Mount Heaven swordsmen, Donnie Yen burns up the screen as the brooding Korean Chu Zhao-nan. Yang Yun-chong, played by Leon Lai, is his opposite, all restraint and cold reason. Charlie Young and Yi Lu, the villagers turned sword fighters, are plucky but outclassed at this point, They’re still learning to meet the demands of their new calling. The Chow and Dai characters are ciphers in Seven Swords, but surely will have room to grow in the sequels.

The original four-hour running time was cut back to 153 minutes for this release, but look at it this way: if you were bored by the unbroken mass of exposition in the second half of House Of Flying Daggers, this film is for you! The plot zips along, assuming wuxia fans will fill in the gaps for themselves. The sequence of climbing Mount Heaven, forming the alliance of the seven swordsmen, and awarding the swords has been stripped down to where it feels like a trailer. It’s fair to assume this material will be restored in the director’s cut. But if we miss a detailed introduction to the swordsmen and their quite idiosyncratic weapons in the Mount Heaven scene, much is disclosed in the fight scenes and there are plenty of those. Seven Swords is all about the way experts fight, the planning and battlefield skills that can give the edge in close combat. Sometimes brute strength can carry the day, but usually cunning trumps force.

No wonder some critics have been befuddled by Seven Swords. The film is an illustrated manual of martial strategy. Each of the swords has a different structure, either magical or mechanical, and when combined with the personality of the user, a unique fighting style emerges. We only get a taste of the weapons’ abilities in Seven Swords. We also get a hint that the swords can be combined in ways that increase their power. The final showdown foreshadows opposition between Chu’s Dragon Sword and Yang’s Transience Sword. And a briefly glimpsed thousand year old sword with unknown powers will undoubtedly have a role to play.

http://www.kungfucinema.com/reviews/swordsman2.htm

Premise: Following on from his disillusionment with the “martial world” at the close of Swordsman, Ling and his partner Kiddo decide to seek a secluded life. They meet their old friends in the Sun Moon Sect but discover the terrible Asia the Invincible now rules the sect with violence and bloodshed.

Review: Swordsman II followed a troubled original that saw legendary director King Hu leave and the budget spiral. Perhaps surprisingly, producer (and unofficial director) Tsui Hark saw fit to continue the saga but made some radical changes, including replacing the entire cast save Fennie Yuen Kit-ying as Blue Phoenix. Less surprisingly, he brought in Ching Sui-tung, who directed sequences for the first movie, for full directorial duties.

Tsui’s decisions are vindicated when watching Swordsman II. The original remains underappreciated, but this film fully realizes its ambitions and the cast change is uniformly for the better.

Jet Li replaces Hui Koon-kit as Ling, and plays him as a happy-go-lucky boozehound, attempting to leave a venal “civilized” society. Li gives a lighter performance here than he did as Wong Fei-hung a year previously in his breakthrough, Once Upon A Time In China. Conversely, Rosamund Kwan (replacing Cheung Man as Ying, the daughter of Wu, the Sun Moon sect’s chief) is allowed a darker character than 13th Aunt in OATIC. She is introduced playfully threatening to cut out Blue Phoenix’s tongue and lethally dissects opponents with a powerful bullwhip.

Swordsman II belongs to Jet Li and Brigitte Lin Ching-hsia, in their only screen pairing. Lin, of course, plays Asia the Invincible, and this role is the zenith of her numerous portrayals of gender-perversity. Granted, she was superb in Ashes of Time (1994), but definitely part of an ensemble.

Lin’s character was once Ying’s uncle, but through study of dark magic contained in the Sacred Scroll and self-inflicted castration, he has mutated into an androgynous figure, neither man nor woman but possessed with a powerful, terrible magic. Asia keeps Wu (Yen Shi-kwan, also joining Li from OATIC) locked in a dungeon, so (s)he can rule the Sun Moon Sect alone, joining forces with rogue Japanese warriors against Dutch imperialists and Chinese Mainlanders.

So far so 'super-villain,' but Lin invests Asia the Invincible with a vulnerability she would evoke a year later in her finest performance in The Bride with White Hair (1993). Lin’s villain is not without feeling; she genuinely loves her quasi-lesbian concubine and Ling. And Ling returns the sentiment, thus making Swordsman II ultimately a love story between two men. Ling is not aware that Asia is a hermaphrodite or the bloodthirsty antagonist (and sleeps with her concubine believing her to be Asia), but rejects the clearly more feminine Ying and Kiddo for her.

Interestingly, Asia is given two entrances in the film. She briefly appears at the opening to decapitate a rival, but truly enters the picture when exploding from a lake, bringing nature to its knees. Asia’s dual gender, she only becomes fully female at the end, is matched by the dual nature of her brother. Wu is introduced as a tortured, broken figure but transforms into a tyrant as terrible as Asia by the climax. Even Ling has contradictions to him, wishing to forego a life of kung fu conflict but unable to until Asia the Invincible is defeated.

Swordsman II’s story is heady stuff for those expecting typical Hong Kong action. And the mind-twisting extends to Ching’s staging of the action sequences. Using a blue and red color scheme beloved by 90s Hong Kong action movies, Swordsman II is a visual three-ring circus. Swords don’t just slice through the air but explode an invisible swathe through the ground, trees and poor unfortunates. Ninjas surf through the night sky on large shuriken stars, Blue Phoenix fires snakes from her sleeves and Asia’s victims frequently perish in an abstract welter of bloodshed. By the climax, when Ling, Wu, Kiddo, and Ying showdown with Asia, some viewers may feel exhaustion as well as exhilaration.

Here lies Swordsman II’s main fault; it is many things, but well paced it is not. Director Ching does not let the characters pause for breath as he barrels through a wild plot with giddy abandon. Luckily, the film is gob-smackingly memorable, so repeated viewings to pick up on the many plot threads (particularly subplots involving Asia’s foreign allies and antagonists) are not a wearying prospect. And viewing the next installment, The East is Red, is downright essential.

http://www.kungfucinema.com/reviews/ironmonkey.htm

Dr. Yang is Iron Monkey, physician by day and benevolent thief by night who steals from corrupt Ching officials and gives to the poor. When a young Wong Fei Hung enters town with his father, he is put in prison and his father is told to hunt down Iron Monkey in order to have his son released. After Fei Hung is secretly released into the care of Dr. Yang, Fei Hung's father and Iron Monkey form an alliance just as Master Fox, a traitorous ex-Shoalin monk shows up to reinforce the corrupt local government.

This is a classic of the 1990's string of kung fu films that started with The Swordsman (1990), both produced by Tsui Hark. Yuen Wo Ping puts his imaginative choreography through its paces as characters gracefully execute blistering martial skills. Like many of Wo Ping's films, realism is stretched to allow for fantastic leaps and unbelievable coordination. Wo Ping really has crafted a style all his own that seems to continue to infiltrate Hollywood (witness Charlie's Angels or The Matrix). The story involving a young Wong Fei-hung is actually played by a young girl, Tsang Sze-man. The movie is somewhat of a prequel to Once Upon A Time In China (1991) directed by Tsui Hark which features the legendary Fei-hung as an adult. The story is well thought out with solid performances and enjoyable humor thrown in. At one point, officials are rounding up anyone associated with 'monkeys' in general including one unfortunate soul who happened to be scratching himself in an apparent 'simian' fashion at the wrong time.

Iron Monkey is better than the original Iron Monkey (1977) or the sequel, Iron Monkey 2 that Wo Ping had no involvement with. All in all, this film is a top notch modern kung fu film that runs at its own breakneck pace and follows each wonderfully choreographed fight with another. This one must be seen and should be owned by DVD collectors.

http://www.kungfucinema.com/reviews/drunkenmaster.htm

Without a doubt, Drunken Master is the greatest classic kung fu comedy of all time and also the most influential Hong Kong film of the latter half of the 1970s. After the initial success of Snake in the Eagle's Shadow (1978), Jackie Chan was finally able to unleash the full force of his comic and physical genius under the masterful direction of Yuen Wo-ping.

The story firmly established stock conventions like the irreverent student-master relationship and the concept of gaining fighting prowess through inebriation that appeared in dozens of subsequent films such as The World of Drunken Master (1979) and Kung Fu of Eight Drunkards (1980).

Jackie Chan plays the famed Cantonese folk hero, Wong Fei Hung who for years, actor Kwan Tak Hing had played as a stately and wizened nobleman. Chan's version, which is heavily influenced by Yuen Wo Ping's slapstick comedy leanings flipped this image upside down and turned Fei Hung into a rebellious youth. Chan went on to successfully repeat this formula years later for Drunken Master II (1994) with Lau Kar Leung.

As the story begins, Fei Hung ends up in a heap of trouble with his father after making advances on a woman and fighting with her mother who turns out to be his visiting aunt (Linda Yin Ling). To make matters worse, Mr. Li (Fung Ging Man), the father of a bully that Fei Hung had beat up on the same day demands justice for the offense. Along with enduring long hours of difficult kung fu stances, Fei Hung's punishment is to learn kung fu from his great uncle, Su Hua Chi (Simon Yuen), a beggar and drunkard known for his harsh training methods. An attempt to escape lands Fei Hung directly within the grasp of Su who begins a torturous regime of training him in the "Eight Drunken Gods" style of kung fu. Despite Fei Hung's reluctance, mastery of these skills prove to be the only thing capable of keeping his father from being killed by Thunderleg (Hwang Jang Lee), a professional fighter hired by Mr. Li who will stop at nothing to sell off the local residents' land for profit.

A martial arts film cannot help but excel when you have so much talent pooled together. Producer Ng See Yuen (Ninja in the Dragon's Den) is responsible for some of the genre's best films and his willingness to take calculated risks, such as casting Jackie Chan, who despite his success with Snake in the Eagle's Shadow had remained stymied by a contract with Lo Wei and had yet to really prove that his brand of comedic kung fu would sell. As director and lead choreographer, Yuen Wo Ping was in a historic position to highlight his own skills as a filmmaker who would come to be known as The Master. His collaboration with fellow Yuen brothers Corey, Shun Yi, Chun Wei, and Brandy allowed for an unparalleled collective of wildly creative skills ideally suited to action choreography and comedy. The film's action sequences remain some of the best from the period thanks in part to their efforts.

Aside from Jackie, the casting of Wo Ping's father, Simon as Beggar Su was genius and provided the elder man with the most celebrated period of his entire career. You can't help but like him. His mop-haired dew (which was a wig), ruddy nose, and mischievous grin modeled the exaggerated Cantonese stereotype, but Simon's performance contained a warmth and authenticity that few actors could muster.

For action, three men magnificently lead the film. Tyrone Hsu gives a terrific performance as the staff-wielding King of Bamboo who fights Jackie in a memorable scene. Superkicker Hwang Jang Lee, who was re-cast along with Simon and Jackie from Snake in the Eagle's Shadow deservedly became a superstar after this film came out. Although the final fight with Jackie is well done, their first encounter midway through the film features quite possibly Jang Lee's best kicking. At one point, the camera catches him delivering eight or nine rapid kicks to Jackie in succession and from multiple positions within a relatively confined space. Its one of those moments that demands to be seen repeatedly. Jackie's shining moments are in the second half of the film as his character learns drunken boxing. The more personal, maniacal energy that he exuded internally as well as externally at the end of DM2 is solely defused into his physical abilities which are at a greater peak here. If you compare his actions in this film to that of most other stars from this period, you'll discover a subtlety to his movements that challenge the way the body moves in a fight or even a training exercise. His ability to communicate character through his actions in a constantly fresh manner is thrilling.

As a whole, Drunken Master is a perfect example of the ideal kung fu movie for all seasons. It represents the old school era where wires were more likely to be used to mend broken jaws than propel actors over rooftops as Wo Ping would go on to specialize in. The budget may be small and the camera work dated by more modern action film standards, but the actors and stunt doubles perform outstanding martial arts that you're unlikely to see today. There is plenty of rambunctious humor that doesn't go quite as far a field as some of Wo Ping's early '80's films do. Its also a great introduction to Jackie Chan for the novice who wants to see him in his glorious prime. For its level of influence, quality of choreography, comedic tone, and sheer enjoyment factor, DM cannot be matched.

http://www.kungfucinema.com/reviews/drunkenmaster2.htm

A near flawless effort and arguably the greatest kung fu film ever shot, Drunken Master II was assembled from the collective talents of some of the genre's greatest personalities.

After a series of successful historical martial arts epics appeared in Hong Kong in the early nineties, Jackie Chan broke his usual tendency to go against popular trends and created his answer to the heavily wire-enhanced fantasies like Fong Sai Yuk and Iron Monkey. Drunken Master II returned Chan to one of roles that helped make his career in Drunken Master (1978). As the celebrated historical figure Wong Fei-hung, Chan had solidified his trademark style that mixed meticulously orchestrated stunts, comedy, and jaw-dropping kung fu. Although having passed his physical prime a number of years prior, Chan proved himself to be capable of creating one of the most dazzling martial arts performances ever seen on screen.

To begin with, the film features a notable cast of stars from three generations who all contribute greatly to the film's success. Credited as director and action choreographer, Lau Kar-leung was one of Shaw Brothers brightest directors back in their '70's chopsocky boom. Lau's ability to create epic battles with creativity and a reverence for traditional martial arts is on is very apparent in the first half of the film. The confining, opening fight between Chan and Lau under a train and a loading platform is fast and furious. Although both actors are no spring chickens, they move with a rhythm and grace that defies their age. Lau's coup de grace is the massive fight pairing him and Chan against a huge mob of axe-wielding gang members. Even upon repeated viewings, this expertly staged melee is unbelievable. After creative differences with Chan led Lau to leave the production and try his hand on his own less successful sequel, Drunken Master III, Chan's team took over and would deliver one of the most stunning fights ever.

Chan's on screen parents are played by two of Hong Kong's brightest actors. Ti Lung is of course another classic kung fu veteran who starred in numerous Shaw Brothers films before being rediscovered by John Woo as a modern action star in the 1986 film, A Better Tomorrow. Despite being only eight years older than Chan, he convincingly plays Fei Hung's father. Mrs. Wong is played by the multi-talented Anita Mui who very nearly steals the show with her funny, over-the-top portrayal of Chan's mischievous confidant. In many ways her role apes Josephine Siao's equally terrific performance as Jet Li's fiery mother in Fong Sai Yuk. Possessing a growing fan base of his own is Ken Lo, Chan's bodyguard and in this film, his main opponent. Lo is a true superkicker, who displays his awesome skills against Chan. Korean, Pak Ho-sung who appeared in Mortal Kombat plays Lo's sidekick and performs admirably against Chan's swift sparing. Last on the list of notable supporting stars is Lau's protégé, Chin Kar-lok who starred with Lau in the underrated Operation Scorpion. Andy Lau also makes an appearance although his role is unfortunately a throwaway that doesn't allow his acting abilities to shine.

Speaking of acting, Chan gets kudos for playing one of the more dynamic roles in recent memory. By using the "drunken" style, we get to see Chan inebriated which is a rare and delightful cinematic occurrence. He shifts from being childishly conniving to deliriously mad. No one can deny that Chan pushed all of his considerable skills to their maximum potential. This is no where more apparent than in the final struggle with Ken Lo, surrounded by smoldering fires and crud machinery within a turn-of-the-century steel factory. Anyone who has studied Chan's screen fights can see that he "dances" with his opponents to a precise rhythm. This allows him to stage fights at a pace that western stuntmen find impossible to replicate. Having consumed industrial alcohol, Chan has worked himself into such a frenzy that he's lighting fires with his spit and smashing crates simply to relieve his excess energy, much to Lo's amazement. The discerning viewer will notice the relatively subtle use of wires as Lo and Chan fling each other about. Purists cry foul but the effects are so carefully incorporated into the action that they only further highlight the actors' abilities.

Much more could be said of this film. The story is perfectly crafted to logically place each of the fights within proper context. William Woo's traditional score is always fitting. With plenty of humor, dynamic acting, and perhaps Chan's finest martial arts display, Drunken Master II is without the doubt, this viewer's choice as the single greatest martial arts film of all time.

http://www.kungfucinema.com/reviews/prodigalson.htm

Premise: Yuen Biao is the pampered son of a wealthy businessman who discovers his kung fu training has been a sham. He struggles to learn real kung fu (Wing Chun) from a Chinese opera performer (Lam Ching Ying) and his oddball martial brother (Sammo Hung) and seeks revenge on the fighters responsible for the deaths of the other opera performers.

Review: The Prodigal Son is arguably the best film Sammo Hung has directed. It has been praised by aficionados for its detail in portraying the Wing Chun style of kung fu which Sammo had taken great interest in. In truth, the film lives up to its reputation and stands the test of time as an entertaining action film and a homage to the conventions of chop-socky films that have gone before.

Yuen Biao plays Leung Chang, the son of a wealthy business man who dreams of being a great martial artist. But fearing for his safety, his parents pay off his opponents to lose so that Chang is not injured. When a Chinese opera troupe comes to town, Chang is beaten by one of its members and vows to learn real kung fu. After the troupe is virtually wiped out by Manchu officials, Chang and his teacher, Leung Yee-tai seek refuge with Yee-tai's old companion, Wong Wa-po (Sammo Hung). Chang begins training in Wing Chun kung fu under the tutelage of both men until Yee-tai becomes ill. Chang returns home with his master where his family can care for him but runs into the Manchu officials. Yee-tai is killed and Chang has a final showdown with the Manchu leader.

Yuen Biao shines in his second starring role with the boyish charm and acrobatic grace that his fans would come to expect. The martial arts scenes are excellent, particularly the training scenes with Sammo and the final fight at the end which would be to painfully brutal to watch if it weren't so perfectly staged.

Sammo as Wa-po displays his usual knack for humor by playing a kung fu expert who is trying (unsuccessfully) to become a scholar, makes a fool of Biao's character, and quarrels with his old friend, Yee-tai, all while raising his precocious teenage daughter. The humor balances well against the serious plot of a Manchu official's son whose protectors slit the throats of an entire opera troupe and kill Biao's teacher which leads Biao to seek revenge. The film ends more grim than Western audiences would be accustomed to but fits the pattern of your typical Hong Kong fare.

I would argue that Sammo Hung produced his best films in this period of the late '70's and early '80's when kung fu films were beginning to fade. Sammo's work in many films previous, from Enter the Dragon (1973) to Shaw Brothers classics gave him a chance to develop and master the best elements of kung fu combining humor, realistic martial arts, solid choreography and fast-paced storytelling. The Prodigal Son has all this in spades and is surely a classic of the genre.

..WATCH 'EM ALL!

http://www.kungfucinema.com/reviews/ashesoftime.htm

In a series of interposed, non-linear scenes we learn that Ouyang Feng is a disenchanted swordsman who left his home at White Camel Mountain to run a tavern in the desert. His real business is to hire mercenaries for people who need assistance and can pay the price. He is visited by a number of colorful characters including his friend, Huang Yaoshi who is involved with Feng's former love interest, Murong Yin and Murong Yang, being one and the same, she loves and loaths Huang Yaoshi. Others include a swordsman with failing sight who wishes to see his love and his home one more time, a determined young woman who seeks vengeance for the death of her brother, and Hong Qi, a swordsman who comes to her aid.

A beautifully filmed tale of love lost and people desperate to find resolution in their lives. Wong Kar-wai is better known as a director of art house films such as Days of Being Wild (1988) and In the Mood for Love (2000). His trademark style of seemingly freeform narratives and creative imagery were masterfully combined with Sammo Hung's seasoned choreography. In Wong's only martial arts film to date, there can be found a depth of character development and genuine emotional motivations which provide the true meat of the film.

The action varies slightly from Sammo's previous work in that most shots are extremely close. Wong's focus on facial expressions and tight camera work results in the viewer feeling more attached to the people on screen. Although this coziness is offset by a narrative that courses through the events of several character's lives who are distant, lost in their own selfishness or remorse.

The soundtrack deserves mention as one of the best I have ever heard for a martial arts film. It captures the mood perfectly and contains exotic tones to match the gorgeous landscape. This particular DVD transfer from Mei Ah is highly recommended over other versions available. Other editions suffer from poor video and audio transfers, cropping and only being available in standard, pan and scan format.

This is not your standard kung fu fare. Many reviews I have seen, aside from the poor quality of other versions often complain about the confusing narrative that is hard to follow. I will agree that you have to concentrate, but that certainly isn't a flaw. On the contrary, the film gains points for layering a thick stew of emotion, heady imagery, and a visceral expression in its action which is reminiscent of Sergio Leone's classic Westerns. This is a film to be seen over and over. The acting is excellent, the cinematography beautiful, and the action sequences while not on par with the best kung fu films is well done and plentiful. I recommend renting this title and seeing just how good an action movie can be, seen through the eyes of an cinematic artist.

http://www.kungfucinema.com/reviews/bridewithwhitehair.htm

Long considered to be a definitive film of Hong Kong new wave, The Bride with White Hair is one of the most lavish, kinetic, and fantastic films you will ever see.

Cho Yi-hang is brought up in the Wu-Tang clan to be its next leader. Wu-Tang is one of seven clans who oppose the new Ching government in China. Also threatening the clans is the rise of a cult led by Siamese twins joined at the back who were expelled from Wu-Tang. The twins groom a young woman whom they found living with wolves into a deadly martial arts master to do their evil bidding. Cho has a chance meeting with the wolf woman, whom he had actually seen as a child running with the wolves. They fall in love, stirring jealousy in the Siamese male who covets the wolf woman. Adding to the complexity, the Wu-Tang clan sees Cho as a traitor conspiring with the cult. Cho and his love who he has renamed Lien Ni-chang vow to leave the underworld of warriors and live a quiet life. To do so, Lien endures a painful and humiliating ritual to be allowed to leave the cult. When Lien goes to the Wu-Tang clan to find Cho, she finds members of the clan dead. She is accused of the murders by the clan and even Cho doubts her, breaking his vow of trust. A tragic final struggle plays out between Wu-Tang, Lien, the twins and Cho.

Brigitte Lin's long career reached a high point with her role as Lien Ni-chang, a woman driven to destructive rage by the forces surrounding her. Lin's electrifying performance is almost eerie in its completeness. She followed this role with the lesser sequel in which she still dominated the screen with her intense stare. Lin went on to play in a number of period roles, with her performance in Ashes of Time as another highlight. Leslie Chung is at once arrogant, distraught, and finally heartbroken. In fact, all the performances are masterfully played for the film. Behind the scenes, director Ronnie Yu, who produced the first two installments of the Once Upon a Time in China franchise also peaked on this film. The use of dramatic color and close-ups, coupled with a riveting story and exotic costumes gives the film a unique look that leaps out at the viewer. This is also thanks in part to the brilliant cinematography of Peter Pau (Crouching Tiger, Hidden Dragon).

The story itself takes elements of classic Chinese fantasy and mythology and mixes it with a brooding modern narrative style. Cho Yi-hang is a sort of Hamlet like character haunted, not by a dead father but by a living one who wishes him to assume a role of the clan's leader, something Cho has no ambitions for. As we see Cho grow to adulthood, he becomes aware of the cruelty all around him. Everyone who has ever shown him kindness seems capable of killing with no regard. When he meets Lien Ni-chang, there is a connection beyond the material. Both individuals are out of touch with their people and their world. Yet, there is a stark difference. Lien remains wild and untamed, having grown up with wolves. It is the ultimate irony that Cho, the only truly remorseful character eventually drives Lien to lash out in a wildly hateful fury.

This is an impressive film with no discernable flaws. The action is intense, yet the story is well thought out and emotionally engaging. The production values are of the highest order, showing that even on a smaller budget, Hong Kong films can easily compete with Hollywood. Without a doubt, The Bride with White Hair is a genuine classic of the fantasy genre.

http://www.kungfucinema.com/reviews/dragoninn.htm

Having not seen the original King Hu directed Dragon Inn (1966), I cannot comment on the similarities/differences between this and the original, nor can I accurately attribute elements of this film to the appropriate director. Credit and authorship aside, the film, whether a rip-off or remake, is in my mind one of the best films to come from the early to mid 1990s wave of period martial arts films. Only the Once Upon a Time in China series challenges it. While the likes of Fist of Legend contain smarter action, Dragon Inn boasts layers of texture absent from even some of the most celebrated and championed genre classics of this or any other period. The film borrows images and ideas from films other than the original version, such as another King Hu classic Come Drink With Me, as well as foreshadowing future films such as Wong Kar-wai’s Ashes of Time and even the Korean epic Musa. And as the film was originally shot and dubbed in Mandarin, the film retains the style and class of the wuxia classics of the 60s and 70s.

From the outset, the film's plot is apparently very simple and in line with typical sword and chivalry routine. Yet when our characters reach the titular Dragon Inn twenty minutes into the film, instead of grinding to a halt the film shifts gears, giving the inn itself an impact and story unto itself. The rest of this wuxia pian is then confined to the inn and its immediate surroundings while the plot expands into one of lust, mistrust and deception. One may argue that as the title suggests, the film is just as much about the inn itself as it is about its characters. The Dragon Inn develops a character of its own explored through the characters within it. As described above, the inn dramatically shapes the rest of the narrative in and around its own contradictory characteristics. During the day, the inn is a constantly lively place with lots of drinking and singing, while at night it is relatively silent with its inhabitants creeping from room to room. The atmosphere created by the inn is appropriately echoed by the weather outside as though the inn were at one with nature. The inn is both a trap for Lau Shun to capture Brigette Lin and Tony Leung and a means of escape for Brigette Lin and Tony Leung to cross the border to a neighboring province. The inn is both magical and magnetic, the characters initially head to the inn for refuge, yet as soon as they arrive they can‘t wait to leave. However the forces of nature around the inn (namely the weather) won’t allow them to. For travelers, the inn is a place fit only to visit briefly before leaving, while for Maggie Cheung it is a home she is proud of. When damages occur she insists they are paid for, and when violence looks imminent she does what she can to calm the situation. She even effectively feeds the inn with dead men she has seduced before sending them down a chute to her chefs and butchers. While she promises her aid and loyalty to both Lau Shun and Tony Leung we can only assume she truly serves neither and only the interests of her and her inn.

While the characters of Chow Wai-on (Tony Leung Ka-fai) and Yau Mo-yan (Brigitte Lin) are developed throughout the film that reveals a love story of restraint and absence, it is Maggie Cheung’s Jade who goes through a personal transition that she captures perfectly in a performance that is a far cry from her previous flower vase roles. Initially she shifts between the loud, brash innkeeper and sultry seductress playing each feuding side off against each other. She bargains with both Lau Shun and Tony Leung, positioning herself first in what she believes is a ‘win-win’ situation as well as positioning herself between Tony Leung and Brigette Lin. This last idea is complemented by the film's excellent use of symbolism. The flute played by Lin is a bond between her and Leung that when played brings them closer together. However Jade takes the flute as a token of Chow Wai-on’s promise to marry her in return for safe passage for the children. The tension between Lin and Cheung’s characters is illustrated through the ‘stripteases fight’ where move by move Jade is stripped by Mo-yan. Although Mo-yan wins this showdown, Jade refuses to feel humiliated and proudly sings naked atop her inn where ironically for Mo-yan, Jade encounters him and takes a shine to him. Another facet of the film's imagery is that of the candle, which means many things to different people. For the rebels the candle being blown out is sign for action, for Jade it has a lustful connotation where she considers Wai-on as a candle to blow out (i.e. a man to take to bed) and subsequently for Mo-yan; the loss of Wai-on and her personal sacrifice. However as the film progresses toward its conclusion Jade examines her selfishness and eventually earns the respect of Mo-yan before getting involved in the film's spectacular finale herself.

Tony Leung demonstrates fine presence, especially during his physical and verbal exchanges with the equally adept Lau Shun. Brigitte Lin balances her restrained femininity with her fierce swordsmanship and competitiveness and further embellishes her screen persona. Donnie Yen is given little to express his acting side as he sits out the majority of the film before making up for it action-wise toward the end. For my money though it is Maggie Cheung who demonstrates both range and charisma, edging ahead of a fine all-around cast.

The film is complemented by a fine soundtrack and excellent cinematography. The film is elegantly shot, demonstrating the depth and scope of the north China desert before condensing the photography to the claustrophobic inn's shadowy interior. The most visually impressive scene occurs at the end with Donnie Yen’s villain at the heart of an epic-running duel across the desert. This tremendous 3 on 1 battle is presented from a multitude of angles and combines drama with hyper-kinetic swordplay and includes a couple of particularly memorable images/surprises. The action overall is very impressive and although it is not as visibly coherent as say the action on display in Hero, I found it some of Ching Siu-tung’s most relatively accessible choreography. His trademarks are still there with plenty of wire-fuelled, gravity defying jumping, diving, and spinning. Naturally, swordplay takes up most of the action with the occasional use of thrown projectiles and hand-to-hand combat as well. Of course Ching Siu-tung’s style, the costumes and the partially lit inn lend themselves to doubling, but for the most part this is not to the detriment of the film as the transition from actor to stunt player is seamless and barely noticeable.

All aspects of Dragon Inn appear to have received the same degree of detail and attention contributing to a wuxia pian worthy of King Hu himself. With sacrifice, symbolism and irony, the film is in my opinion almost Shakespearean in both tone and content. Pacing has been cited as problematic with claims that the film occasionally becomes slow and even boring at parts. I personally found the first twenty minutes to be the weakest. But even if boredom is a huge concern, I would still have to nudge this film ahead of similar modern swordplay films. The film deservedly earned Hong Kong Film Award nominations for action choreography, cinematography, editing and a best actress nomination and subsequent win for Maggie Cheung. Dragon Inn is a martial arts film which is as much art as it is martial and I would recommend it to all fans of the wuxia genre.

http://www.kungfucinema.com/reviews/magnificentbutcher.htm


Premise: When a kung master's goddaughter is murdered by his own lustful son, Wong Fei-hung's mischievous student Butcher Wing (Sammo Hung) is blamed. Wing's brother is killed in an attempt to cover up the truth. Now he must fight to clear his name and get revenge.

Review: The Magnificent Butcher brings together Sammo Hung and Yuen Wo-ping, two of the greatest martial arts filmmakers in their only creative collaboration. With an A-list cast that includes such legendary kung fu actors as Kwan Tak-hing, Yuen Biao, and Lam Ching-ying, the film bristles with an energy and near-otherworldly level of talent. The large quantity of fighting throughout the film is exactly what any fan could possibly ask for; intense, destructive, funny, precise, dynamic, lightning fast, and extended to the point of delirious perfection.

The film begins modestly enough with Sammo comfortably playing an uncouth lout named Lam Sai-wing or simply 'Butcher Wing,' who happens to be a student of the legendary Hung Gar master and hero, Wong Fei-hung. Kwan Tak-hing steps back into the role of Fei-hung after portraying the master in the world's longest running film serial that lasted over 20 years and nearly 100 films. Butcher Wing doesn't waste time putting his kung fu to use beating up a man he mistakenly takes for a thief. This misunderstanding leads kung fu master Kao (Lee Hoi-sang) to challenges Fei-hung. Just as things are settling down, Kao's wicked son Tai-hoi (Fung Hak-on) kidnaps a woman who turns out to be the wife of Wing's long-lost brother. More misunderstandings ensue as Tai-hoi pits the two brothers against each other. The woman is eventually brought home by Wing, but he also nabs Kao's goddaughter, Lam Hsing (JoJo Chan). This leads to tragedy when Tai-hoi turns his deviant thoughts to her and she winds up dead while still at Wing's home.

Now, Wing is in a real pickle. Fei-hung is out of town and Kao and his oddball cronies come looking for revenge. Wing is only saved by his two martial brothers and a drunken beggar (Fan Mei-sheng). Following some kung fu training with the beggar, Wing discovers that his brother has been killed by Tai-hoi. Before Fei-hung returns, Wing seeks his revenge and is forced to face Kao and his powerful 'Cosmic Palm' technique.

First off, it doesn't take a genius to know that Sammo Hung is the real deal when it comes to kung fu. He's what film characters would label a 'Fatty,' but its only skin deep. Few people can move like Sammo and fewer still can make action films like him. The Magnificent Butcher literally finds Sammo at the peak of his creative genius and physical abilities. It falls between equally great films from Sammo such as Warriors Two (1978) and The Prodigal Son (1982). The hallmark of all of these gems that were produced during Golden Harvest's golden age are Sammo's own brand of irreverent comedy, better-than-average plots, and martial arts action filled with some of the best Wing Chun and other upper body kung fu techniques amid wild acrobatics.

The action in this film is paced like a good Lau Kar-leung film. It starts slow while focusing on various character interactions, and builds up to an explosive series of progressively fiercer battles that grow longer and more satisfying as they play out. Although a collaboration with Yuen Wo-ping who gets the official credit as director, the film and it's action has Sammo's signature all over it. As with the likes of The Victim, Sammo mixes generous amounts of comedy and major butt-kicking, with a pinch of unsavory situations. In this case as in several others, it comes down to violent mistreatment of women. Sammo has no trouble stirring up audience indignation towards his villains and it sure makes the struggles of our hero sweeter. Fung Hak-on is in his element as the son with no scruples. He also delivers a great performance battling Sammo early on.

As in many a kung fu movie, the villains here are the most interesting. Lee Hoi-sang, with his bleached hair and Cosmic palms (works just like the 'Wonder Palm' in Iron Monkey) leads several fighters worth mentioning. Yuen Miu plays a pole-wielding 'Monkey King' look-alike with superb acrobatic stylings. Mr. Vampire star Lam Ching-ying is looking like a '70's rock star as a fan-wielding fighter with pasty skin and shaggy hair. He has an outstanding duel with Yuen Biao. Biao is looking pretty drab in comparison, but there's no one doubling for him as he flips and kicks with impossible ease. The last of the villains is the bulging-eyed Chung Faat who plays Wildcat, a feline fighter who mauls Sammo in one of the film's most memorable and creative fights set within a funeral home.

The final match between Sammo and Hoi-sang is almost anti-climatic following the reign of vengeance Sammo brings down on a weak Hak-on, especially since its played partially for laughs. But here we see an emphasis on fancy handwork, which Sammo excels at. Its at this point that I wish I could recognize and appreciate more of the styles being used, such as Snake Fist. While most of it is appropriately used for cinematic effect, the large number of movements in each take, the speed, and the diversity of moves speaks of a core understanding of kung fu that lesser films in the genre gloss over in favor of using camera tricks and so forth.

The Magnificent Butcher easily ranks as one of the best kung fu movies of all-time. Its also quite possibly Sammo's finest achievement as an action star, although I personally prefer Warrior's Two or Pedicab Driver (1989). On the downside, a portion of the comedy situations drag on for too long and the constant doubling of Fan Mei-sheng is at times glaring. But the action, especially in the second half erases these faults. Likewise, Sammo again shows himself to have one of the most measured eyes for action filmmaking by not letting most of the comedy and dramatic bits erode the action. Instead, with the masterful aid of Yuen Wo-ping and a peerless cast, he makes all of the elements work together to create a jaw-dropping classic.

http://www.kungfucinema.com/reviews/policestory3.htm


Premise: Chen Chia-chu (Jackie Chan) is one of the best police officers in Hong Kong, a super cop. He teams up with Interpol agent Yang (Michelle Yeoh) to infiltrate a gang of drug dealers, but Chen's jealous girlfriend (Maggie Cheung) threatens to blow his cover before the cops can nab the crooks.

Review: Jackie Chan leads another great film in this 1992 actioner. Giving up the directing and fight choreography duties to Stanley Tong, Jackie stars in one of his best films. It might have come as a surprise to most fans of his earlier work that Supercop was more of a straight action film, an obvious ploy to enhance international distribution. The stunts are something people often talk about, and it’s very easy to see why. The production is pretty good and no other female star could not have replaced Michelle Yeoh. She’s quite a contrast to Maggie Cheung who is stuck as your typical female in most of Jackie's films, helpless. On the other hand Michelle Yeoh portrays a no-nonsense inspector who really nearly upstages her more famous co-star.

Following up the previous films in the Police Story series, Jackie Chan is once again policeman Chen Chia-chu (Kevin in the US version). Interpol contacts his superiors and informs them that they have a very serious situation on their hands and what they need is a super cop. There is only one man for the job , Jackie Chan! I mean, Chen. He immediately agrees to take the job, even though Uncle Bill (Bill Tung) fears for Chan’s life. After a last day with his girlfriend May (Maggie Cheung), he heads of to China for a briefing and to meet his future partner. People seem to argue whether or not Chen is really the super cop in the film ‘cause the Inspector he meets in China is certainly no flimsy damsel. Enter Michelle Yeoh as agent Yang!

Together with agent Yang, they rescue an inmate called Panther (Yuen Wah). After an exciting jailbreak, Chan and Panther escape to a small village in China while Yang still operates above them. Unfortunately, Chen isn’t really from China and meeting his family is quite a challenge. Interpol is quick to set-up a family for him. All hell breaks loose when local police recognize Panther and Yang, pretending to be Chen’s sister, helps them escape. They all eventually reach the home of Panther's boss, Chaibat (Kenneth Tsang). After an explosive confrontation with Lo Lieh as a drug trafficking Southeast Asian general, Chen and Yang join Chaibat in Malaysia for a plan to break the bosses' wife out of prison. After May shows up to mistakenly blow her boyfriend's cover, Chen and Yang attempt to foil the jail breakout in a jaw-dropping series of action sequences ending with a fight atop a moving train.

For an action film, this should serve as a great introduction to Chan’s work. Discarding many of the in-jokes that Westerns have found perplexing in past films, Supercop is much more accessible to a worldwide audience. What remain firmly seated though is the action and fight scenes. Just don’t expect wild martial arts fights like those in older HK films. The fights fit in perfectly and have a more modern and controlled feel to them. Jackie’s own behavior is also more serious, but he still has his funny moments! The scenes where Panther and his friends go to Chan’s village is quite funny. Also the scenes where Chen tries to avoid his girlfriend who finds him on the mission provides some entertaining situational comedy. Action scenes were given the most attention. The explosions and gunfights are plenty. The most talked about scenes take place during the final moments of the film. Which one is the most daring I cannot say. It’s either Jackie hanging on a ladder from a moving helicopter or Michelle Yeoh jumping a bike onto a moving train! Both stunts are one of a kind feats.

In the later half of his career, Yuen Wah has nearly always played a bad guy. That is, because he does it so well. Sporting a beard he really looks like a low-life criminal. Along with Kenneth Tsang the two do a great job as the drug-dealing duo. It’s quite a shame that Yuen Wah doesn’t get a chance to fight. Instead, he gets knocked out in his final moment. Perhaps that’s just as well. He gets to show his acting abilities and they are right up there with the rest of the veteran cast.

Though a bit light on the fight scenes I wouldn’t pass this one up. Personally, I felt it was a much better film in general than many of Jackie’s other films. Much more attention was paid to the production values and the story, a good foundation for any film. Besides Drunken Master II (1994), this is one of Jackie's last truly great films showcasing Hong Kong action.

http://www.kungfucinema.com/reviews/eightdiagrampolefighter.htm


Premise: Mongols threaten to overthrow the Sung Dynasty beginning with an ambush that kills all but two of six brothers and their father from the Yang family, all loyalists and sworn protectors of the Dynasty. Brother 6 returns home insane while Brother 5 forces his way into a monastery to improve his pole fighting abilities. When Yang Sister 8 is sent to retrieve her brother brother from the monastery, she is taken captive by the Mongols and its up to Brother 5 to save her.

Review: The Eight Diagram Pole Fighter is without a doubt, one of the all-time greatest kung fu films that features director and fight choreographer Lau Kar Leung at his frenzied best and 36th Chamber of Shaolin star, Gordon Liu in top form.

From the get go the viewer is hit with a classically over-the-top Shaw Brothers-style melee as the Yang family is slowly and brutally cut down by a mob of Mongols (played by Shaw regulars). It turns out that the Yang's, who are normally capable fighters have fallen into a trap set by the traitorous Sung general, Pan Mei. Raving mad following the carnage, Brother 6 played by the late great Alexander Fu Sheng stubbles home to his mother (Lily Li Li-Li) to report that he is the sole survivor of the ambush. Unbeknownst to him, Brother 5 has also survived.

Gordon Liu plays the second grief-stricken Yang brother who had to step into the starring role originally meant for Fu Sheng who died in a car accident during the film's production. In an ominous side note, Fu Sheng had been living in the same house that once belonged to Bruce Lee before his death in 1973. To a superstitious film industry, Fu Sheng and Lee had fallen victim to the same curse. Thankfully for filmgoers, the production appears to have suffered little despite Fu Sheng's obvious disappearance by the second half of the film.

As the story continues, Brother 5 finds his way to a hunter's home and the first of the film's greatest fights begins. Director Lau Kar-leung makes an appearance as the general turned hunter who sacrifices himself to save Brother 5. It won't take long for Jackie Chan fans to see similarities to the choreography in this film in comparison to Drunken Master II which Lau is credited for directing even though he left midway through production. What sets Lau's best fights apart from the pack is the amount of sheer energy and creativity unleashed as men and props are thrown together in an inconceivably fast and furious display of traditional martial arts and dynamic stunts. This film is even more remarkable because the fights start out strong and just keep getting better.

The story then shifts to Brother 5's stormy induction into the monastery, leading to the film's second show-stopping fight and perhaps the best staff fight ever filmed between Gordon Liu and Philip Ko. Shaw regular, Kara Hui displays some good moves as Sister 8 who is sent disguised as a man to bring Brother 5 home. Lau has the Mongols using some unique staffs that are jointed at one end, allowing them to wrap around an enemy's weapon or limb to subdue them. This is exactly what happens to Sister 8 and it doesn't take long for Gordon Liu to come racing to the rescue for a massive final fight that earns the film's title if nothing else does. Liu ends up facing the Mongols with not one, but a whole cart load of bamboo poles. He proceeds to impale, flay and pummel his victims with a cool swagger not seen since Jimmy Wang Yu's appearance in Return of the Chinese Boxer (1975) and not to be repeated until Jet Li donned shades for Fong Sai Yuk (1993).

If anything is wrong with the films, its the heavy-handed acting which is particularly oppressive at the very start. Yet, you'll soon realize there isn't any other way to approach a film with such adrenaline-pumping battles. With everyone involved performing to the best of their ability, The Eight Diagram Pole Fighter earns every one of it's five stars and more. Don't miss out on this one!

My favorite Kung-Fu movie.

http://www.kungfucinema.com/reviews/thirtysixthchamberofshaolin.htm


Premise: This is the story of how Shaolin kung fu was first introduced to oppressed Chinese (Gordon Liu) by a lowly young man trained at Shaolin Temple who becomes known as the legendary monk San Te (Gordon Liu).

Review: Step up, step up ladies and gentlemen for one of the greatest martial arts films of all time. No surprise here. Orchestrating this illustrious affair is master choreographer Lau Kar-leung, himself a student of the primary Shaolin martial arts, who took it upon himself to film the ultimate homage to the legend of Shaolin Temple. This after having acted as action director for Chang Cheh's groundbreaking tale of Shaolin entitled Shaolin Martial Arts (1974). Chang's classic was followed by several similar films including Five Shaolin Masters (1974) and Shaolin Temple (1976), all focusing on his love affair with the noble bonds of brotherly masculinity and bloody self-sacrifice. In 1978, Lau Kar-leung took the directing reigns and brought real martial arts and training into the spotlight like no one had before in Chinese cinema with the release of The 36th Chamber of Shaolin. Though masterfully streamlined for entertainment's sake, the film features some of the most powerful and thought-provoking images of kung fu training ever conceived. This film marked the beginning of a remarkable string of hits that firmly established Lau as the greatest ambassador of kung fu to cinema goers worldwide.

For those in the know, Shaolin Temple is the source of all kung fu, and therefore most martial arts styles in the world. The Buddhist headquarters was really divided into Northern and Southern temples. The focus of this and most of the films produced in Hong Kong is on the main Southern Temple where many heroes emerged just as the unpopular, but powerful Manchu invaders who ruled China plotted its inevitable destruction. One of these heroes was San Te, here played by Lau Kar-leung's adopted brother Gordon Liu in his star-making role. San Te's greatest claim to fame, according to legend was the creation of a training hall within Shaolin for laymen, or non-monks to learn kung fu. In the film, San Te himself is an outsider originally named Lin Yu-te who enters the temple as a fugitive from the Manchu. Under the guidance of his teacher he joined a student rebellion that was ruthlessly squashed after a tough new Manchu general (Lo Lieh) arrived. Wilson Tong, one of the better, lesser known kung fu stars plays his chief lieutenant who hounds Yu-te.

Once he finds refuge in the temple, Yu-te becomes the first adult outsider to be accepted as a monk. He is renamed San Te and begins a long and arduous regime of menial chores that is only broken a year later once he gets the bright idea to ask to learn kung fu which is his chief aim in order to fight the Manchu. There are 35 chambers with the 35th being the lowest level. This is where San Te begins a long period of harsh body and mind conditioning that includes walking across floating logs to train for dexterity, carrying pails of water uphill and banging a giant bell for upper body and wrist strength, focusing on moving points of light for sharpness of sight and self control, and finally butting his head against sand bags to develop a strong head. But this last one seems more likely to develop brain damage. Having quickly mastered these basics, he moves on to actual kung fu training and weapons combat. San Te finally conquers all 35 chambers and receives the last of many promotions. Blocking his ascension is the Justice Officer who challenges San Te to beat him and his butterfly knifes first. After many trial and errors, San Te eventually develops the first example of the three-section staff and is victorious. The remainder of the story focuses on San Te's efforts to recruit students for his 36th Chamber and to challenge the general and his lieutenant with his new kung fu skills.

Some of the film's brilliance belongs to Gordon Liu who shaved his head for this role and kept the look ever since. He is convincing on every level from his character's humble beginnings as a student, to being a wizened master of kung fu. He has an average physique compared with the chiseled likes of Chen Kuan-tai or Bruce Lee, but his elfish features, charisma, and competent kung fu skills will win you over. His weapons use and hand work is especially impressive and big brother Lau gets every mile out of each scene.

Kar-leung's real brother, Lau Kar-wing makes a worthy appearance as a rebel general who challenges Lo Lieh in a bloody sword fight. This proves to be an early highlight. The best action thereafter takes place within Shaolin in the form of training. You do have to appreciate training sequences which have become a whole sub-genre of kung fu movies. After the release of Chang Cheh's Shaolin Temple, copycat Shaolin training films turned up everywhere with Joseph Kuo's being the best after Lau's work. No serious fighting takes place again until the last half hour as Liu emerges to fight Wilson Tong and finally Lo Lieh. Liu breaks out his three-section staff and Kar-leung expertly shows off the strengths of this unusual, but effective weapon in one of the best cinematic examples.

You cannot go wrong with The 36th Chamber of Shaolin. Everything from the direction, cinematography, action, and even the the music is above average and more often, perfectly executed. It makes a great introduction to the genre, to its history, and to Shaolin martial arts. Best of all, Lau Kar-leung displays his uncanny ability to show elements of real kung fu with grace and thought behind every move. This film is simply a must-have for any self-respecting kung fu movie collector. And one viewing by everyone else will put them one step closer to joining the sharp ranks of genre devotees.

http://www.kungfucinema.com/reviews/zatoichi2003.htm


Zatoichi is Takeshi Kitano's latest film in which he portrays the legendary blind swordsman of the popular 1960s Japanese TV/film series. Kitano is characteristically enigmatic in the role, his eyes closed, his deadpan humor as sharp as his sword.

All of Takeshi’s earlier films concentrated on the Japanese yakuza, the first few, like Violent Cop and Boiling Point, were very brutal and violent with little humor mixed in. After Takeshi’s car accident, his movies seemed to change, culminating in Hana-bi, a startlingly sad and completive film shot with moments of extreme violence. Zatoichi shares this film's differing rhythms, except mostly we have black comedy reminiscent of Sonatine juxtaposed with bloody violence and gore and fight scenes featuring dismembered bodies and spurting blood. Where Takeshi’s previous films were very solemn and heartbreaking, this film has moments of fun. Zatoichi even has a comedy sidekick in the form of Shinkichi, a compulsive gambler played by Gadarukanaru Taka.

Zatoichi is a wandering masseur who enters a remote mountain town which is dominated by the Ginzo gang. He helps a poor old woman and stays at her house. He soon starts making a nuisance of himself, using his uncanny hearing to win games of dice while befriending the poor woman's nephew Shinkichi. The Ginzo gang, who are in the process of eliminating their enemies and taking over, hire Hattori (Tadanobu Asano) a formidable samurai ronin. Two Geisha are making their way through the town seeking revenge for the slaughter of their family, quietly killing members of the Ginzo gang. At one point, there forms a weird family group consisting of Zatoichi, the geishas and Shinkichi as they all hang out at the old woman's house. Zatoichi joins the Geishas' cause and what follows is a series of climatic sword battles where each gang tries to eliminate Zatoichi. The battles culminate in a mesmeric fight in the rain reminiscent of Akira Kurosawa, shot with breathtaking blood and rain filling the air.

Takeshi’s character is quiet and mysterious, with dyed blond hair and a red walking stick: we are never told his history or given much insight into the motives behind his actions. Yet Zatoichi is still quite separate from his surroundings and says few words. This differs quite a lot from the original character played by Shintaro Katsu who was willing to share in the lives of the people he aids.

The flashbacks of the geishas' childhood are interspersed through the narrative and make us warm to their characters. This story is the heart of the film. Their tragedy and need for revenge underpins the violence – their exploitation gives the central theme where we see power destroying the weak. Zatoichi is their savior, their plight his justification.

The fight sequences are as bloody as Kill Bill, yet this is not swordplay. Most of Zatoichi's enemies are eliminated in a few powerful strokes. Zatoichi kills his opponents in seconds. This makes the scenes more symbolic and resonant as good defeats evil. The film ends traditionally with the peasants dancing yet Takeshi adds a post modern twist – they are tap-dancing in a choreographed exultation. The film has transcended historic realism into magic, and this mirrors the supernatural killing power of an enigmatic, blind swordsman.

http://www.kungfucinema.com/reviews/executionersfromshaolin.htm

Premise: Taoist warrior and traitor Pai Mei (Lo Lieh) leads an assault on Shaolin Temple that leaves Priest Chi Shan dead and his surviving disciples on the run. The priest's leading student Hong Xi-guan (Chen Kuan-tai) goes into hiding with his new family toprepare for his revenge.

Review: Legendary martial arts filmmaker Lau Kar-leung directs Executioners from Shaolin, a masterful tale of martial betrayal pitting the equally legendary historical figure Pai Mei against disciples of Shaolin Temple. Outstanding kung fu action, storytelling, historical legends, and superstar performances converge in this essential old school classic.

The name Pai Mei should be familiar to anyone who has seen Kill Bill: Vol. 2 (2004). Gordon Liu played this white-haired character to wonderful excess in Quentin Tarantino's deliberate nod to one of the most famous screen villains to ever grace the Jade screen. However, Tarantino's Pai Mei is really nothing more than a fanciful caricature of the character Lau Kar-leung introduced to audiences in 1976. Lau's Pai Mei, portrayed by Lo Lieh, is based on the legendary founder of Pak Mei kung fu, also known as the "White Brows" style which is still practiced to this day. This historical Pak Mei was a Taoist monk during the Qing Dynasty, who according to legend, broke ranks from his Shaolin peers to join the Manchu who were eager to wipe out the Shaolin monks for harboring rebels and posing a threat to the government.

At the opening to Executioners from Shaolin, Pai Mei challenges a leading Shaolin priest (Lee Hoi-sang) to a duel and defeats him with his superior combination of external and internal kung fu techniques. Gordon Liu briefly appears as a self-sacrificing pupil who aids several other Shaolin students in escaping the destruction of Shaolin Temple by the Manchus. Leading the retreat is the priest's top student Hong Xi-guan (Chen Kuan-tai). Hong and the rest of the surviving Shaolin pupils join the anti-Qing movement by posing as opera performers traveling from town to town along rivers in red junks (boats) and entertaining the locals. This unique episode in China's resistance against the Manchu can also be seen in the mainland-produced martial arts film, The South Shaolin Master (1984).

At this point the film switches gears in a scenario initially reminiscent of John Ford's The Quiet Man as Hong meets a feisty and beautiful street performer and Crane Fist exponent named Fang Yung-chun (Lily Li). The two fall in love and manage to get married while enduring good-natured harassment from fellow performers. When area governor and student of Pai Mei, Kao Tsin-chung (Kong Do) orders the destruction of the red junks, the couple retreat to a modest home where they raise a son and Hong begins mastering the Tiger style of kung fu in preparation for challenging Pai Mei.

Lau Kar-leung is at his best here and much like Heroes of the East, he displays a rare ability to merge comedy, drama and the world's best kung fu choreography into a complete film experience that is entertaining from start to finish without going overboard. It almost goes without saying that Lau's action scenes are superb. The main attraction is Lo Lieh's internal kung fu display, highlighted by his ability to retract his privates and counter an opponent's kick to the groin by trapping their foot in his crotch. The full implications of this odd ability is rather unsavory, but Lau doesn't dwell on it. It's simply part of Pai Mei's advanced ability to repel attacks with chi power. Much like Carter Wong in Born Invincible, Lo only has one weak spot. Chen Kuan-tai ends up training with a suspiciously-sophisticated bronze dummy that drops steel balls through a mock-chi circulatory system like a cross between a pinball and slot machine. Kung fu becomes science as Chen plots the probable location of Lo's weak point at a certain time of day. The problem is that he refuses to incorporate Lily Li's Crane style into his own Tiger Fist and he pays a price for his stubbornness.

This film is a great showcase for Lily Li. Lily spent much of her early career woefully underused as a martial arts star and under Lau's guidance she reveals a potent screen presence with beauty, physicality and charm. She's matched well with Chen who remains a strong male lead, but is basically reprising the same Flying Guillotine persona. Their honeymoon hijinks in the bedroom takes on a martial twist that Lau milks for all their worth.

Lau seamlessly blends the action into the story and character development. Seemingly inconsequential scenes like Chen's son showing off his leg strength by locking onto his dad's shoulders in a playful moment turns out to be foreshadowing of a vital maneuver later on (performed by Wong Yu). Lau also adds some nice little touches that give the film an added spark. There are a couple great uses of freeze frames for comic and dramatic effect. There is also a subtle scene where Pai Mei with his chi powered up practically floats across the floor, much to Hong's dismay. Watch for Lau himself who briefly appears as a thug wielding a three-section staff against Chen in a slick little duel. Also impressive is to see stunt men tumbling down what looks like real stone steps. Knowing how Hong Kong stuntmen usually do things the hard way, it probably hurt, a lot.

Executioners from Shaolin is one of those old school classics that stands as a benchmark to compare other kung fu flicks to. As a genre film, it's flawless and incorporates everything that good martial arts filmmaking should aspire to. Unassuming camerawork and music nicely compliments everything Lau puts on the screen in what amounts to a rewarding experience rich with martial goodness.

http://www.kungfucinema.com/reviews/icemancometh.htm

Premise: Yuen Biao plays Ah Ching, a Ming Dynasty royal guard along with Yuen Wah, the frigid rapist-killer he's tracking who are frozen and thawed out in modern-day Hong Kong in this classic.

Review: Yuen Biao is the most underrated martial artist of his generation. In my opinion his acrobatic skills outdo both Jackie Chan and Jet Li, although for some reason he isn't as highly rated as Jackie and Jet.

This film, his finest, is actually a sort of sci-fi/fantasy film. He stars as a warrior of the Ming Dynasty in the 16th century. He and his adversary are fighting and they both fall of a cliff and are frozen only to be found in the 20th century by scientists and accidentally unfrozen. This film, with it's fantasy plot could have been his worst but with his acting, the fighting and the outrageous comedy with the lovely femme fatale Maggie Cheung, this is a modern and all time classic.

The things Yuen Biao does in this film show why I rate his acrobatic skills higher than Jackie and Jet. The comedy interplays with violent action with Yuen Wah's performance as a sadistic villain spot on. The script is pretty intelligent and the jokes come thick and fast making fun of the late 1980s seen through the 16th century eyes of Yuen Biao who discovers television, electricity and... toilets.

The jokes however aren't as glaringly obvious as Jackie Chan and some (very few) Jet Lee films (as very few Jet Li films are comedic if any); the humor is like an episode of The Simpsons. You have to recognize them, but when you do they are really funny and actually very intelligent and heartwarming jokes.

Maggie Cheung is absolutely brilliant in surely an Oscar winning role as the hard hearted hooker with a soft inside. She shows here that only she could have played this role perfectly. However Yuen Biao just steals the show from Maggie Cheung with his portrayal of a serious but innocently funny warrior. Also the chemistry between Yuen Biao and Maggie Cheung is absolutely electric. They really do sizzle when they are both on screen together.

Also, unlike Jackie Chan and Sammo Hung films, the humor is played with a straight face throughout and this film is the better for it. A modern classic with some great humor fused with some violent fights and the best acting I have ever seen. The ending also has a wonderful bitter-sweet denouement. One more thing is the soundtrack. It is absolutely wonderful and the best bits are the xylophone and the violin when Yuen Biao messes up some very simple house tasks. Surely this film defined the words "all time classic".

http://www.kungfucinema.com/reviews/pekingoperablues.htm

Premise: China, 1913. Two years after the end of the Ching Dynasty, three women join a revolutionary cause to prevent the country from being exploited by its corrupt military and foreign powers.

Review: As Tsui Hark’s dazzling “first” masterpiece nears its twentieth anniversary it remains a perfect entry point into the world of Hong Kong action cinema. Like other Tsui Hark movies, Peking Opera Blues drops the audience into the action and assumes knowledge as it whisks through an exhilarating story of political intrigue, broad comedy, romance and wirework. And like Tsui Hark films before and after, Peking Opera Blues is painted in bold broad strokes; so Western viewers can follow the traditional good versus evil scenario.

The year is 1913 (the year China began film production) and China is experiencing an uneasy peace two years after the First Democratic Revolution. But unworthy generals controlling the country are auctioning it to foreign bidders. These turbulent events throw together three very different women. Tsao Wan (Brigitte Lin) is the daughter of the current ruling General (Kenneth Tsang), and is plotting with the revolutionary Ling Pak-Hoi (Mark Cheng) to steal a secret contract from her father that allows foreign powers the rights to the country. Sheung Hung (Cherie Chung) is a street-smart hustler, helping Tsao with the promise of great riches, and Pat Nell (Sally Yeh) is the daughter of the owner of the local opera house, who dreams of treading the boards but is restrained by chauvinistic convention that disallows women to act on stage. While General Tsao clandestinely barters with the West, ruthless “Ticketing Officers,” a vicious police force with looks and manner more akin to Triads, enforce local law and pose the greatest threat to the revolution.

Exquisitely mounted and finely crafted, Peking Opera Blues is a classic example of Hong Kong pulp cinema. Director Tsui allows his visual imagination full flight, while To Kwok-wai’s tightly plotted script anchors the director’s cinematic bravura. Minor subplots such as Sheung’s elusive bag of riches are neatly handled in a movie where nothing goes to waste, and character receives as much attention as jaw-dropping action.

Peking Opera Blues demonstrates Tsui’s ongoing interest in strong female characters (itself a trait of Chinese Opera), evident since the character of Green Shadow stole The Butterfly Murders, and still apparent in his current work. Here Tsao Wan’s sartorial taste for military and casual gentleman’s wear matches her revolutionary take-charge demeanor, while Pat Nell quietly rallies against the injustice of a male-dominated theater and Sheng transforms from opportunist to activist. Whereas Ling Pak-Hoi willingly yet unwisely uses his fists to fight, the heroic trio employ their wits to evade perilous situations. In one darkly comic scene Tsao “puppets” a dead General to avoid a fatal gunfight, and Pat Nell orchestrates the climactic “getaway” opera performance.

But, Ling’s quick-fisted responses to danger allow Tsui Hark and legendary action director Ching Sui-Ting to unleash a breathtaking ballet of wirework thrills, which have drawn favorable comparisons with Spielberg’s Indiana Jones movies. Of course, those comparisons are apt, as Peking Opera Blues burns with inventive mayhem, artfully making political intrigue a personal battle for justice, and offering the finest team of adventurers since Han and Chewie joined up with Luke. A teahouse shoot-out (a nod to the obligatory teahouse brawl?) and a climactic chase across the rooftops are but two delights for action aficionados. Tsui also darkens the mood with Tsao Wan’s gun-totting rampage against her father’s murderers, and her subsequent torture. That these scenes sit comfortably alongside perfectly timed physical humor is a testament to the director’s mastery of tone and character.

Standout performances abound, particularly from the three main actresses. Brigitte Lin Ching-hsai conveys a wealth of emotion through almost imperceptible facial expressions, and continues the cross-dressing androgyny theme that featured in Dream of the Red Chamber (1978) and would reach an apotheosis with her performances as Asia the Invincible in the Swordsman series. Cherie Chung wears her avarice and burgeoning sense of responsibility on her sleeve, and those who regard Sally Yeh merely as the simpering foil from The Killer will be amazed at the comic and dramatic range revealed here.

Against such girl power, the men wisely retreat into the background, but Mark Cheng and Kenneth Tsang (unrecognizable beneath a white fright wig and beard) give vivid life to their roles, as does Shaw Brothers regular Guk Fung, playing Liu, the nefarious head of the Ticketing Officers.

Peking Opera Blues is a fine introduction to the spectacle of traditional Chinese Opera, referencing the opera June Snow (a tale of a woman wrongly sacrificed by unthinking men) in a sequence where the three women are united beneath an unseasonable flurry of snow. Pat Nell and Sheng perform a dual onstage performance as Mu Guiying, a famous female warrior, while Tsao Wan’s taste for men’s fashion echoes Hua Mulan, whose masculine disguise was required to battle her enemies. The original title of the movie, Do Ma Daan, translates as the fitting (but less memorable) "Women Warriors." With a nod to Western music, a dramatic music cue is lifted from Peter Gabriel’s score for Birdy, cues for which also featured in the Tsui Hark-produced A Better Tomorrow I and II a year later.

Finally, Peking Opera Blues is a tribute to the indomitable spirit of community. Tsui (with his usual attention to background as well as foreground detail) depicts the low-class teahouse as a vibrant, thrilling place while the General’s palace is foreboding and muted. Lui expires beneath the banner for the opera house he tried to close down, alluding to Chinese Opera’s survival through centuries of regime changes, buckling only under the oppressive rule of Chairman Mao’s Communist Party. Ironically, after Mao’s Gang of Four were finally banished Chinese Opera found itself unfashionable, forcing opera players to abandon their first career for a move to the world of movies.

http://www.kungfucinema.com/reviews/shaolintemple.htm

Premise: After his father is killed by a warlord, a young man joins Shaolin Temple. With the aid of twelve fellow monks, he vows to defend Shaolin while seeking revenge.

Review: This is a remarkable film debut for Jet Li that enjoyed great success in China and made an instant star out of the mild-mannered wushu champion.

The film begins with Chueh Yuan (Jet Li) performing a ceremony to become a full-fledged Shaolin monk. The story flashes back to when he and his father are being forced to labor for a warlord named Wang Jen-Tse. Yuan's father, a famous fighter is killed by Wang and he barely escapes. Although near death, Yuan makes his way to Shaolin Temple where he is cared for by an elder monk played by Yue Hoi. Yue, who returned to play Li's master in Kids from Shaolin (1984) is a terrific actor and becomes a credible father figure for Li. In the film, he is leader to twelve young monks who all become fast friends with Yuan as he begins to learn kung fu which is limited to a few short scenes. Soon, trouble arises when Yuan attempts to get revenge against Wang and fails. He's ultimately saved by Li Shi Min, another, more benevolent warlord vying for control of the country. Later, when Yuan helps him in return to escape from Wang's men, the monks are forced to help. Li Shi Min leaves to assemble his army while Shaolin Temple is threatened once Wang learns that the monks were involved in the killing of his men.

The first half of the film is somewhat slower as characters are established and Li recovers at the temple. The white-haired abbot is your typical generous but aloof old master while his sidekick is the proverbial doubting Thomas who considers Li's presence to be a danger to the temple. There is a bit of humor involving Ding Laam who plays a mild love interest for Li. The scene involves the mistaken killing of her dog and the not so mistaken consumption of the same animal. This is China after all, where some consider dog meat a delicacy. Animal rights proponents will be further incensed by a scene involving the strangulation of a young sheep. In fact, practically Ding Laam's entire herd is slaughtered for kicks by the baddies. Shepherding is definitely not what its cracked up to be with vile kung fu masters on the warpath. Even a little frog gets the axe!

The film contains several excellent fights during the second half. The acting is all well done and the story is compelling and easy to follow, unlike many Hong Kong productions that race at breakneck speed, leaving unwary viewers in their dust. The production values are high and filming apparently took place at the site of the real Shaolin Temple. Aside from sparking Jet Li's film career, Shaolin Temple was also responsible for a renewed interest in the actual temple that was eventually reopened after having been shut down for many years by the government. For Jet Li fans, this is a must-see film. Although new to acting, he was in the prime of his martial arts abilities and it shows.

http://www.kungfucinema.com/reviews/swordstainedwithroyalblood.htm

Premise: Yuen Biao plays the constable Yuen Shing-chi in Sword Stained with Royal Blood which contains huge amounts of varied characters, an intelligent script and wonderful ensemble acting in Cheung Hoi-ching's swordsman movie opus.

Review: Made in the same year as his other swordsman style classic Deadful Melody, Yuen Biao stars in this impressive, seminal classic.

Directed very differently by Cheung Hoi-Ching, Yuen Biao plays a chief constable on the tail of the mysterious Golden Snake Man who also appears to be a killer, (played very impressively by Danny Lee). Unlike most one-dimensional 'bad guys' who are in most movies, director Cheung Hoi-Ching masterfully weaves a complicated back-story of the Golden Snake Man's (Danny Lee) past. While Danny Lee's immaculate acting gives his character a three-dimensional shape. Also, director Cheung Hoi-Ching surrounds Yuen Biao with a dynamic cast filled with wonderfully varied characters played brilliantly by the cast (which includes Ng Man-Tat, Anita Mui and the impressive Man Cheung). The two love stories between the two main protagonists (Yuen Biao and Danny Lee) are both diverse and complicated.

Although some people have complained that the story-line is too difficult to follow, this is probably because the current flow of films are very brainless (unfortunately), so nowadays most people complain when an movie which appeals to a person of an IQ of over 5 comes out.

While made in the same year as the wonderful Deadful Melody, these two swordsman style movies are very different. This movie contains a haunting soundtrack and an immaculate performances from the whole cast. The direction and the cinematography itself is nothing short of wonderful.

What director Cheung Hoi-Ching does so masterfully is surround himself with all of the above and a beautifully orchestrated fight at the end. And unlike most swordsman movies, The Sword Stained with Royal Blood has a huge diverse universe of characters all with a back story, with an intelligent storyline and a bitter-sweet denouement with the love story between Yuen Biao and Man Cheung. The Sword Stained with Royal Blood is an uncommon piece of swordsman style movie. Assured, intelligent, patient, meditative and different.
-

http://www.kungfucinema.com/reviews/warriorstwo_020305.htm

How do you know you're watching a good kung fu movie? Just compare it to Warriors Two and see if it even comes close to the peerless quality of one of the greatest martial arts epics of all time.

Leung Kar-yan gives the best performance of his career as the elder Mr. Tsang, a doctor and master of Wing Chun, whose martial lineage traces back to the style's founder. He is grudgingly persuaded by Fei Chun (Sammo Hung), his lead student to teach kung fu to Cashier Hua (Casanova Wong), a patient hiding out at his residence. Hua had previously overheard a businessman named Mo (Fung Hak-on) and several of his men plotting to take over the town by killing the town's headman. Unfortunately, Hua made the mistake of warning Mo's wormy henchman and a trap was set that nearly cost the poor cashier his life. While in hiding, Hua sends Fei Chun to warn the headman. The headman ignores the advice and is later attacked by Mo's men, although its unclear whether he escapes or is killed after a protracted fight.

Meanwhile, Tsang runs Hua through an elaborate and entertaining series of Wing Chun training sessions before he falls victim to a vicious trap set by Mo who has learned of Hua's whereabouts. With nothing left to lose, Hua, Fei Chun, and another student split up to use specific Wing Chun styles against Mo's leading fighters. Trouble mounts when its discovered that Fei mixed up the fighter's names and each of Tsang's students have to improvise in order to win against their opponents.

Warriors Two is a film Sammo Hung can be supremely proud of. As the film's director, co-choreographer, and co-star, Sammo is as the very peak of his game and gives evidence of his measured and masterful control of the action that is nearly impossible to duplicate. Only The Prodigal Son (1982), with a more "realistic" approach to the action reaches the same lofty heights of martial bliss and its a toss-up as to which is better. The direction and fight choreography are simply flawless. The opening credits set the tone with a stunning bout between Leung Kar-yan, who is wearing credible age-enhancing makeup and Casanova Wong in a bamboo forest as smoke gathers about them. Sammo is really an outstanding director and choreographer who hasn't received as much credit for these skills as his more distinctive peers like Yuen Wo Ping and John Woo have. The camera is constantly moving and cutting, but also allows enough time to actually see the stars performing their stunts. Some wirework is employed, more noticeably towards the end, but its checked in favor of showing off the stars' ample abilities.

Although I'm no expert on Wing Chun, its clear that Sammo Hung is going to great lengths to highlight the style. The training sequences are done exactly as they should be, by actually showing how an activity is teaching the student a particular skill. Leung Kar-yan is brilliant in his role as the teacher. He adds just the right amount of austerity and presence without overdoing it. Its also obvious why he was chosen for this role over an older actor. To the layman, he really looks like a Wing Chun expert and his physical grace is undeniable. Casanova Wong doesn't seem to perform as much Wing Chun style which focuses mainly on upper body work, but he is a very strong kicker who possesses a vibrant personality onscreen. He does a leaping, spinning kick over a table near the end that must be seen. Sammo's own performance is played mostly for laughs, which is what he was known for at the time. Yet, he does give himself plenty of quality screen time and reminds us that you don't have to be thin to be agile. Fung Hak-on, who plays the lead villain is a small disappointment in that he only fights at the end. He seems to become an almost supernatural fighter with a Dracula hair cut and some partial levitation mantis-style kung fu that brings the fun factor back into the film. Sammo also couldn't resist throwing in a humorous side-fight against the film's token weasel right near the end that provides a nice break from the increasing intensity of the main finale.

For a "classic kung fu" title of the '70s, Warriors Two has one of the most polished looks of any production. The sets are detailed and elaborate while the outdoor settings are picturesque. Its clear that a lot of effort went into this film and it pays off big time. With top performances, action and humor, I guarantee you will not walk away from this film disappointed!

--Maurice

_____

Bonding over sutures is what's hot in Oh-Nine.
--JS

there's always the karate kid part 2

Very good catalogue, dude who started this post was talkin bout don "the dragon" wilson and cynthia rathrock. american martial arts movies is wack nigga, i've watched almost everything shockzilla recommended, the only addition i have right now is house of fury, yuen wo ping's newest release. It's kind of campy, but extremely well put together fight sequences.

________________

Smoke?

there's always the karate kid part 2

look at the time difference!

And to answer your question: no, I will not stop making Crisis jokes. They're never not funny.

--Maurice

_____

Bonding over sutures is what's hot in Oh-Nine.
--JS

on the fritz- again?

Kid with the Golden Arm (a personal favorite)
Crippled Avengers (also called Return of the Five Venoms)
Shaolin vs. Lama
Shaolin Wooden Men
Snake and Crane Arts of Shaolin

And lest we forget the Wuxia Pien epics:
Crouching Tiger Hidden Dragon
House of Flying Daggers
Hero

Some folks might say Crouching Tiger is better than Hero or House is overwrought... the fact of the matter is: they're all brilliant films, and that they came out around the same period is astonishing.

--Maurice

_____

Bonding over sutures is what's hot in Oh-Nine.
--JS

It was a well put together movie however the scenes when they were fighting in their mind were a littl too long. Out of the three (Crouching, Hero and House) I would have to say that it's a tie between Crouching and House of Flying Daggers. Maybe it's my love for Takeshi Kaneshiro that has mee leaning towards House.

Everybody sucks! Let's have a popsicle.

Bringing you unpopular posts since 2003.

"Einstein has a formula, Wu Tang has a formula. A part equals a square and all that stuff, you know what I’m saying? We have a formula, too."

sometimes it's called the One-Armed Boxer

It takes campy to a WHOOOOLE nother level

Save Our Sonics!
http://www.saveoursonics.org/

The scene with Lee in the dungeon whuppin ass is the best fight scene in film.

http://twitter.com/phenompyrus

Get Out the Room
http://getouttheroom.podomatic.com
http://itunes.apple.com/us/podcast/get-out-the-room/id525657893

i'm not taking anything away from bruce lee in saying that

and this is his best movie.

http://twitter.com/phenompyrus

Get Out the Room
http://getouttheroom.podomatic.com
http://itunes.apple.com/us/podcast/get-out-the-room/id525657893

fist of fury (aka the chinese connection) is a *much* better movie.

enter the dragon is pretty hokey, imo.

& whilst bruce lee is an icon and was an incredible fighter, with the exception of the former, none of his other movies are of the standard of the movies i've listed in this post.

http://www.kungfucinema.com/reviews/crouchingtiger.htm

Crouching Tiger, Hidden Dragon is a masterpiece of world cinema combining the technical precision of Hollywood, the character pathos of British acting, the noble tradition of a mythical China, and the kinetic grace of Hong Kong's action choreography. Transcending borders, Taiwanese director Ang Lee has created a film set in China yet with a universal theme that transcends cultural identity.

Based upon a serialized novel by Wang Du Lu, the film is a beautifully rendered tale of love denied and the acceptance of responsibility. Chow Yun Fat plays Li Mu Bai, a celebrated warrior of Wudan who dreams of a peaceful retirement with his comrade in arms, Yu Shu Lien (Michelle Yeoh). Both dreams are hindered by an incident involving the theft of Mu Bai's sword, The Green Destiny which was to be a gift for his father's friend, Sir Te. Jen Yu (Zhang ZiYi), daughter of the local magistrate is suspected. Finding her to be adept in kung fu Shu Lien and Mu Bai are both drawn towards this headstrong young woman hoping to cool her reckless passions. Yet the Jade Fox, a notorious thief and nemesis of Wudan hopes to have Jen Yu follow in her footsteps. Frustrated by an arranged marriage her father has set up, pining for an unquenchable thirst for freedom and confused by Mu Bai's intentions towards her, Jen Yu sets out on a destructive rampage that has serious consequences for all.

The story is based upon a long running Chinese novel by Wang Du Lu. Its a tale of wuxia pien, a genre of storytelling in China akin to American tall tales of the Old West or Greek legends of gods and monsters. Popular in Chinese stories, heroes could develop the ability to fly or perform superhuman feats through training in martial arts, particularity the internal kung fu. In this case, the style of "wudan" kung fu deals with the development of internal strength rather than external. This is what accounts for the ability to climb walls and balance from the tips of bamboo trees. In one humbling scene, Mu Bai (Chow Yun Fat) confronts Jen Yu (Zhang Ziyi) who believes having the indestructible Green Destiny signifies true power. She is defeated by Mu Bai who wields only a thin tree branch.

Dozens of locations throughout China were used to shoot the film. The cinematography led by Peter Pau effectively captures the beauty of the scenery which adds tremendous depth. A memorable scene comes to mind where Mu Bai and Shu Lien (Michelle Yeoh) sit in a well lit building in front of a large window. This is the one moment the two seasoned warriors have to truly contemplate a life together living in peace. Outside, a forest of green bamboo trees sway serenely with the breeze. One cannot help but feel the same sense of quiet comfort that both characters desperately seek.

An old form of Mandarin, perhaps best compared with Old English is used by the characters. This proved a difficult task for the Cantonese speaking Chow Yun Fat and the predominately English speaking Michelle Yeoh. The acting may have suffered from the awkwardness of using such a difficult language, yet from an English speaking viewer it didn't seem to have a visible effect. Both Yeoh's and Yun Fat's performance appear intentionally understated, highlighting the fact that both characters must suppress their true feelings. Zhang Ziyi as the troubled youth with devastating skills gives a stand out performance. Only her second role at the age of 19, Ziyi imbues her character with a combination of arrogance and naiveté that creates a paradox of emotion where one feels both distain and compassion for her which seems to have been Ang Lee's intention. Veteran actress, Cheng Pei Pei offers a memorable role as the lead villain, Jade Fox. In a tale this emotionally complex, even Jade Fox can be empathized with as Cheng effectively conveys the bitterness that fosters her anger towards the noble path of wudan.

Yuen Wo Ping has taken his now trademark choreography to new levels of polish and grace with truly remarkable wirework. Still operating the way Hong Kong action directors have for decades, Wo Ping came up with most of the stunts shortly before filming. Actors would practice their maneuvers with crews setting up cranes to guide them over rooftops or to alight upon the flexible neck of a bamboo shoot. The actual fighting is a showcase for kung fu weapons with Tai Chi swords, the Sun & Moon sword, steel fan, tigerhead hooks, and others, many handled with skill by martial arts stars Michelle Yeoh and Cheng Pei Pei.

One of the often overlooked features of the film is the intentional humor that, at its best lampoons the traditional kung fu film which Ang Lee sought to emulate. The highlight is without a doubt the tea hall scene. Here we find Jen Yu (Zhang Ziyi) having run from a prearranged marriage to seek a life of adventure. She arrives at the tea hall looking for a fight and as if straight out of a scene from a classic Lau Kar Leung film, she ends up in essentially a bar room brawl. What proceeds is a series of introductions from a local group of the usual suspects who seeing her obvious arrogance, offer a challenge. So the likes of "Iron Eagle Sung", "Flying Cougar Li Yun," "Iron Arm Mi," and "Shining Phoenix Mountain Gou" end oup enduring the wrath of Jen Yu while she taunts them in typical kung fu film fashion.

If there is any fault in this film it is the same characteristic which makes it so unique and that is its non-Chinese appeal. What many mainland Chinese don't like about the film is its Western style storytelling with an emphasis on story development, something rare in the realm of kung fu films. Also, they see Chinese being portrayed in an outdated manner. What this comes down to is the fact that most everything in the film has been done in Chinese cinema before. Its a film that is out of touch with the general Chinese audiences. While this may be a fault in Asia, its a boon in Western countries where film ideas have run dry, both in Europe and Hollywood. Ang Lee's homage to his youth filled with tales of mythic heroes offers a fresh face on Chinese culture that is more palatable to Western audiences than many of the previous Hong Kong films missing the production values of Western cinema.

Crouching Tiger, Hidden Dragon's true strength lies in director Ang Lee's ability to blend two cultures into a rare breed of film. He may come to be remembered as a visionary auteur who saw film as a method of telling a story whose themes are drawn from the uniqueness of individual cultures into a cross-cultural phenomenon that is quality entertainment.

& from the archives:
http://board.okayplayer.com/okp.php?az=show_topic&forum=23&topic_id=20447&mesg_id=20447&page=16

http://www.kungfucinema.com/reviews/hero2002.htm

Premise: The King of Qin, soon to be China's first Emperor is threatened by three assassins. Nameless (Jet Li), a master swordsman is chosen to stop them, but conflicting accounts of how he does so paints a different picture.

Review: The most talked about Chinese martial arts film of 2002 and 2003 is Zhang Yimou's Hero. It presents a bold visual statement with stunning photography from Christopher Doyle, vivid art direction, and meticulously staged swordplay that possesses more dazzling, theatrical dance than screen combat. The story is seductively simple yet peels away in colorful layers of complex tapestries woven by the threads of trust, revenge, and ultimately sacrifices.

The story begins with Jet Li recounting to the King how he defeated the three assassins as played by Donnie Yen, Tony Leung, and Maggie Cheung. The events that lead to Li sitting before the King are actually recounted three seperate times, with the circumstances changing depending on whether Li or Chen Daoming, who plays the King, is speaking. The film's success depends on Yimou's ability to reveal new aspects of the characters and plot without being repetitive. He does so with great skill and gives us the chance to see fights between the lead characters unfold with different outcomes. In a couple of cases, the fights depicted never even take place. One particularly stunning confrontation between Leung and Li takes place on the surface of a placid lake with each combatant thrusting his sword tip into the water to propel his body into the air again. What is really happening is that the characters are fighting in their heads, a representation of the psychological war two warriors engage in that may determine the fate of a battle before it even begins.

When it comes to the film's combat scenes, veteran action director Ching Siu-tung delivers fine wirework that emphasizes flowery movements. He is well-suited for this style of combat with classics like Duel to the Death (1983) and Dragon Inn (1992) on his resume. The more esoteric internal arts are depicted and those who enjoyed Yuen Wo-ping's The Tai Chi Master will appreciate the scene where Maggie Cheung kicks up a storm of leaves against Zhang Ziyi. The flashbacks, both real and imagined allow for match-ups between just about everyone including the Emperor, but the stunning encounter between Jet Li and Donnie Yen is the film's first and finest. These two wushu experts are perfectly matched and have never been as beautifully filmed doing what they do best. This fight does not represent the best of their careers in terms of movement or form, but the scene is so crisp and clear in its execution, that one cannot but be in awe of the spectacle.

Hero is Zhang Yimou's first foray into the martial arts genre, it having been a project he had loosely conceived of well before Crouching Tiger, Hidden Dragon made martial arts film a legitimate modern art form. Like Japanese film legend Akira Kurosawa, Yimou has an artist's eye for the screen and treats it as his canvas. Few filmmakers have taken this more literally. The film's single greatest asset is the rich and wonderful imagery where entire sets, costumes, and even horses are coated in color. (Many of the soldiers' horses had to be painted black to match their armor.) For spectacle and epic proportion, nothing looms larger than the massive army assembled, all clad in black. Their training is such that they move as a single entity and when they loose a storm of arrows on two different occasions, the sight is extreme. In fact, Yimou goes overboard here when hundreds of bowmen expend thousands of arrows in order to kill a few people in scenes reminiscent of Kurosawa's famous finale to Throne of Blood. Another extreme scene has Maggie and Tony wading through the mass of men as they storm the King's fortress, leaving a long trail of dead behind them.

Hero is the sort of film that could be easily misinterpreted. The king's "hero" defending his lord against three assassins sounds like the plot of a bloody Cheh Chang actioner from Shaw Brothers' heyday. The swordplay may be just as fanciful, if significantly more artistic, but the jaw-dropping wirework mixed with minor CGI enhancements does not define the film. Like Wong Kar-wai's equally poetic, if more confusing Ashes of Time, what drives this film are the complexities of its characters who struggle with their own passions. The film depicts the King as an idealist, when many Chinese historians will tell you the real King of Qin who became China's first Emperor, was very much a tyrant responsible for many deaths. This could lead to concerns over the film's apparent pro-Communist message that sacrificing your life and more importantly, your ideals for a government that only purportedly represents the people is noble. I can see why the Chinese government may have given Yimou their blessing, but the film could also be looked at from another angle. On a personal level apart from historical context, Hero contains no real villains and the only antagonistic factor is the desire for revenge on the part of the assassins. Yet, a case could be made that the ideal swordsman who upheld justice would do what's right for the majority and not to satisfy his or her own desire for blood. In this case, where this fictionalized King of Qin was a leader who had the interests of the people in mind, perhaps this action really is noble.

Successive viewings of Hero are recommended. It's not the greatest martial arts film, but it brings so much to the table in terms of visual flair, plus any chance to see Yen versus Li is worth it. The narrative is presented in a thought provoking manner and fine acting by everyone is welcome. This is especially true for Jet Li who returns to the stoic, intense persona within a historical period that made him a star in Hong Kong. Tan Dun's musical score is not quite as distinctive as his work on Crouching Tiger, but is nevertheless an effective and sometimes haunting accompaniment. As cinematic art, Zhang Yimou has outdone himself in what I daresay is the best looking martial arts film ever and one of the most resplendent productions period.

& from the archives
http://board.okayplayer.com/okp.php?az=show_topic&forum=23&topic_id=8713&mesg_id=8713&page=5

also:
Any movie with Jet Li
Crippled Masters
Crippled Avengers
Chinese Connection
Fist of Fury
Return of the Dragon

On The Lookout 4:
some new music. WTF is going on this year?

okay- whilst i've seen them all, there are quite a few that you don't need to ever see

namely,

born to defence (1988) pretty mediocre underground fighting movie, ala streetfighter

the master (1992) li tried to break into the american market with this pretty dismal 'rumble in the bronx' type story (this actually preceded chan's flick, not that it matters)

the bodyguard from beijing (1994) aprt from a couple of moments of cool gun-fu, this is a pretty lame HK remake of whitney houston's 'the bodyguard'(!)

high risk (1995) this is a trashy sendup of jacky chan with a 'die hard' sppof as the plot. it's worth noting that li's manager was later murdered by the triads, as li no longer wanted to be forced into roles. (..and chapelle thinks hollywood is crazy!)

dr wai and the scripure with no words (1996) this is a fairly dire fantasy/indiana jones-type flick about a mild-mannered pulp novelist.

there are still more HK movies in his filmography that aren't nearly as good as his best, but still have some redeeming features.

the only hollywood movie he's done that i thought was good is 'kiss of the dragon', though 'unleashed' certainly has some wicked action. Lethal Weapon is the only time that Jet's played a villian, a role that he played really well, but he was only a bit character.

at least he was paid really well for 'the one'.

That movie is the truth.

That blew me away and especially the fight scene where he pulled a Mike Tyson move. The soundtrack was banging, there was comedy and the fight scenes were official. Who could ask for more?

Everybody sucks! Let's have a popsicle.

The shit he did in that movie was fantastic!

"Ain't no future in yo frontin" -MC Breed

"I love the Lord, and if lovin the Lord is wrong, I dont wanna be right" -Reverend Brown

trust me on this one.....

_______________________
"Arm Leg Leg Arm Hate." c/o desus
_______________________
Divine Ruler
http://www.facebook.com/divineruler
__gigs__
__stuff__

.............

_______________________
"Arm Leg Leg Arm Hate." c/o desus
_______________________
Divine Ruler
http://www.facebook.com/divineruler
__gigs__
__stuff__

-30-

my forté causes caucasians to say, "he sounds demented!"

the original game of death as seen in the bruce lee documentary, once upon a time in china III, any sammo hung, enter the dragon, 10 fingers of death, chinese connection, any jackie that is in between his really old super low budget stuff and his really recent hollywood stuff, the list goes on and on

Wizards PURE ENERGY

"Sometimes a little Southeast comes out in me, just a little." -Easy J

*"Two thirds of the world are covered by water, the rest is covered by Smoot."*

www.imdb.com/title/tt0384819/

and ofcrouse.....
Tha Last Dragon
http://www.imdb.com/title/tt0089461/

_______________________________________________________

follow me @ http://instagram.com/xaoux

* Teach me how to forget to think..... *

n/m

_________________________________________
"Too weird to live.... too rare to die..."

IG: KnowOne215 | PS+ ID: KnowOne215

n/m

_________________________________________
"Too weird to live.... too rare to die..."

IG: KnowOne215 | PS+ ID: KnowOne215

Jet Li, Michelle Yeoh, FIRE.

and yeah, it's a great movie, alright

damn my bad yo. why the hell can't the US just leave the titles as the chinese intended them to be?

i didn't even know until a day or two ago while watching "bruce lee: a dragon story (horrible ass acting but informative) that "the big boss" was changed to fists of fury in the US and fists of fury changed to chinese connection in the US. makes sense though, he went off harder in "chinese connection" than he did in "fists of fury"
dumb ass american cinema folks

One of the best martial arts films I have seen. (its a japanese film)

Its a period piece set in the end of the Samurai era in Japan. Good storyline and the final action sequenec is spectacular. Feels less campy then other martial art films from Japan.

Good piece of filmaking imo.

__________________________________________

Eric Drooker in the AVY his art http://drooker.com/

just kidding!!
--

http://www.youtube.com/?v=d0bJE-LtDMA
"with kanye and mel's help, this could be a big year for jesus." - Gusto

http://www.dragonsdenuk.com/reviews/bastard_swordsman.htm


http://www.audioscrobbler.com/user/mrmagic/

listening to...

The Roots - Home Grown vol 1 + 2

http://www.deephousepage.com/

has anybody seen these movies i recommended?

>has anybody seen these movies i recommended?


Most of them, and agree with most.

Had to draw the line at where you said they were better than Enter the Dragon though!

I'd like to add: Last Hero In China, The Big Boss, Masked Avengers, and Fists of the White Lotus.

sean penn, eric roberts, james earl jones. one of my all time favorite movies- period. cant find the dvd thbough.

its worth a watch at the very least, but its a good movie.

and if the karate kid part 2 has yet to be mentioned... shame on the board.

kindly throw this poster off the premises.

thank you!

that is all.

no really, it did

i didnt just forget about the whole thread until i found it two weeks later. that didnt happen at all.

no really.

if only for the quote, "I HATE PUNKS WORSE THAN ANYTHING!"

-30-

my forté causes caucasians to say, "he sounds demented!"

Probaly the best Bruce Lee flick.

I couldn't take out the time to put out so many reviews. I would love to take a sneak peek at your kung-fu collection.

After reading through the posts I see that my personal favorite wasn't listed. Lord of the Wu-Tang! I love that movie to death, especially the fight scene in the field. It reminded me so much of an old Wu Tang Clan (the rap group) video, I think maybe "Mystery of Chessboxin'". I may be wrong though.

Honestly though I pretty much like any movie that Jet Li is in. I love Bruce Lee but I really couldn't watch his movies repeatedly, it's too Hollywood for me. I also hate when they bring guns into the movies. It becomes corny at that point. All I want to see is them flying backwards onto roof tops and ish. Bring back USA's Double Dragon please.

Everybody sucks! Let's have a popsicle.

I forgot about that one.

Everybody sucks! Let's have a popsicle.

i know kung fu (c) neo

well, kung fu movies, that is

did you ever see jet li's 'my father the hero'?

my favorite is Baby Cart in the Land of Demons...there are others tho.












"The optimist proclaims that we live in the best of all possible worlds,
and the pessimist fears that this is true." -- James Branch Cabell

Azumi 1 and 2, The Promise, Seven Swords

-------------------------
AXE about me!!!!!

First off...start with the master..

Get the Bruce Lee collection
(Fist of Fury, Chinese Connection, Return of the Dragon, Enter the Dragon, Game of Death)

Here are some of my fav's:
Iron Monkey
5 Deadly Venoms
The Deadliest Art (compliation of greatest Martial Arts movies...real good watch)
Ung Bak (its a recent movie, but damn good fight scenes)
Project A (Jackie Chan, Samo Hung)
Wheels on Meals (Jackie Chan vs Benny the Jet Urquidez)

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mortal combat (the shaw bros joint)
spearmen of death
fist of the white lotus
10 tigers from kwangtung
king boxer
dirty ho
the hot, the cool, the vicious
18 jade arhats

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John Woo...'fore hollywood...

the new sig-

"When you know that the life and spirit of others depend on your life and spirit, you have no right to be afraid - even when you are terribly afraid."

-Sembene Ousmane