I'm usually quick to criticize wire-fu choreography, but some of the scenes in "Iron Monkey" were amazing. I still think that some parts were a bit excessive, but the choreography from Yuen Wo Ping, Yuen Cheung Yan, and Yuen Shun Yee was, for the most part, incredible! Donnie Yen was tremendous in his role as Wong Kei-Ying and really showed his great fighting abilities. Even Yu Rong Guang was convincing as the Iron Monkey, handling his duties admirably. Tsang Sze man was also impressive as a young Wong Fei-Hung, especially since the character was played by a girl.

It's a shame that "Iron Monkey" was a box office flop because it is certainly one of the best martial arts films of the 1990's. With that said, "Iron Monkey" has thankfully gone on to receive the respect and admiration that it deserves, even becoming well known in the West.

If one wanted to sample a wire-fu film for the first time, there is no better place to start than "Iron Monkey".

Highly recommended!

Golden Harvest roped in Hark and a bunch of Hollywood effects guys to create this impressive spectacle of a fantasy flick, boasting a great cast and groundbreaking visuals for HK circa 1983. But somewhere between the flying fairies, fireballs, lightsabre duels, and all the other bells and whistles, the story and the characters got lost.

I mean, the actors are fine, and all do a good job--Yuen Biao, Meng Hoi, Moon Lee, etc.--but I feel that they are kinda' pushed into the background by all the special effects stuff, stifling their otherwise fine performances. And the already complicated story drowns in there as well. I've watched this movie a number of times and still have absolutely no idea what it's about. Sure, it keeps throwing crazy, flashy stuff at you, but it doesn't really go anywhere.

For the international version, a whole new plotline, involving Yuen Biao as a modern day fencing champion who goes into a coma and lands in an alternate reality, was shot and tacked on. The original fantasy stuff, being that reality, was recut, and the whole thing was sold as a slightly different movie. The modern day stuff is pretty fun. And I would like to see that full version some day.

I think the movie is a bit of a letdown in the action department as well. It is certainly competent. But I'm just not a big fan of fantastique wire fu. And the fact that there is so much visual effects stuff going on around it also distracts from the physical stuff.

In the end, I can enjoy this film as more of a curiosity than a fully fledged piece of cinema. To me, this is a good example of the dangers of big effects movies: if you lose the story and the characters, then all you are left with is bright lights and big bangs. And that in itself is not filmmaking.

Maybe it's me--maybe I just get sick of new movies being cranked out the butthole to only reveal the same old shit. The stories and conceptions for today's kung fu films are soooooo worn out that this could have been an unintentional remake of a movie from the 70's or 80's; but who knows, really. To be perfectly honest, I think you're just looking for any excuse to give films like this any credibility when in truth you are in a state of denial.

The kung fu action was okay. JUST OKAY! I'll always have issues with wirework unless it fits with a film's level of insanity and/or absurdity, like "Tai Chi Master" or "Iron Monkey". But with a film like "Fearless" that's supposed to be consistent and well told (HA!), no wirework is required. It does not work. As far as the movements of the actors go, it feels a bit sloppy, but overall it's...eh, nice.

Probably the main reason why I didn't like this film is because of Jet Li. He is just not a convincing bad-ass. His martial art skills are 99% consummate but his screen presence is just weak. He's just a sissy Mary. The only films I've ever liked with him were "Tai Chi Master", "Fist Of Legend", "Martial Arts Of Shaolin", and for some odd reason "My Father Is A Hero". And perhaps "Once Upon A Time In China" 1-3, only because I like Tsui Hark films.

If you liked this film, fine. I don't care. But in the words of a great reviewer: "Nothing special here." It's just another everyday ordinary kung fu movie. Whoopee-do. Now I await your inflictions with elation.

AND THE ACTING WAS HORRIBLE!!!!!

Keep in mind that director Yip took quite a few liberties and the movie is definitely not a fact based biopic, but there simply must be time compression in order to make an entertaining film. There had never been a film made about Ip Man and his teaching Wing Chun. However it was obvious that everyone wanted to do their best, especially Donnie Yen. It was important to director Yip and Sammo Hung as well. Sammo is really the right man to work with as action choreographer. He directed “Prodigal Son” with Yuen Biao which demonstrated some of the real martial art of Wing Chun. An amazingly talented cast of actors and martial artists help carry the story but it is Donnie Yen that brings Ip Man to life!

The film opens in the early to mid 1930's Ip Man is a wealthy man married and with a young son. His wife Cheng is played by Wong You-nam. While she is sometimes more like a set piece it must be remembered that the wife of such a man would be watching the child and running the house. However she is really never presented as a fleshed out character. Ip Man is more accepting of her feelings knowing her “tantrums” when he practices or spars. And he does make efforts to keep those away who wish to see him perform, challenge or beg for teaching. But he loves to practice and perhaps even enjoy sparring more than he will admit. She does however support her husband in a more subtle manner, encouraging him and not complaining when things start to look ugly with threats of violent times. It would have been nice to have more of her character explored. However all of the cast knew who the real deal was and that was Donnie Yen! That man has worked his way through many obstacles to finally be recognized as a true legitimate world class martial artist and now one hell of a good actor! Yes I said the “A” word - act. He has labored through some pretty hard years without appropriate recognition. I believe part of his unpopularity came about as a consequence of his not kowtowing his way into the main stream. Donnie has an interesting effect on people. Viewers seem to either love him and any role he plays or they can't stand him or any role he takes. Donnie Yen comes across as a man of ethics and completely believable in holding on to some values no matter what.

When a northern style fighter Jin Shan (Fan Siu-Wong), comes to Fo Shan he goes from school to school challenging every Sifu and style and beating them all. He feels he has proven himself as the best fighter and will open a school there. When he learns of Ip Man and the form of Wing Chun he marches up to Ip Man's impressive residence and insists on a duel. Of course Ip Man is not interested in such a crude display but is convinced that he needs to fight and win to reclaim the Province's considerable reputation. Within only a few moves it is obvious that Jin Shan is out classed and no match for Ip Man and Wing Chun. However he does not give up easily and continues to fight until Ip Man has his life in his hands. Jin Shan leaves humiliated with an uncertain future.

This was a big budget production especially for a Hong Kong movie and it shows! The attention to detail is striking. Fo Shan is a bright and colorful place with sumptuous settings and hundreds of set pieces made just for the film. The street re-creations are sun filled with trees, plants and people in all manner of dress bustling about their daily business. There is even a full scale working cotton mill which was built in a gutted warehouse.

When the Japanese invade the Province during the Sino - Japanese war everything quite literally becomes ashen gray or industrialized coal dust and soot. The Japanese General assigned to the area takes over Ip Man's home and sends the family into the streets to exist in abject poverty. Ip Man no longer practices Wing Chun because he would then eat more food and they have precious little with none to spare. There is little left of the city of Fo Shan that is not dark and menacing. When someone invades your country and does what the Japanese did it is entirely understandable to think of them as sadistic natural born tormentors and killers. The Japanese soldiers radiate rabid hate and seem to think the only good Chinese is a dead one. The Japanese General is played by Japanese actor and Judo black belt holder Ikeuchi Hiroyuki. He isn't really evil but he does believe the Japanese are superior in general and definitely in the realm of martial arts. Japanese soldiers especially one gutless Colonel who is rather sadistic are not portrayed as decent soldiers but then that is only to be expected. If not for the violence against the people of Fo Shon Ip Man would not have come forth as a man of the people, teaching the workers at the cotton mill Wing Chun so they might be able to defend themselves against the Japanese oppressors. The mass instruction scenes are powerful and do give a glimpse into the way Wing Chun can be used for self defense against a stronger opponent.

It's important to know a bit about the Wing Chun style to fully understand the film. Wing Chun is a very specific martial art. Unlike most martial arts forms Wing Chun was created to be used in real life situations, not just at tournaments or on stage. The form was created by a woman, for use against larger and stronger men. Despite research I have not found the woman who supposedly originally developed the form. I think her story would be utterly fascinating. Those who have not seen Wing Chun will be just as thrilled with the movie as those who practice it. There was some talk of Donnie Yen not being able to be convincing with the form considering how often his raw power is used in his martial arts. This reviewer had a few similar concerns. But to his credit, Sammo Hung's fight choreography and Wilson Yip helped to make Ip Man an outstanding film! Any concern about Donnie Yen not pulling off Wing Chun in a true and realistic manner faded with the very first time you see Ip Man fight. Wing Chun focuses on self defense and deflection of strikes and rapid open hand or punches when properly executed that does not depend on weight, height or muscle mass. One of the absolute key elements is balance, while countering or delivering strikes. The form works well in close quarters as well making it immensely useful in a variety of situations. Most of the martial arts or kung fu in films want to show that power and devastation which might lead one to think it might not come across in film as very interesting. On the contrary most people have never seen martial arts moves like Wing Chun. The close quarters, kicks delivered a bit lower on the body, such as the knees. There are higher kicks as well to the torso, elbow and knees takedowns works amazingly well The form emphasizes rapid punches and strikes that are so fast you have to run slow to see them. At times it is very difficult to see what all is happening, but weapons use is also a part of Wing Chun although unfortunately this film doesn't include that aspect except for one very brief scene with a pole, and another with a feather duster. (Can a feather duster be a weapon - in Ip Man's hands it definitely can be considered a weapon, at first rather comically but in the outcome potentially lethal).

The Japanese General Miura is amazed at Ip Man's ability and has never seen anything like it in Japan. He decides to have Ip Man train Japanese soldiers in the form, and of course become better than any Chinese. Ip Man will not do any such thing. But as the violence escalates he decides to challenge the General hoping to bring about some sense of fairness to the people. That he will sacrifice himself so that no one else would have to and to stay strong no matter what.

The second disc has quite a lot of information including interviews with the primary actors and Donnie speaks about what he did to prepare for this special role.

Yip and Hung talk of pre - production and how it was to work with Donnie and the other primary actors.

I only have two issues with the film. The first being how much liberty is taken with the story itself. There are those who believe major changes were made in the film to capture an audience. It has even been suggested that Ip Man and his family escaped to Hong Kong much earlier than indicated. Although somewhat disquieting I did not have the impression the story was so extremely different from reality. Perhaps the specifics were changed but there is a feeling of realism. Ip Man can make it difficult to separate the character and the actor. Donnie has put so much into the role it is as if he is Ip Man.

My other issue is really a small one however Sammo can be infuriating when he decides wires must be used, and in places they look odd as well. Thankfully there were not too many scenes wired.

The other two films are supposed to focus on the Hong Kong years. There are many, many fans of Donnie and now also of Wing Chun who can't wait!

This is like kung fu meets James Bond, with a dash of blaxploitation. And, due to the Hollywood influence, it's the most commercially appealing film Bruce ever did. That's not necessarily a good thing though. This is very much an American martial arts movie. More western than eastern. Which is not a crime in itself. But outside of Bruce's indomitable presence, this is really a western version of an Asian phenomenon. I'm just halfway surprised that there weren't more buckteeth and Fu Manchu moustaches present here. With that said, this is still one of the most successful attempts at an east meets west action extravaganza. So think of that what you will.

I think if Bruce had been the director, this would have been a better film. But in many respects this is Robert Clouse's vision more than Bruce's, although Bruce's influence on the production does not go unnoticed. In my opinion, Clouse is a talentless hack and, as bad directors go, up there with the worst of them. He would spend the rest of his dubious career trying to recapture the success of "Enter The Dragon". But without the magic touch of Bruce to carry his ass, he was soon exposed for what he was.

The obvious clash of styles is most evident in the fight scenes. The worst offense is the way it is shot. Lots of close-ups, tight shots, and just sloppy American camerawork when people are fighting. Some of it is fairly decent though. The big fight in the underground lab is pretty cool, but I still wish that Bruce would have had full control of the action in the movie.

I do however blame Bruce for, once again, not fighting a worthy opponent in the entire flick. Not even Shek Kien as the main villain poses any kind of real threat and just gets his ass handed to him, in of the most one-sided end fights of kung fu cinema. Like I've said in the past, no one else gets to shine in the Bruce Lee show. Case in point, John Saxon and Jim Kelly. They might have been real life martial artists in their own right, and students of Bruce himself. But they couldn't screen fight to save their lives. And since this is a movie, screen fighting is what counts. The only one aside from Bruce that looks even remotely capable here is Angela Mao, in her short stint as Bruce's sister.

I know it seems like I'm slamming this movie. But I actually like it. I will, however, not be blind to its shortcomings. And I probably view it more as a cheesy 70's exploitation flick than a kung fu classic. And in that respect, it gets the job done. But at the end of the day, I would rather have seen Bruce's fully realized version of "Game Of Death" than this.

The story is taken from the novel “Peaceful Days”, written by Shugoro Yamamoto. The novel was also the source for Kurosawa’s "Sanjuro" and "Yojimbo". This is the closest adaptation of Yamamoto’s novel. It’s great to see what writer Akira Murao and director Okamoto were inspired by.

“Kill!” is about two men. Genta has given up the samurai code, and Hanjiro is a farmer masquerading as a samurai. They stumble upon seven dimwitted samurai who murder a vassal of the Shogun on behalf of a local boss named Chamberlain Ayuzawa.

The samurai send Genta to their boss to inform him of the success of their mission. Hanjiro goes to Ayuzawa to get a job, and to become a real samurai. Hanjiro’s mind and heart are tested because in order to become a samurai, he has to kill Genta.

It amazes me how the characters' lives in the movie intervene. They have goals, and they could easily be accomplished, but whatever road you choose there are always consequences. The movie does go in depth in that department, but the film also offers a lot of laughs. The humor in the movie is well added, each line or action is done well and right on cue. This is a also a witty samurai movie. With that being said, the movie feels fresh and intelligent, as if it was made today.

“Kill!” is a movie that can work for any audience. The genre is an action-adventure story, but it adds drama and laughter, which makes it feel like an “every person kind of film“. I am astonished how good this picture is and how it paces itself into a truly amazing samurai picture.

The story is about a Chinese immigrant named Ming, who lives in New York City and works as a bicycle deliveryman for a low-rent Chinese take-out joint. He's deep in debt to loan sharks, who kick off the film by attacking him with a hammer and informing him that he has until midnight to come up with $800 or the remainder of his sizeable debt will be doubled--as, presumably, will be his hammerings. He is able to borrow some from friends, but the rest he must make in tips delivering egg rolls, chow mein, and the like--and we learn that in order to reach his $800, he'll have to earn about twice as many tips as he's ever earned before in a single day.

It's a compelling set-up, but unfortunately Ming is anything but. The filmmakers really managed to cast 99% of this film really well. Too bad the remaining 1% was their star. The actor who plays Ming, Charles Jang, is animated and amiable in interviews, so it's a mystery to us why he chose to play this character with all the pluck of a catatonic mental patient. He conveys no sense of urgency and nary a hint of personality. His character is entirely impossible to empathize with, as he goes from delivery to delivery, not so much as bothering to utter a single word to any of his customers. When a colleague of his explains that he'll need to up his customer service to earn bigger tips, he flat out refuses.

Maybe it's just me, but I'd never tip someone who didn't even say a single word to me during a delivery. In fact, I'd kinda' want to punch them in the face. And I basically wanted to punch Ming in the face for the entire film. I didn't care whether he earned his $800 or not, and I didn't buy any of the friendships that his colleagues seemed to have with him. His contemptuous attitude and total lack of effort to solve his own problems was simply repellent. This is a guy that no one in real life would lift a finger for, because he certainly wouldn't return the favor. And simple every-day occurrences seem to baffle and sideline him--a bicycle deliveryman in New York City shouldn't be completely thrown out of orbit when he gets a flat tire. That kind of thing would happen several times a week, if not daily.

Are the filmmakers trying to imply that Ming is actually retarded? Because if not, his actions make no sense. Either way, it's not surprising that he's behind on his loan payments, because he doesn't even seem to possess the requisite mental capacity to put on a pair of slippers. Luckily, even though Ming is an emotional no-show, some of his delivery customers offer up some fantastic performances while he stands awkwardly silent in their doorways.

But enough ranting about Ming. The main reason that this film actually works is all the footage that was shot at the restaurant. The film was made on an amazing budget of only $3000, so they couldn't afford to create their own restaurant set or shut down the one they filmed in. All the footage was shot while the restaurant was operating, using some ingenious trickery (that you don't suspect while watching) to pull off the illusion that the actors are running the place. I really can't gush enough about the restaurant footage, because it's all pure gold. The cooking, the chefs joshing around, the simultaneously sweet and sour lady working the counter, and the all too familiar parade of self-important, penny pinching customers who would argue for five minutes to save an additional quarter at this already bargain-basement eatery.

This filthy, anonymous hole in the wall is the backdrop to an endless carnival of bizarre human interaction that will absolutely delight any fan of this crazy species of ours. When the restaurant closes down at the end of the day and the staff go their separate ways, it's almost impossible to believe that this was just one random day in their lives, and that tomorrow will bring even more of the same.

I very highly recommend giving this film a watch for its fantastically energetic restaurant scenes, but be prepared to be patient any time Charles Jang is onscreen. But heck, some of you are bound to enjoy his Ming character even though I couldn't. And if you do, I envy you, because then this may just be your perfect film.

This is a period film of revenge set in a turbulent time of Thailand/Siam's history. Tony Jaa watches his parents die on order from the King's mad heir, in order to secure his power. Tony escapes and is taken in and trained by a community of pirate mercenaries from childhood. When Tony comes of age he leaves the adoptive father and leader of the pirates for revenge! Along the way is plenty of action and a good plot twist leaving the viewer wanting more!

The cinematography was excellent! The stunts and action outstanding. Tony Jaa shows that he is more than just a Muay-Thai expert by using various forms and weapons! The story was straightforward and simple with a great supporting cast portraying the villains, fighters, and family! I think many overlook the acting in favor of the action. The actor portraying Cher Nung, the pirate leader, was excellent. The ending is not what you expect but sets you up for a sequel, kind of like the ending of " The Empire Strikes Back ". All in all this is a must-see film for action lovers. The stunts are fantastic!

Chin Kar Lok and his father travel to the city to find a better way of life. Chin's father wants him to have a good education but Yu Shu prefers to imagine himself in a fantasy life where he is the good guy saving damsels in distress. Don't worry about the first few scenes it gets a lot better! Enter 'better' known as Kim Won Jin! This man is at the top of the kicking world! And his Scorpion form, as he scuttles across the floor or ground is the best I have ever seen! It's truly a different kind of fighting that's for damn sure! If you haven't guessed by now Kim Won Jin steals the show. His first fight gives you an idea what this guy can do. Those who refuse to watch wire fu do not bother but you are really going to miss one hell of a good time! The laws of physics cannot be changed even by the bad guy. You can't make a movie like this without wires but it doesn't matter! It's great entertainment and not all is wire assisted. Kim Won Jin kicks like no one else and I mean No One!

Yu Shu (Chin Kar Lok) is young and has a temper. Most of his time in high school he is getting into trouble for drawing his hero comics or beaten up by the police chief's son. In a series of coincidences he befriends a lovely young girl in servitude to a nasty guy (the Scorpion's father) who sells women locally and abroad. Unfortunately that leads to his father getting beat up and Yu Shu is looking for some help. He finds a temporary refuge with a group of body builders at their school. Yu Shu is so impressed, especially by the instructor Little John he decides he must become his student. That is one of those nicknames that use the opposite. Little John is anything but little!

Yu Shu, his father and the ex-slave go to stay with an old friend, Lo (Lau Kar Leung) at his noodle shop and Yu Shu makes tentative steps at romancing . It must be remembered that Yu Shu's character is supposed to be high school age and cannot be expected to be super talented since he has never had any training other than in his imagination. Although Yu Shu attends a few lessons with Little John his real training begins as every day work for the restaurant.

Knowing his helper wishes to learn Kung Fu Sifu Lo uses everyday items and tasks to train the impatient Yu Shu.

Things grow worse when Yu Shu's friends maid is sold into a prostitution ring by her mother and Yu Shu and his friend get Little John to help them get her back. The big man versus the thin guy with legs that seem to go in 360 degrees is excellent. The gauche riches of the gangsters is shown well as the two square off and Little John breaks a number of things including a wall. At first Little John is quite the opponent but the villain uses his Scorpion (damn he is good!) and amazing kicking skills. The only hope now is to run away. Yu Shu and Little John make it out but the girls are trapped.

It's obvious Lau Kar Leung did a lot of the choreography and some damned good fighting as well especially his fight with the scorpion. Lau being in his fifties didn't look like he had lost a thing since the hey day of the Shaw Brothers. A truly amazing man. But of course Yu Shu needs to try out his skills against the villain and it takes everything he has been taught plus a form of his own creation, the Eel style.

Chin Kar Lok is at a decided disadvantage. No matter how much he could train or do quality acrobatics there is no getting away from the kicking Master. It's difficult to watch anyone else unless he is tearing their head off at the time. And with Lau in the film it leaves the "hero" in third place. Chin is underrated and does have martial arts skills worthy of being on film. But the star is Kim Won Jin, no one will argue with that!

There is humour added naturally but it does help lighten up the story considering it is built around selling girls/women into slavery and prostitution. But as I said earlier don't worry too much about the plot. It's there to add some comedic filler into what could have been a very dark and depressing film.

Back to the Master of kicking - he needs to make more films! I can't say enough about how astounding he really is, just wish there was more of him. I have seen every kicker anyone could name and none of them are better than Kim Won Jin. I'm familiar with wire work and using tubing. I don't think he is on any wire as the Scorpion. And there are other instances where it certainly looks like pure talent.

My only real complaint is that some scenes were shot in a hand held and the fights too close up in places. The finale fight is too dark, visually. It is supposed to be night but it makes some action difficult to see. But after you watch it a few times, and then a few times more with friends you will get the full effect.

Buy it, it's a keeper. Maybe buy two in case it wears out. : )

Having grown up thinking that John Hughes films were the best possible outcome for high school, and seeing the current high school experience captured as a Disney musical or stupid, forgettable, comedies, "Crows Zero" gives a new perspective on the "coolest possible" high school experience.

"Crows Zero" is about the new guy in town trying to get to the top of his high school class. But instead of getting good grades or being the quarterback with the cheerleader girlfriend, it's all about who can mobilize the best student army and pound the snot out of everyone else. But, being a Takashi Miike film ("Sukiyaki Western Django", "Ichi", "Izo", "DOA"), it's gonna' be more than a fistfight.

"Crows" is based on a multi-million selling manga. It basically takes all the conflicts and angst that you find in high school and externalizes them. Instead of stupid pranks or getting stuffed in a garbage can or trying to make the best grades or trying to get a varsity letter, it all comes down to how well you can brawl. The "School of Crows" is known for being the toughest school in Japan, and if you can survive--better yet, rise to the top--you can be whatever you want.

It's a cool premise. One that could quickly degenerate into an adolescent orgy of senseless violence or could just come off very cheesy. But Miike brings depth to the characters. Despite everyone dressing in black, they all have their own distinctive styles (and it looks cool as hell). And everyone broods really well. I mean, it's an old-school James Dean, Brando kind of brood. Nowadays our emo generation in the US tries to brood, but it's just pouting and whining. In Miike's hands it's stylistic and effective and makes you want to adopt a perma-scowl next time you leave the house.

Although the main character's run at the top is the primary story, there are a few side-stories involving peripheral characters that keep the movie from being two-dimensional and shallow. You get a sense of the kind of world where this story could take place, and the types of people that inhabit it (hint: it's a pretty cool world).

Character, story, depth, and the action is great. No showy choreography here, everything is a straight-up brawl. Think "Fight Club" turned up to 11, fueled by out-of-control teenage testosterone. Every time a fist connects with a face, you feel it. The sound and camerawork make every punch and kick feel epic. Every hit counts. And everything is captured in the very-stylistic Miike way.

So who's gonna like this movie? The anime and manga crowd should dig it. It definitely keeps its feel as a manga-made-real. Those who were into "Battle Royale" and the contemporary, Japanese, teenage, ultraviolence. I don't think this film is mature enough to appeal to the drama audience, despite having some fantastic characters and story elements. Die-hard martial arts fans should probably pass. If you like that cool Asian style with some hardcore brawling action, all done by a top-notch production team and cast, equalling a movie that oozes nonchalant cool without forgetting to be fun, you'll be a "Crows" fan, guaranteed.

While I admit that the "Lucky Stars" brand of comedy, infantile as it may be, does have its moments, I think a little of it goes a long way. And those movies would be kind of a chore to sit through had it not been for the excellent action scenes. That is not the case with this one. I love the comedy here and find it more or less hilarious from start to finish. Sammo injects so much ingenuity, warmth, and great gags here that even without the action, the movie would still work as a straight comedy.

Sammo and the guys have great chemistry and timing. It is genuinely funny watching this gang of dimwitted misfits goofing around and getting into trouble. They are the perfect ensemble of talents, all with a specific role to play, and bringing their own personal touch to the proceedings. It also helps that they are backed by a truly impressive cast here. It is a veritable "who's who" of HK cinema, circa 1983. It is actually hard to think of anyone who wasn't in this movie.

Admittedly, it has less action and fights than the "Lucky Stars" flicks. But what there is is great and dispersed appropriately throughout the movie. Stuff like the roller-skate chase, the thirty car pile-up, and the warehouse fight just never gets old, which I think you can actually say for the movie as a whole. The comedy, as well as the action, holds up well to this day. A classic of the genre, and just a fun ride all together.

If the producers could have found a better actor, I believe the film would have been better. Not by much, because fans were expecting Jet and Jackie to be the main focus and not supporting characters on a mission of destiny for Michael Angarino. On the plus side, I thought the cinematography, costumes, and supporting cast in the fantasy world were good. The real world scenes left a lot to be desired due again to Angarino's personality. The plot was ambitous, about a teen transported to a land of immortals and tasked with freeing the imprisoned Monkey King. He is helped by a misfit group of companions in his quest and learns about not only kung fu but also friendship, loyalty, and life.

The Hollywood influence is clearly felt on this film. It was not what I expected, but it did keep my interest. As others have pointed out, if I saw this back in my sense-of-wonder days as a child, I would have loved it. Upon seeing it as a jaded adult, I expected more, but I did manage to enjoy what was there.

Free from the constraints of Lo Wei's half-assed approach to filmmaking, and with his own Concord Productions set up under the Golden Harvest banner, Bruce was now in control, and decided to go big. Setting the story in Rome gave the movie its own distinct feel, a fresh look for its time, and a chance for Bruce to play another fish out of water, country bumpkin character, much like we saw in "The Big Boss". And to me, he was way more appealing as the reluctant hero than the hell-bent killing machine from "Fist Of Fury". This "stranger in a strange land" angle added a lot of well placed levity, and is one of the aspects of the film that works the best, in my opinion.

The characters are a fun assortment. Especially the badguys. They are a pretty non-threatening bunch, and you don't for one minute believe that they are any sort of match for Bruce. Which they aren't. He does his thing, and everyone drops like a sack of potatoes. This is nothing new. But at least there is a semi-comedic twist to it here, which makes it more fun to watch.

Finally, towards the end, the villains call in the big guns, in the form of Bob Wall, Whang In-Sik, and one disturbingly hairy Chuck Norris. I never thought much of Bob Wall, and this doesn't do much to change that. Whang In-Sik, however, was a human tornado. Look at him in "Hapkido" or "When Teakwondo Strikes" for proof of that. Yet here, he looks just as inept as the rest of the hapless buffoons. There was no room for others to shine in the Bruce Lee show.

The closest we probably come to Bruce fighting a worthy opponent ,in any of his movies, is the end fight here. You actually get a sense that at one point, Chuck poses an actual threat to Bruce--but only for a minute or two. After Bruce switches styles, it is clear that he has the upper hand (as the overt symbolism with the cat and the rock also suggests). But this is still a great fight for a number of reasons. The epic setting, a showdown at the coliseum (well, an interior set at Golden Harvest, but still...). Two modern day gladiators square off in the ancient arena of battle (well, at least in a hallway next to it). An Asian vs. a westerner, kung fu vs. karate, speed vs. power, Bruce in black, Chuck in white. A great setup. Also the pacing of the fight is good, great build up and nice pay off. The music is great, the editing is tight, and the choreography was fresh and fluent for its time. A classic showdown to a classic movie.

Why did I wait? This turned out to be one of the best martial arts movies I've ever seen. Yeah, sure, it's not realistic that this little chick could kick all this ass; but let's call a spade a spade: we don't watch martial arts movies for realism. Uma Thurman got to do it in "Kill Bill", and Jeeja Yanin deserves the same kind of props for the incredibly acrobatic, intricate, and downright dangerous screen fighting she unleashed in "Chocolate".

I know that giving a film 5 stars is a loud statement, and I'm not trying to state that this film is perfect. It's not. Definitely not. But despite its imperfections, the action was just so fun, the choreography so exciting and often unexpected, that I'm willing to err on the side of generosity for this little film that could.

I, for one, can't wait to see more of Jeeja Yanin. If this is just her starting point, I can't imagine what else she could achieve onscreen in the coming years.

As good as "Mad Monkey Kung Fu" was, traces of cheap, slapsticky humour was creeping its way into pop's flicks. And this movie is another example of that. It is, admittedly, not as inane as most other kung fu comedies of this era. But I really didn't need the whole middle part of the movie, turning in to some kind of misguided musical. I find the long stretches of comedy sort of a chore to sit through, and the image of Gordon Liu with a moustache and a blond girlie wig still haunts me to this day.

Luckily, the action is tight as ever. And the movie always wins me back with the protracted and jaw-dropping final fight fest, packing some of the fastest, fiercest choreo of any Lau Kar Leung flick. The Pops vs. Wang Lung Wei fight alone is enough to warrant repeat viewings and definitely belongs in the end fight hall of fame. If the rest of the movie had been up to the standards of the last half hour, this would have been an all time classic instead of a mediocre comedy with great action.