This movie uses the classic kung fu movie theme of super warriors with elemental powers and the low budget special effects are employed adequately, but I think the scope and story of this movie really required much better funding. Immortal warriors with super powers should throw each other through concrete, not dry wall. I think the grandeur of the story hurt this movie the most.

I also realize that without the extra talent from "Contour" I only like to see two or three of the Stunt People performing. Eric Jacobus, Chelsea Steffensen and the Asian kid are really the only ones I find entertaining to watch. The rest of the stars and stunt performers were not all that skillful or at least did not look that great performing the fights or acting.

Something should definitely be said about Eric Jacobus. He is a champ waiting for his moment. He's kind of like the low budget unknown white Jackie Chan. That boy has got great skills and an impressive arsenal of techniques at his disposal.

The writing of the movie was actually pretty okay too. Overall I would say the movie was quite enjoyable and contained a bunch of well done funny moments as well as some pretty nice fight scenes. Definitely worth seeing but I would not say it is mandatory.

See, things have changed a lot since I came up, especially in movies. Between extreme amounts of CGI, wires, "star power", and blatant commercialism, films these days (especially martial arts films) have basically lost sight of the essentials. "Black Belt" brings back that absolute sense of what is essential. It replays that classic theme of colleages/brothers/students that go their opposing ways to discover their own personal paths. This theme was popular in a bunch of old school kung fu flicks and some cop/triad flicks from the 90's. The most recent case of this plot device that comes to memory is "Tai Chi Master". This device is used perfectly for this film and produces a necessary contrast to appreciate the finer philosophical aspects that occur both subtly and obviously throughout the movie. A true zen film. It's so zen it hurts. It's all about that ol' "my path is my path because it is the path set before me" crazy phunk.

The fights were amazing. It was the most pure karate that I have seen in any movie or show ever. The precision and expert proficiency of every fighter is showcased beautifully and brutally. It was the best and most authentic karate movie that I have seen. Period. When we conjure up thoughts of karate movies we probably think of Sonny Chiba or Jim Kelly. Perhaps even the "Karate Kid" movies and, let's face it, all those ninja movies that we watched in the 80's were basically karate flicks. I'm not sure Japan really got a chance to make a truly authentic and original karate movie since the 80's due to the whole Hong Kong style action craze that hit around '99. After that Japanese action and martial arts movies transformed into a complete mixed bowl of martial arts, boxing, gymanstics and various dance movements--basically a wanna-be Peking opera performer style. Technically this change over probably started in the late 70's.

Because of these trends in choreography and movies, we had not really been given a chance to see how good a true and pure karate movie could be. I needed a movie like this to come along and show me that great films are still being made and that using themes that may be somewhat old can be used in such refreshing ways that it revitalizes the genre.

"Black Belt" will probably be many things to many people. For some it is a powerful drama, for others it will be the best samurai film they have seen in a long time, and to many others it might be just another martial arts flick--but hopefully at least an exceptional one. For me it is to karate what "Ong-Bak" is to Muay Thai, what "Prodigal Son" is to Wing Chun" or what "Throw Down" is for Judo. It displayed its method in a way that we felt, understood and appreciated with masterful class and diligence. "Black Belt" is a good example of the whole reason why I watch movies in the first place. I want to be taken away to another world and shown fascinating things. I wasn't disappointed here. A great storyteller/philosopher once said that a journey has little do with where you are heading but more to do with what happens on the way. This film embodies that sentiment. A drink to good journeys!

Stuff you might think or say when you watch this movie:

1. Damn, Taikan is a bad-ass.
2. Damn, Giryu is a bad-ass.
3. That was the sickest reverse punch that I have ever seen!
4. Ooooo!
5. That was some pretty deep shit.

Well, thanks for playing, folks. Tune in to next week's show when we will bring little Billy back from the grave using only tic tacs and a copy of the Necronomicon.

I have always enjoyed Ching Siu Tung's work in front of and behind the camera. And he was one of the true innovaters in HK choreo. As an actor, he might not have had the charisma to headline on his own. But he is great as part of a duo. Meng Yuen Man was kind of an acquired taste for me. But the more I saw of his work, the more I warmed to him. Sadly he retired from the biz, after supposedly suffering a heart attack in 1981. Kid could have been a contender. If you like him in this, check him out in COWARD BASTARD, HELLS WIND STAFF and DAGGERS 8. He grows on ya'.

Anyway, the chemistry between these two rascals is great here. And most of their silly shenanigans are actually pretty funny to watch.

An important part of the plot revolves around Casanova's character going insane, when he is cheated out of his bussines. And I have to say, his crazy-guy schtick does get old after a while. Luckily for us, his mental instability causes him to frequently wig out and unleash on everyone around him. Thus we are treated to several displays of his impressive array of kicks.

Meng Yuen Man and Ching Siu Tung don't disappoint in that depatment either. They have each other's timing down, and are both accomplished acrobats and screen fighters. And with all the trouble they get into in this movie, they are given ample opportunity to display their skills--both of the comedic, slapsticky kind, as well as straight up fu fighting.

The movie certainly has its shortcomings. But on the whole, it works fairly well. And the end fight is truly one for the ages. Casanova just explodes in a fit of insanity, and his two comedic cohorts, bring the heat as well. Yen Shi Kwan is ferocious as the villain, and really lets loose on the heroic trio. This fight is a must-see, and a good reason to check out this film.