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.

The bad news: this movie is a big incoherent mess in every other way. The narrative is all over the place. The episodic nature of the story is vexing at best. And the comedy goes from sort of fun, to bad, to awful. But the worst offense has to be the rampant anachronisms. Seriously, I haven't seen it this bad since "Fantasy Mission Force".

Sammo is no dope, so this was obviously a conscious choice. Why? I have no idea, and no idea what to make of it this, really. First off all, WHERE is this supposed to take place? It was shot in Canada, Thailand, and HK but looks like some weird version of the old west.

Secondly, WHEN is this supposed to take place? There are people in cowboy gear, trenchcoats, and fedoras, classic Chinese garb, samurais, Russian soldiers...what the fuck!? Is this set in some kind of timewarp? Cynthia Rothrock and Richard Norton looks like American Civil War soldiers, Richard Ng looks like Sherlock Holmes, and people are driving 1930's cars and motorcycles! What in the name of Buddha's ballsack is going on here? Pick a style, a time, a place, and stick with it. This is ridiculous!

The cast is so impressive, and the action is so damn sweet, but everything else is on acid here. This was a real opportunity to make a great period spectacle, like "Project A" or "Pedicab Driver". But unless this is a time travel movie, you should stick to one period, and work your magic within that frame.

I don't know what Sammo was thinking with this misguided effort. I don't get it, nor do I like it. I'll give this pile of wasted potential a generous 2.5 stars for the cast and the action.

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.

This movie is about as standard as it gets. It looks, feels, smells, and tastes like any other late 70's, low budget old schooler, with all the usual components present. Awful slapstick, fake beards, bad wigs, painted freckles, an old master, an evil villain, and so on.

Personally I don't think that the Jackie Chan-esque mischievous student character fits Bruce Leung very well. He's better as the cool and cocky ass-kicker we know and love from his earlier films. But luckily he never disappoints in the action department, which is also one of the only things keeping this flick afloat.

The fights are tight and the training scenes are fun, but there is really nothing new here. Bruce Leung's display of crane style is really good though. Lots of fast and furious handwork, mixed with his usual flashy kicks, here used against Bolo and Ko Fei as the villains of the piece. And they are both fine as always.

As a whole, this movie probably won't rock your world. But if you are a fan of Bruce Leung or indeed the crane style, then this film is a safe but ultimately uninspired bet.

When reviewing "Game Of Death", you are really reviewing two movies: the 1972 Bruce Lee pagoda footage, and the awful, incoherent 1978 mess directed by Robert Clouse. Let's begin with the latter, shall we?

Well, it's bad, simple as that. It's bad, it's boring, it's freaking brutal. The scenes with the American actors are just a chore to sit through. And I truly believe that Gig Young committed suicide 'cause he couldn't live with the shame of having been in this movie. The rest of the cast should have taken a cue from him.

The "Billy Lo" scenes with Kim Tai Jung and the other Bruce clones are no better. I mean, the ham-handed way they try to make all the crumbling pieces of this utter disaster fit together is downright embarrassing. The awful disguises, the intercut footage of Bruce's other films, the cardboard cutout head...oh my word! What were these people thinking?

The only things that make this part of the movie remotely watchable are Sammo's choreo, Yuen Biao's nimble doubling, and John Barry's excellent "Bondian" score, that for all its effort deserved to be in a better movie. But even those things combined are not enough to save this stinking pile. I might not be the world's biggest Bruce Lee fan, but this is unworthy of any man's legacy. And I don't see homage here. I see shameless and disrespectful cash-in. This isn't Bruce Lee, this is Bruceplotation--of the worst kind.

Now, for the actual Bruce Lee part of the movie. Is this Bruce at the top of his game? Pretty close, I say. This is more what I wanted to see from him, had he lived on and continued to do movies. Here you really get to see Bruce applying the principles of Jeet Kune Do to his choreo. No fixed forms, adapting to your opponent's style, using their own strengths against them...all that good stuff. You saw some of that in the Coliseum showdown in "Way Of The Dragon". But it is more fully realized here. I mean, it's still just Bruce kicking ass with great superiority, but more complex and energetic.

To the filmmakers' credit, it is edited very well. All the rest of the so-called "long lost footage" is just lag and drag. They used just the best of the Bruce footage in the original release.

To be quite honest, I would rather have seen Bruce turn down "Enter The Dragon" to finish a fully realized "Game Of Death". But that was not to be. So what we are left with is this uneven mess of a movie. Do yourself a favor and watch "Game Of Death 2" instead.

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.

This is a movie that only could have come out of HK. And only from the warped mind of Wong Jing. This thing is all over the place and tries so many things that, just by way of sheer statistics, it is bound to get at least some of them right. But as a whole, it is still a pretty surreal experience.

The whole thing with the kid and his alien friend, in the form of a fossilized piece of goo with magic powers, is just too ridiculous for words. This is Wong Jing at his unrestrained best--or worst, depending on your tolerance for his special brand of weirdness. The movie is poorly constructed, poorly paced, and never stops to check if it's actually making any sense. Why the film is partly set in Greece, of all places, is another headscratcher. And some of the characters are just too annoying for their own good, and yours. But despite all these flaws, it still somehow manages to end up as a strangely satisfying and thoroughly entertaining piece of cheesy 80's trash.

The main reason for that is the awesome action. Tony Leung Siu Hung's fight choreo is extremely tight. And you can't help but think that action this good deserved to be in a better movie. An excellent mix of the usual hyped up kickboxing stuff and classic kung fu styles. Andy Lau never looked better in action than he does here. And when Cynthia Rothrock and Richard Norton start throwing down, it's happy hour for fight fans everywhere.

If you can take the good with the bad, then you should definitely check this movie out. Because, good taste aside, this kind of cinematic HK craziness is now a thing of the past.

"Big Boss". Okay, first of all, why oh why would you choose to shoot a martial arts movie in Thailand, and not pay homage to, or at least include the native style of, Muay Thai in any way? The Thai badguys just flail their arms about and fall down when Bruce hits them. Chang Cheh shot the Shaw flick "Duel Of Fists" in Thailand that same year, using Muay Thai to great effect, and as part of the storyline. He also made great use of the beautiful Thai locations. This movie could really have been shot anywhere. It wouldn't affect the story one bit.

Bruce has charisma and screen presence up the ying yang. There is no getting around that. He is also a great martial artist. Is he a great screen fighter? Sure. But sadly he is the only one who gets to show his stuff here. It's a one man show. And this self serving approach to fight choreography is my main problem with him and his films. On the other hand, without Bruce, this would just have been another mediocre basher flick, which is evident from the fight scenes done by Hang Ying Chieh. And when you finally see the two men square off in the final showdown, you see an obvious clash of choreo styles, with Bruce, no doubt, coming off the best.

The movie as a whole is a pretty uneven affair. There are numerous instances of flawed logic, poor continuity, choppy editing, sloppy camerawork, and some of the most naive characters you'll ever come across. But these things are nothing that most movies of the genre weren't guilty of at this time. It's just that this movie is held in much higher regard than its contemporaries. And aside from Bruce Lee himself, there isn't really much here that warrants that kind of overhyped adulation. To be honest, I'd take "One Armed Boxer" or "Lady Whirlwind" over this one any day. But hey, that's just me.

1972 was a big year for Japan-bashing in HK action flicks, with the "evil Japanese" being vilified to the utmost in movies like "Hapkido", "King Boxer", "Thunderbolt Fist", "The Angry Guest", "Bloody Fists", etc. "Fist Of Fury" was no exception. And I always wondered why a man of the world, like Bruce, would go along with this one-sided portrayal of the Japanese and foreigners as the end all, be all scum of the earth. This certainly didn't reflect his views in real life. But I guess he was just giving the Chinese audiences what they wanted.

While the story, the characters, and the movie as a whole are one-sided, so is the action. Bruce is once again the invincible hero, punching and kicking his way through hordes of hapless henchmen and assorted adversaries, with what seems like little to no effort at all. Don't get me wrong, he looks cool doing it. But when your protagonist is a superhero, it eliminates the element of danger. He just bulldozes through his opponents like a Tasmanian devil. And you never feel that any of these guys have any kind of shot at all.

I guess I wouldn't mind as much if his character was conflicted in some way. Some inner turmoil, to go along with his rampage of violence. But outside of some fairly misguided attempts at comedy, involving Bruce in various disguises, and some tacked on scenes of emotion, there is really no vulnerability to this one dimensional character.

Bruce was far from the only one guilty of that at this time. But look at a character like Lo Lieh's from the aforementioned "King Boxer". He is beaten down and crippled, both physically and emotionally throughout that movie. The villains are truly formidable foes, and you actually fear for his life as he goes into battle. Or Chen Kuan Tai's character from "Boxer From Shantung", also from '72. A righteous but flawed man, seduced by money and power to the point of no return. These are characters exhibiting strength, martial arts skills, AND vulnerability. You care for them, which I think is the most important thing about protagonists. If you don't care, then what's the point?

There is none of that subtlety or texture here. And as much as I enjoy seeing Bruce plow through the endless stream of badguys with extreme prejudice, I frankly don't care about his character at all, or what happens to him in the final reel.

I am not saying that "Fist Of Fury" is a bad movie, not at all. It has a lot of iconic shots, classic scenes, beautiful sets, nice production values, and so on. But it is nonetheless pretty flawed, in my opinion, and doesn't deserve quite as much praise as it has garnered over the years. To each his own, I guess.

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.

With "Miracles" Jackie had firmly put his detractors to shame, and shown that he was a fully fledged filmmaker, and not just a glorified stuntman churning out mindless action comedies on Golden Harvest's nickel. So with that in place, it was back to business as usual, this time revisiting his Asian Hawk character from "Armour Of God", and in my mind, improving the formula and fixing more or less all the problems from the first film.

First of all, just the sheer scale of the production, for an HK movie of this time, is quite something. Shot on several continents, sporting multiple big action sequences and some really impressive sets, it's easy to see where the big budget went.

With that said, the movie is not without its shortcomings. While I realize that this is essentially a comedy, I still find the bad guys a little too cartoonish, if not buffoonish, for their own good. The two Arabs chasing Jackie and the girls around are, in the words of Jim Kelly, straight out of a comic book. And the fact that the Nazi villain's name is Adolf doesn't make it any less ridiculous. I also found Jackie's three female companions something of a chore to watch. And some of the comedic scenes involving these three ditzy dames run on for a bit too long. In the end though, these are minor flaws, and not to the detriment of the movie in any great way.

Jackie puts so much energy and ingenuity into every scene that you can't help wonder how he could keep coming up with this stuff in film after film. And aside from a few of the comedic scenes that sort of overstay their welcome, it is pretty much wall to wall action. The big finish in the Nazi bunker alone has more action, excitement, and clever gags than most movies of this genre have in their entire running time.

When the dust settled, this movie was over budget and over schedule. And as a result, Golden Harvest sort of revoked the carte blanche that Jackie had been riding all through the 80's. It also more or less ended his career as a director. But I think the final result is almost worth that. This is a thoroughly fun and enjoyable thrill ride of action, comedy, and great adventure that shouldn't be missed by anyone.

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.

Following his breakthrough as Stallone's Russian opponent in "Rocky IV", Lundgren starred in a string of mediocre and pretty forgettable action films, like "Masters of the Universe", "Red Scorpion", and "The Punisher". So this was definitely a step up for him. Lee only had bit parts in TV shows and a starring role in the decent action flick, "Legacy of Rage", back on his iconic father's hometurf of Hong Kong. But this was his big break in Hollywood.

The pairing of these two guys works fairly well. They have good chemistry and are pretty funny and likeable, despite the awful dialogue. Hearing Lee praise the size of Lundgren's "manhood" is, alone, worth watching the movie for. They were both competent martial artists in their own right, but the sluggish and heavy-handed American-style fight choreography didn't really give them a chance to shine here.

Also, casting the son of the most famous Chinese screen hero of all time as a Japanese character seems a bit off. And I doubt that the execs at Warner Bros. even knew the difference. Veteran bad guy actor Cary Hiroyuki Tagawa turns in another villainous, by-the-numbers performance as the ruthless Yakuza leader. And early 90's hottie Tia Carrere serves as the damsel in distress, and Asian eye candy, but has little else to do outside of that. And for those wondering, it is sadly a body double in the nude scenes, sorry.

The movie is full of stereotypes and clichés, to the point where you can pretty much predict the outcome of every single scene. It goes from A to B, with little to no surprises along the way. And the whole thing is almost cartoonish in its simplicity. Also, some of the action scenes and setups are just so ridicilous that you laugh out loud. But that's okay. As long as you know what you're getting into.

Just pop the corn, lean back, switch off the brain, and enjoy Brandon Lee cracking wise while kicking ass, and Dolph Lundgren running around the streets in kamikaze headband and full on samurai leisure wear, while blasting his M16--yes, he actually does that. This is just a fun, goofy action flick with a simple story, bad one-liners, and good old fashioned senseless violence. And it doesn't need to be more than that. Enjoy.

The fights are in the early 70's brawler style. And while not as aesthetically pleasing as the more intricate choreography that would evolve over time. It's still fun to watch. What's also fun to watch, is Jimmy Wang Yu (barely) trying to hide his supposed severed arm under his shirt, or running on one finger. A villain with big vampire like fangs, A lama that can inflate his upper body to withstand impact, A Taekwondo expert who only throws punches and eats glass. Or any of the dozen other completely ridicilous things featured in this crazy, over the top piece of entertainment. And like it's exellent sequel MASTER OF THE FLYING GUILLOTINE, it is just that. Pure entertainment... with a side of cheese. Colorful line up of badguys, good production value, fun fights and priceless dubbed dialogue. I have watched this movie regularly over the last twenty years. And I have yet to tire of it.

The fighting is in the usual early 70's style. But it's for the most part done with such brutal intensity that you really feel the impact.

All the characters are memorable and more multilayered than you would normally expect from a film of this type and time.

And the images of Lo Lieh's glowing fists, the cut off head rolling down the dusty path, or the gouged eyeballs laying on the wooden floor, or many other cool-as-hell moments of this film will stay with you and ensure repeat viewings.

All of this old school splendor is set to one of the greatest and most recognizable scores of any kung fu movie. A nice mix of borrowed loops and original music that sets the tone just right. Simply a must have.

I somewhat enjoy all the magic stuff, hidden weapons, and ninjaesque trickery on display. But it just becomes too much. I mean, all the cloak and dagger, smoke and mirrors, secret identity, voodoo dolls stuff just becomes tiresome to me after a while. Some of it is of course needed in a movie about the boxer cults. But a little less David Copperfield and a little more straight up fu would have gone a long way.

Then there are the scenes with Fu Sheng. I am admittedly not his biggest fan, but have enjoyed his efforts in several films. I don't here. Every scene with him seems completely pointless and tacked on and is a real pain to get through. I could really have done without his character here. Also, the whole girl "disguised" as a guy gag, that is so prevalent, yet never believable, in so many kung fu flicks, is another annoyance of mine. Kara Hui as a man! What are these people, blind?

All the fights and weapons displays from the Lau brothers are of course a joy to watch, all culminating in a final showdown that can only be described as classic weapons galore. I realize that this is high level stuff, and the Laus' understanding of these weapons and proficiency with them is astounding. But I'm just not that into weapons fighting. So even though I appreciate the high skill level and fast, fluid choreo work, I'm just a little bored after a while.

I just have to face it. I have given this movie every chance in the book but always come to the same conclusion: this may be a great movie, it's just not for me.

If BLOODSPORT established Van Damme as a bankable action star, then this one solidified him as "the great white hope" of the martial arts action genre. The story is as simple as first grade math and could have been written by a blind monkey with no arms. Well, let's just say it's not Shakespeare, nor does it try to be. But all you really need in a movie like this is cool training scenes, cornball dialogue, and kick-ass fights. KICKBOXER delivers all three.

The Muscles From Brussels gives another hammy but adequate performance, and the scene with him showing his dancing skills is, alone, worth watching the movie for. The supporting cast does a decent job as well, especially Dennis Chan as the weird but wise Muay Thai master, and Michel Qissi as the evil Tiger Tong Po.

The fights are decent but feel more like a showcase for Van the man to flaunt his flexibility than for actual hardcore throwdowns. Although, the finalé is pretty sweet. Any movie where two guys have to kick each other's ass with their hands bound in hemp rope, dipped in resin, and covered in broken glass is okay in my book.

There are a lot of good ideas and cool little touches in here, raising the movie above mediocrity. The whole "warrior spirit" theme is a nice touch, and done in true 80's fashion, with overt symbolism in the form of a soaring falcon. Yep, it is that kind of movie. Just leave your brain on pause and enjoy the cool scenery and Van Dammage on display.

It sports an impressive cast, where old meets new, in the form of dynamic duo Ti Lung and David Chiang teaming up with Fu Sheng, Chi Kuan Chun, and the always lackluster Meng Fei--all playing Shaolin secular pupils on the run from the evil Chings. On the bad guys' side you have an equally impressive line up. It is a veritable Villains'R'Us with Fung Hak On, Kong Do, Choi Wang, the always conniving Wang Lung Wei, and Beardy, back in his bad guy days. Based on the cast alone, you know that this will at least be decent, and it is.

The choreo is courtesy of the Lau brothers. Moving from basher style to stylized shapes in what can almost be seen as an onscreen transition. This is one of those benchmark movies in terms of choreo evolvement, and it is fun to watch the evolution happen right before your eyes.

If viewed with critical glasses, the movie is little more than a bunch of guys running around the countryside beating each other up. But the somber mood, melancholic score, and the dusty and desolate planes of Taiwan give the whole thing a special and almost Spaghetti Western vibe that goes a long way.

This and "Shaolin Martial Arts" are probably my favorites of the Taiwan-based Chang's Film Co. movies of Chang Cheh. Recommended.

There were already traces of it in earlier flicks like "Dance Of The Drunk Mantis", and again with this one. The comedy here is nothing that a lot of other kung fu comedies of the day weren't guilty of. But it is still a chore to sit through. Furthermore, it doesn't really fit with the more serious tone of the story. I mean, the ridiculous barber shop scene juxtaposed with the eerie and disturbing scene in the basement is an example. Also, weird stuff like San Kuai's ghostly hunchback character seems like he wandered in from a "Mr. Vampire" movie or something. I had the same problem with the sickly guy in the coffin in "Dance Of The Drunk Mantis". It just feels out of place, and unnecessary.

I never bought Yuen Shun Yee as a leading man. But he is one hell of a screen fighter, as is Tsui Siu Ming. And the choreo is of the usual high Yuen Clan standard. Too bad that all this awesome action has to be dispersed between all the lame gags and general weirdness that plagues the rest of the film. The end fight is so super tight, that it deserved to be in a better movie.

Yuen Wo Ping had started out his protégé, Donnie Yen, in a couple of rather forgettable films but upped his profile here, alongside Canto crooner Jacky Cheung, Simon Yam, Dodo Cheng, and others, all cranking up the hammy acting between shootouts and asswhoopings.

The story is as simple as they come, but with action of this caliber, I don't really care. And I have to admit, I'm a sucker for 80's HK melodrama style. So personally, I'm rarely bored when watching these type of movies, even when there is no action on screen. Although I could have done without the ill fitting yet sparse comedy bits here. But hey, that's HK cinema for ya'.

The action is a nice brutal blend of bloody gunplay and fierce fight action, done by the Yuen Clan, whose transition from old school to modern day action can only be described as smooth and satisfying. Not all of the old masters of the craft got through the inevitable style change with such ease.

This movie is no masterpiece, but classic HK action. With despicable villains, gwailo henchmen, righteous and not so righteous cops, hardcore action, and over the top acting, just like it should be. A nice companion piece to this one would be the Lau Bros. excellent "Dragon Family", proving that they too were hip to the new style as much as the Yuens.

The movie is comprised of:

• 1 part deleted footage fro Enter the dragon
• 1 part intercuts from other Bruce movies
• 1 part lacklustre acting from Tong Lung
• 1 part Yuen Biao doubling for everyone
• 1 part awesome fight scenes, and
• 1 part pure cheese......!

The standout performance here comes courtesy of the great Hwang Jang Lee. He really gets to show his full range in this one. And the end fight is, in my humble opinion, one of his best.

Storywise, the movie is as stupid and unstructured as it gets. But the fight scenes make up for that.

This movie is a guilty pleasure for many fans of the genre. I myself have no guilt when watching it. If you only watch one Bruceploitation flick in your lifetime, make sure it's this one.

This was an independent feature, thus suffering slightly from lower production values. But once again Jimmy Wang Yu fills the screen with interesting set-ups, innovative fight scenarios, and cool and colorful characters--the most important one being the titular master of the flying guillotine--blind, hellbent on revenge and played to great effect by Kam Kong. This guy is one of the most memorable villains in Kung Fu movie history.

The fights are plenty, varied and choreographed by the Lau Brothers. The martial arts tournament concept didn't start with this movie, but it was re-defined here, and hasn't changed much since.

Jimmy wang Yu was never a great screenfighter, but somehow I never really felt that it affected the entertainment value of his (earlier) movies. And I defy you to be bored for a second, watching this cheesy old school classic.

Danny also wrote and directed this one himself, which he has done quite a few times in his career. But I don't think he ever matched this movie in any of his subsequent efforts.

This is a well written and poignant street level view of the volatile relationship between cops, criminals, and the general public. There are no real good guys or bad guys here, just people living with the choices they've made in life. And for a Danny Lee flick, that is really refreshing.

The two most prominent characters are Danny Lee, as the seasoned street cop who knows the game and is not above bending the law, but who soon discovers the weight of the responsibility that comes with carrying a badge and a gun. The other is Parkman Wong, as the low level triad who lives from day to day, hustling and street fighting, but wants to be a big shot, without really knowing what that entails before it's too late.

Both actors deliver some excellent performances, infusing a lot of humanity into these time-tested stereotypes. And while the acting itself is fairly broad, as it often was in this era, they both manage to move us with their portrayals. There is a wide array of good side characters as well, such as Tai Po, in a memorable stint as the beaten down neighborhood junkie, plus a great ensemble of people portraying the local residents, who seem to hate the cops more than the criminals.

There is not much action as such. But what there is, is well done and has impact. It is part of the drama, instead of being action for action's sake.

In my mind, Danny Lee crafted a nice little slice of 80's HK street life with this movie. That shouldn't be missed by any fan of the genre.

In the grand tradition of weird and wonderful kung fu movie villains, of all shapes and sizes, this old broad takes the cake. You can punch her, kick her, beat her with a stick, or run her over with your cab--repeatedly. She won't go down. She is the saving grace here. And honestly one of the most fun and far out villains of the early 70's.

Her three students, played by the awesome Yasuaki Kurata, Taiwanese badguy actor Lung Fei, and Shaw Bros. veteran Shan Mao, get in on the action as well. The choreo is the typical basher style, with Jimmy swinging his arms around 'til he hits someone, and people just generally flailing about and falling over a lot.

It is a pretty straight up revenge story, involving the three Japanese students seeking vengeance for their dead parents. But quite why these three guys would go through decades of grueling karate training to kill one elderly man, whom they feel is responsible, and then just lead him through a sawmill, tripping him and trying to make his death look accidental, is beyond me. Doesn't really make a whole lot of sense.

There is also some subplot about Jimmy being a troublemaker, and a blind sister needing an eye operation. But who cares? The main reason, or dare I say the only reason, to watch this flick is Karate Grandma, or Lady With Ironfists, as she is billed here. Her performance alone earns my recommendation.

To get any kind of enjoyment out of this maniacal mess of a movie, I would put forth that you either have to be a huge fan of Jackie, the original manga, or Wong Jing's style of infantile comedy. Now, I'm not familiar with the source material. But I love Jackie, and have been known to enjoy a Wong Jing movie or two. I do, however, have a really hard time getting into the wackiness on display here. The comedy is just too Looney Tunes for my taste. All the manga references are lost on me, and even the fights and the action are played for laughs, and not up to Jackie's usual standard, if you ask me.

So who can you blame for this misguided effort? Jackie or Wong Jing? Well, even though this is very much a Wong Jing movie, I think it's safe to assume that Jackie was somewhat on board with the weird and wacky style. It's not like him to bite his tongue if he's unsatisfied. Hell, he more or less booted none other than Lau Kar Leung off "Drunken Master 2", when he didn't like the way things were going. So I place the blame for this bastard child of a movie squarely on both Jackie and Wong, in equal measure.

It is not totally without merit though. The scene where Jackie fights the two towering black dudes, and takes them down by mimicking Bruce Lee's techniques against Kareem Abdul Jabbar from "Game Of Death", playing on a screen next to them, is kind of funny. As is the "Street Fighter" game parody, and a couple of other gags. Plus, there is the high babe factor to consider. But it is just not enough to save what is, in my mind, a pretty dire work of unrestrained silliness.

Jackie was not overly pleased with the finished result himself. And I think it's safe to say that there was no love lost between him and Wong Jing after this. Solid proof of that would be Wong Jing's 1995 Jet Li movie "High Risk", where Jackie, his manager, and father were lampooned in a rather unflattering manner.

In any event, "City Hunter" is probably one of Jackie's least appealing films of the 90's. And given his rather lackluster output in the latter half of that decade, that is saying a lot.

If you thought that you were running low on patience when watching "The Big Boss", when Bruce just kept taking it and clutching his little promise medallion, then give this one a whirl! And I'll guarantee that you will rip your hair out and scream at the screen, "FOR THE LOVE OF BUDDHA, STRAP ON A PAIR AND KICK SOME FUCKING AAAASSSSS!!!"

This guy makes Jesus look like he needs anger management. The bad guys beat, stab, rape and kill everyone that this guy cares about. They kick his ass repeatedly and stiff him out of his pay. And he just stands there and takes it, like a slab of meat with a stupid pudding bowl haircut. Aaaargh, it's so friggin' frustrating!

In the end, he finally grows some stones and wigs out on the villains. But by then, it is just too little, too late.

It also doesn't help that the actor, Chen Wo Fu, is dull as can be, and looks slightly retarded. Just a big lumbering lurch with a vacant stare, the grace of an epileptic at a laser show, and the charisma of wet cardboard. He apparently killed himself before the movie was released... yeah, no shit! He was probably embarrassed, or saw an early screening, and just couldn't take it anymore, much like I couldn't. It was like watching that one kid at the playground, who just kept getting picked on and picked on, without ever standing up for himself. Man, this was beyond aggravating.

The whole laid back Tai Chi-self restraint philosophy wasn't lost on me, but this was ridiculous. I don't wanna' see the hero (and I use the term loosely here) turn the other cheek, much less take it in the tailpipe, in my kung fu movies. If you do, then by all means, go ahead and watch this. I dare you to sit through it without grabbing your gat and shooting the TV, Elvis style, out of sheer anger and annoyance. Enjoy.

It is another one, shot entirely on the magnificent Shaw Bros. interior sets, which can sometimes seem sort of claustrophobic. But here (as was the case with "Five Venoms") it works to the film's advantage. The people are trapped in the confines of the city. And when the heroes have to navigate through the streets at night, dodging brutal militia groups with cool sounding names, your mind (or at least mine) sort of drifts to the awesome Walter Hill classic, "The Warriors", which had a similar setup--although in 70's gangland New York.

The guys fall into their usual characters here. Kwok Choi is the lovable rogue. Chiang Sheng is the wiley, playful one. Lo Meng the slightly naive strongman, and so on. As always, their chemistry is undeniable. And while there is not much comedy as such, the guys are fun to watch, fighting, talking or just goofing around.

The choreo is tight as ever, with a nice mix of fisticuffs and truly brilliant weapons work, done true to form by Choi, Sheng, and Feng, the three opera school boys of the group. The end fight is quite a spectacle. There is so much stuff to marvel at here: a multitude of cool weaponry, handled with the utmost expertise, all shot on the beautiful Shaw sets, giving it that classic stage play vibe that I consider a big part of the overall vibe of these films.

This may not be one of the most well known Venom efforts but is definitely a solid yarn nonetheless and deserves to stand tall with the rest of them.

Director Kirk Wong, known for such classics as "The Club", "Organized Crime And Triad Bureau", and others, was at the helm for this rather dark and edgy crime drama based on the real life kidnapping of HK businessman Teddy Wang. And due to the serious source material, Jackie's trademark physical comedy and general sunny disposition is nowhere to be found here. And the film is all the better for it.

I like that it is played very straight, giving Jackie ample opportunity to show that he is a much better actor than his usual mugging and goofing around would have us believe. He has of course done more serious roles before and after this one, but I think that this is his finest performance in terms of dramatic acting.

It is really nice to see him as more of a thinking man, doing some actual police work instead of just stumbling into the bad guys at random. Of course Jackie can't help being Jackie, and there are traces of his usual style in some of the fight and action scenes. But not to the point where it feels out of place.

The other great performance of the film is that of Kent Cheng. He manages to find humanity, desperation, and a certain sadness in what could have been a garden variety bad guy. I really sympathize with this guy, to a point, and think that his character brings the movie up quite a few notches. Plus, the interplay between him and Jackie is really good, especially in the scenes where there is no dialogue, just looks of suspicion and contempt.

Just because this is a "serious" movie doesn't mean that it is void of action. There is plenty: all high caliber stuff that puts Jackie and his stunt team through the wringer, again and again. The intense car chase, the Taiwan raid, the underwater escape, and nothing less than the total destruction of the Kowloon walled city for the big finale.

A different but excellent effort from the Chanster. Highly recommended to those that slept on this classic.

Sammo's portrayal of real-life rice husker, Shaolin secular pupil, and Kwangtung tiger, Cheung Mai Lo (or however the hell you spell that), is sweet, funny and fearsome. He goes from bumbling runaway student to anger driven-avenger. It is really great to see Sammo so youthful and brimming with energy, and he gives a lot of humanity to a time-tested kung fu movie stereotype here. He shares the screen with the Charles Bronson of Asia, karate expert and all around badass, Chen Sing (playing the Gordon Liu signature character, monk San Te in this one). They make a great team and have a fun junior/senior chemistry going throughout the film, that works both in the comedic scenes, as well as the fights.

It is clear that Sammo was just starting to find his style here, in terms of fight choreography, as well as striking that all-important balance between action, drama, and comedy. He doesn't totally pull it off here, but close enough, and it is a noble effort and a good directorial debut from the old chubby maestro.

For a '77 movie, the fights are tight as hell, and with players like Chen Sing, Fung Hak-On (mysteriously sporting the Han people's horse ass hairstyle, despite the fact that he plays a Manchu???) and Chiu Hung, you know that an ass-kicking treat is guaranteed.

The movie is far from perfect. I hate Dean Shek's wiley creepo characters, even though they were a genre stable at this time. And disturbing rape scenes mixed with comedy is not really my bag either. But despite these minor gripes, this movie is a must-have in my book.

Mark Long's Ghostface Killer is badass, and a very memorable villain. So if the old saying of "a kung fu movie is only as good, as its villain" is true, then this movie got it right.

The chessboxing concept is a fun idea, although, i wish they would have utilized it more, to better effect.

All the fights are great, although slightly one-sided, as Ghostface Killer unleashes his five elements style on one hapless kung fu master after another. But still, it's always enjoyable to watch Mark Long busting moves.

The end fight is the real showstopper, of course. Watching Jack and Mark Long go at it never fails to please. Throw Lee Yi Min in there, and it's shapes galore.

This movie does indeed deserve some of the praise bestowed upon it, but mostly for the great fights. You can pretty much skip the rest. You've seen it all before.

All this Chinese supernatural mythology is fraught with opportunities for action and comedy. And Sammo doesn't miss a chance for crazy fights, great gags, and funny situations here--the haunted house sleepover, the copy-catting zombie, the possessed limbs, the magic duels, and so on--all hilarious, innovative, and well executed, in true Sammo fashion. And when mixed with tight choreo, decent (if sometimes hokey) effects, and a great cast, you're hard pressed to be bored for a second when taking this weird and wonderful ride into the realm kung fu-horror-comedy.

Sammo is his usual bumbling, jovial self as "courageous Cheung", who is anything but. He does however have the kung fu skills down and puts them to good use in a multitude of crazy fights. Other great characters include Peter Chan Lung as the evil Taoist master, Chung Fat as the benevolent yet slightly off the wall wizard, and the late, great Lam Ching Ying as an upright police captain.

There is plenty of action on display. But the movie doesn't rely on it. And whenever there is no action onscreen, it is every bit as entertaining, thanks to Sammo's innovative mind. I dare suggest that at this time you could have given Sammo a phonebook and he could have turned it into a kick-ass kung fu adventure. He is one of the most influential figures in HK cinema--and don't you forget it!

This movie is just tons of fun. Great comedy, tight action, good production value. And the end fight, where Sammo and his opponents, controlled by their masters, are possessed by various mythological figures and go at it with all kinds of weapons and styles, is just so ridiculously awesome that it has to be seen to be believed. Kudos to Sammo and the gang for this one.

Some of the plot points here are very similar to those of "Royal Warriors". Crime is botched, bad guys want revenge on the cops. Hell-bent Japanese cop out for vigilante style vengeance and so on. But with the inclusion of Cynthia as the new lady cop on the beat, and the lovely and lethal Michiko Nishiwaki as one of the villains, it is still very much its own movie.

Being that this was Cynthia's first time as an action lead, she is quite obviously doubled for some of the more tricky moves and hard hitting stunts. But that's to be expected and doesn't really take away from the great action scenes. Michiko is, as always, fierce and fearsome as the fanatic, Japanese terrorist; and when the two ladies clash, it's magic time.

Another notable performance is that of Hiroshi Fujioka as the Japanese cop looking for payback. He's no Hiroyuki Sanada in the screen fighting department, but he has about him a brutish Sonny Chiba vibe that goes a long way. And his fight with Stuart Ong is some seriously violent shit. Throw Dick Wei into the proceedings, and you're set for some hardcore ass kicking.

The movie is also elevated by the dual directing team of ace cinematographer Arthur Wong and action director and Yuen Clan brother Brandy Yuen. A nice mix of talent, if you ask me, showing that solid action, filmed well, goes a long way.

In short, if you like bloody violence, kick-ass fights, and bone crunching stunts, then you can't go wrong with this one.

This movie really blew me away as a kid, as it did with so many others. I suppose that my great love for it can partly be chalked up to nostalgic value and that I didn't know the actors beforehand, which is key to fully enjoying this great classic, since it's sort of a whodunit type flick.

Although there isn't that much fighting, what there is, is really cool and stylized to display the special skills of the poison clan.

The movie's momentum is really in the tension building of the story, and you will most likely find yourself guessing along with the characters as to who is who and why. Kung fu mystery at its best.

Both Michelle and Cynthia do a good job for first time headliners but must sadly give way for the comedy aspect throughout the movie. And the scenes involving John Shum, Meng Hoi, and Tsui Hark's characters take up a little too much screen time for my taste. But at least the awesome action makes up for it.

Director Yuen Kwai's super swift choreo really stretches the two girls' physical abilities to the utmost. And the fights and stuntwork are truly stuff that makes you go "DAAAAMN!" The end fight with the girls versus Dick Wei and Chung Fat is one of the classic showdowns of HK action cinema, one you can just watch over and over again.

This movie has everything that makes 80's HK action so damn enjoyable: cute girls, bad fashion, over the top villains, crazy stunts, and bad ass fights. If you dig "girls with guns" flicks, you can't go wrong with this good old classic.