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.

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.

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.

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 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 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.

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.

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.

"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.

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.

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.

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.

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.

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.

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.

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.

It really pains me that the once mighty Philip Ko Fei, a name that to me use to meant quality, chose this path for himself. I also feel bad for poor Yukari Oshima, who he dragged through more B-movie schlock than I care to remember. And I doubt this would have happened had the two not been an item at this time. But I guess "the Osh" was just standing by her man, and I admire that.

This movie is as about as cheap as it gets. Well, maybe not, but it's pretty damn cheap. Philip, Yukari, and Sharon Kwok are the only known actors in the entire movie. The rest (including the male lead) are just Filipino no-names who look like they just stepped on the set in whatever clothes they were wearing, and whose sole motivation seems to be the paycheck at the end of the day. Forget the story, forget the characters. At this point, Philip had just stopped caring, so you don't have to either.

But at least the action delivers, right? Wrong! Yukari was one of the best female screen fighters of all time, and I love that little snaggletoothed Japanese tomboy to death. But not even she could save this clunker. There are odd moments of halfway-decent choreo. But for the most part, it is just a messy mix of awkward, acrobatic gunplay, retarded use of slo-mo, poorly edited fight scenes, and wonky wirework. What a waste.

But the silver lining here is the final showdown, which is pretty damn awesome! Actually, no, it's not, I'm lying. It's just more of the same crap, set to the theme from "The Terminator" and complete with a blatant rip-off of the car jousting battle from "Bullet In The Head". And they couldn't even get that right.

To sum up, this movie is piss poor, and a complete and utter waste of time. I wouldn't even recommend this for Yukari completists, 'cause this would be a shitstain on any movie collection; and I will in fact go and throw out my copy right now.

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.

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.

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.

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.

Outside of these, and a couple of decent training scenes, the movie is just slapstick, stupid comedy and boring story, which is really a shame.

Peter Chen is not the most charismatic leading man ever. But he is a great acrobat and a good screen fighter. However, he is just wasted here. Actually the whole movie stinks of wasted opportunity. You have all this talent onhand, and still you waste 90% of the movie on insipid comedy and pointless plot, that nobody cares about. Had the rest of the movie been up to the standards of the three aforementioned fights, then you would really have something here. But that is sadly not the case.

I don't know whether Sammo was aiming for something a little higher than just best action awards here. Or just wanted to try something different. But while I enjoy the dramatic storyline, I really wish they had kept the two omitted fight scenes in the movie that were cut from the HK version: a great car park mass rumble between Jackie, his cop buddies, and a bunch of veteran bad guys; and a super tight Jackie vs. Lau Kar Wing fight in a rehab clinic. I don't think that these scenes would have taken anything away from the serious tone of the film; but apparantly Sammo did, and thus they are missing in a lot of versions of the movie.

With that aside, it is still a fine film, with Jackie and Sammo both sharpening their acting tools in some very different roles than what they usually do. Jackie is a cop, nothing new there. But he plays it very straight and comes across as sort of selfish and embarrassed about his brother's mental disability, far removed from his usual, lovable good guy persona. Sammo gives a great performance as his retarded brother. I think this is actually one of the most touching portrayals I have seen of a mentally challenged person. And the scenes with him and the child actors are especially sweet and moving.

Sometimes the drama does spill over into sappy melodrama, but it is rare. And the chemistry between Jackie and Sammo is undeniable, and goes a long way. I find most of their scenes here quite heartfelt. And the love they have for each other offscreen shines through in these characters and definitely warms this old, jaded reviewer's heart every time.

What action there is, is of course great, especially the end fight, which is some of the most energetic, hard edged stuff the brothers did at this time. And personally I never tire of watching Jackie and Dick Wei beat the livin' piss out of each other.

This movie is not for action junkies. Bif you like the actors onhand and wanna' try something different, then give it a whirl. You may be surprised.

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.

With that said, the film is far from flawless. Thankfully, Gordon is back, reprising the role of monk San Te. Now a stern sage, trying to guide the young troublemaker Fong Sai Yuk, played by the nimble Hsiao Hou. But while Hou is more than capable in the action department, and not without charisma, his portrayal of the young Shaolin student is rather nerve grating. He is rash, brash, annoying, incredibly naive, and just not a very likeable main character. Had they dialed it down, and tweaked it a bit, this would be a better movie.

But it is what it is. And at least the action is on point, featuring super tight choreo from pops, and the expected, dazzling acrobatics from Hou. The temple training scenes are more enjoyable than the ones in part two, but nowhere near those of the first movie. The climactic finalé is a grand spectacle, involving tons of people, weapons, stunts, etc. But personally, I would have preferred a good old one on one, or something more akin to the end fights in the two previous films. But that's really a matter of taste.

As a whole the movie is definitely watchable, even enjoyable at times. But Hou's extremely annoying Fong Sai Yuk character just drags the entire production down. The saving grace here is the tight action and Gordon back as San Te.

First of all, the decision to make it just another bumbling kung fu comedy, in a market that had too many of those to begin, boggles the mind--especially when the original was this brilliant, philosphical masterpiece. Second of all, to replace the already iconic character of San Te with a character pretending to be San Te, but played by the same actor, is another headscratcher. There are so many ways you could have gone with this sequel. San Te could have mentored a new pupil, like in "Disciples Of The 36th Chamber". San Te could have fought the Manchu dye mill bullies on his own. San Te could go to outer space, like James Bond in "Moonraker" for all I care. Just keep the character in the movie! Well, he actually is in the movie, just played by another actor, which I am not even gonna' go into. But the choice of having Gordon come back as another character was just a poor one. And I can't for the life of me figure out what pops was smoking when he came up with that.

With that out of the way, the movie still does have some merit. Some of the training scenes in the temple are actually pretty enjoyable. And the scaffolding kung fu is a cool idea. In the second half, the movie sort of redeems itself. And the protracted end fight is definitely something to see. Yet I'm always left rather dissatisfied and filled with thoughts of what could have been.

Gordon has stated that he, himself, regards the 1983 indie flick "Shaolin vs. Wu Tang" as the true sequel to "36th Chamber". And while I am not a huge fan of that movie myself, I can kind of see what he means. This movie could and should have been better. So pending the invention of the time machine, I guess I'm stuck watching it as is.

Lau Kar Leung really puts his adoptive brother through the wringer here. Gordon Liu (or Lau Kar Fai, if you wanna' get technical) completely embodies the character of San Te, with just the right amount of youthful naiveté and determination. You really learn to care for this guy, as you join him on his transforming journey through the 35 chambers. And for a kung fu movie that has virtually no action for the entire middle part, it is strangely captivating. Watching San Te advance through the different levels is a real joy--hell, it's downright uplifting, thanks to pops' direction and knowledge of the subject at hand.

But this is not just a story about a guy training in a temple to become a kung fu master. It is more multi-layered than that. It is a story about a boy becoming a man. A story about virtues such as patience and perseverence. About losing yourself and finding yourself. And ultimately a story about the true philosophies behind martial arts.

Now, I like a good throwdown as much as the next guy. But for me personally, the pay off here is not San Te emerging from the temple to take revenge on the evil manchus. It is about San Te emerging from the temple an enlightened man, and what he went through to achieve that. It is about the journey, not the destinaion.

I think this is Lau Kar Leung's crowning achievement as a filmmaker. And I would dare say that if you call yourself a kung fu film fan, and don't have this classic masterpiece in your collection, you need to pick it up and school yourself.

What I really like about this movie is its positive anti-violence message, an idea Lau would later use again in the classic "Heroes Of The East". The concept of anti-violent fight flicks seems like sort of an oxymoron, but Lau's deep understanding of martial arts philosophy always shines through in his movies and raises them to a higher level, without them ever getting preachy or boring. When watching his films, I always feel like I've been taken to school by a true master whose messages might be very matter of fact and simple but still, on occassion, make me contemplate and reflect on my own life.

This isn't the most fight-filled of pop's flicks. And some might say that the whole "Pao" competition is the weak link here. But I kind of like it. It's different, and something you haven't seen before. Besides, what actual kung fu action there is, is pretty damn sweet. Gordon and pops matching skills in the moonlit bamboo grove...come on, that's classic stuff. And the training scenes are also really enjoyable.

I sometimes think that this movie gets a bum rap. And I would urge all old school fans who haven't seen it to check it out.

I think the comedy in this one took a step down, in terms of quality, from "Winners And Sinners". There are still funny bits here and there, but stuff like the gang's juvenile attempts to grope Sibelle Hu just goes on for way too long. And outside of the opening sequence, it is a full hour of pointless goofing around 'til the story gets going and the action starts rolling.

But when it finally does, it is well worth the wait. Ninjas, spooky samurai killers, gangsters and a crazy funhouse is all part of the excellent showdown. And any chance to see Jackie vs. Dick Wei and Sammo vs. Lau Kar Wing is a welcome one.

As a whole, this movie is not bad at all. And if you liked the other "Lucky Stars" flicks, you will most likely enjoy this one.

This is just an awesome movie. There are no two ways about it. Sammo might "borrow" an idea or two from other movies of the genre, but he in turn injects so many brilliant and innovative touches into the action scenes here that most of those other flicks look stale and sluggish in comparison. Stuff like the stealth kill sequence, where Sammo and Biao take out their Vietcong pursuers with the aid of vines, coconuts, and "deadly leaves" , is truly inspired. You never saw anything as cool and clever in the Hollywood Nam flicks of that time. The movie is pretty much geared towards action and drama. Of course, this being a Sammo film, a few bits of HK comedy do sneak their way into the story but are rightfully kept at a minimum.

The cast is a vast and eclectic bunch, for sure. Everyone who was anyone at this time is in the movie. They even roped in Dr. Haing S. Ngoor, of "Killing Fields" fame, for a supporting role. And the villain line-up is a regular smorgasbord of badasses: Ko Fei, Dick Wei, Billy Chow, Yasuaki Kurata, and so on, all lead by a manic and twitchy Yuen Wah, in one of his most memorable bad-guy roles to date.

With all that talent on hand, you're pretty much guaranteed a jaw-dropping end fight. And the movie does deliver. The final showdown in the underground ammo dump is so good it makes your mouth water. Sammo dropped a ton of weight for this one and is a lean, mean fighting machine, playing it straight and giving a 100% all the way.

HK Nam flicks are almost a sub genre on their own. And while there have been a number of good ones, I dare say that this is the most entertaining, based on the cast, the crisp choreo, and just the sheer ingenuity of the action. This is a must-have in my book.

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.

He was a Karate champion in Japan and student of many Japanese styles, one of them being Ninjitsu. He came to America in the late 60's, attending college, teaching martial arts, and doing bit parts in movies. But his big break came when cast opposite spaghetti western veteran Franco Nero in Cannon Films' first ninja effort, ENTER THE NINJA, in 1981. Suddenly, ninjas were everywhere--movies, TV, comic books, and so on--some of it good, a lot of it bad.

And while this was no doubt a well meaning and serious effort on the part of the filmmakers, there is just no way that you can watch this movie with a straight face if you're over five years old. This is definitely one of those "so bad it's good" movies. But there is actually a lot to learn here. Apparantly, you can walk around in full ninja garb, on American streets, in broad daylight no less, without anyone raising an eyebrow. Common thugs in Salt Lake City are dressed like the Village People and hang out at playgrounds. Slutty blondes are easily hypnotized, and the mob employs full on Indian chiefs to do their dirty work. Oh yes, this is educational stuff.

And damn it if the action isn't as hilarious as the story is stupid--a lot of Shurikens to the face, spikes to the face, axe to the face...well, just general mutilation of the face area, for maximum gore effect. Cheesy as all hell, but tons of fun.

Shô Kosugi was no great thespian, or even a very good screen fighter, but his relentless effort to bring us loads of corny ninja goodness in the 80's deserves applause.

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.

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 is based on the real life exploits of ninjitsu expert Frank Dux, who, by his own admission, fought in illegal martial arts tournaments and won, the first westerner to do so. Although it should be noted that some of his many claims to greatness were subsequently discredited by various sources. But whether they be true or not doesn't really take away from the fun of the movie.

This was Van Damme's breakout role and first starring vehicle, giving him ample opportunity to show off his future trademark kicks and splits. However, his acting skills left much to be desired and, in all honesty, never really improved much over time. But his lack of acting chops and thick accent were of course part of the charm of these movies, and he is certainly not the only one hamming it up here.

Most of the fights are cool, and there are a lot of different martial art styles on display. The final fight is actually the weakest, in terms of choreography, but still proves a worthy finalé, due to over-the-top melodrama, Bolo Yeung's flexing pecks, and Van Damme's hilarious grimacing. All the fights are choreographed in the American style, meaning lots of slo-mo, telegraph punches, and people just standing there waiting to be hit or kicked. But at least they put enough blood and broken bones in there to satisfy violence-starved action fans.

This is an old school, kick-ass guy movie, and should be taken as such. It doesn't try to be anything more, and it doesn't have to. Just lean back and enjoy.

The script was written by Keith Strandberg, who also wrote the two previous films in the series, so plotholes, campy one-liners, and illogical set ups are present and accounted for. First time director Lucas Lowe took over the reins from Corey Yuen here, and would later go on to helm such martial arts B-movie classics as THE KING OF THE KICKBOXERS and AMERICAN SHAOLIN. So with those credits established, you pretty much know what you're getting into.

Loren Avedon returns from Part 2, although as a completely different character, and teams up with Keith Vitali here, playing feuding brothers, while giving a course in bad acting 101. Avedon's futile attempts at conveying emotions of any kind make him look constipated more than anything else, and Vitali just comes across as smarmy and slightly retarded, combing his hair every two seconds and talking to himself out loud, in true daytime soap style. As for the supporting cast, they won't be getting any thespian awards either. Wanda Acuna is hot as hell, appearing in various states of undress, but couldn't act to save her life. Rion Hunter is actually cool and menacing as the albino looking villain, but fairly cartoonish in all his evil glory, and the rest of the actors seem to be reading from cue cards.

So why waste your time with this movie, you ask? One word: action. Tony Leung Siu Hung's hardcore Hong Kong style fight choreography is a treat to watch. Avedon, Vitali, and Hunter all look great in the intricate fight scenes, and the stuntmen certainly earned their pay in all the bone crunching mayhem that, in terms of quality, is way above the movie itself. But I guess that is sort of the trademark of the trilogy. In short, the action is great. The rest is low budget, B-movie schlock that will make you laugh out loud. So just have fun with it, that's what it's there for. Even if that wasn't the original intention.

The fight scenes really are the saving grace here. This movie is so cheesy, it damn near redefines the term. Just the mere fact that the protagonist is trained by Bruce Lee's ghost should give you an idea of what type of movie this is. If not, maybe the inclusion of Jean Claude Van Damme as an evil Russian villain will. But as bad as this movie is, it prevails on its sheer retro-cheesiness and aforementioned awesome fight scenes. This movie is so 80's that it almost feels like a commercial for the decade: Karate schools, bad fashion, break dancing, BMX, skateboards, Jheri Curls, and a little teen angst thrown in for good measure.

But when all is said and done, it is really a fun ride, and you will most likely have a great time, laughing at the hammy acting or getting pumped by the training montages, set to the greatest 80's motivational song ever made: Kevin Chalfant's "Hold On To Your Vision". Enjoy.

This was, in a sense, the last memorable movie from Avedon, before vanishing into straight-to-video obscurity in the 90's, and it is really not a bad effort overall. It kind of goes without saying that the acting is poor and the story is thin. But, true to form, the fights are tight, brutal, and bloody. Tony Leung Siu Hung, who also did the excellent ass kicking action for NO RETREAT, NO SURRENDER 3, is on deck for this one, and his choreography is flashy, fast, and ferocious as always.

Avedon is up against, a pre-Tae Bo Billy Blanks here, and they both look great in the fight scenes. However, the real standout is no doubt Keith Cooke as the hermit master. He really steals the show with his lightning fast kicks and quirky performance and is actually one of the best things in the movie. It has some novel touches here and there, like the snuff film angle, some great training sequences, and the big bamboo cage finalé. But it's no cinematic masterpiece for sure, not even by B-movie standards. It is what it is: an enjoyable, corny fight flick with great action and hammy acting. No more, no less, and that's fine. If you know what to expect, you'll have a good time.

Call it heroic bloodshed, call it bullet ballet, call it gun fu...call it whatever the fuck you want! As long as you acknowledge that "Hard Boiled" is king, and reigns supreme in said genre.

This one may not have as much heart as some of Woo's other movies. However, "Hard Boiled" does supersede them all in the action department. Actually, it supersedes pretty much any movie in the action department, in both quality and quantity. Just the sheer amount of firepower, squibs, stunts and pyrotechnics here is enough to put most other action flicks to shame. But it is far from mindless action. Woo makes sure to inject his usual trademark humanity into the characters, and have a tense, dramatic narrative backing up the awesome action.

Chow Yun Fat is actually cooler as a cop than he is as a gangster, if that is at all possible. He is so cool that he can break frame and look directly into the camera without losing authenticity. His name is Tequila, he drinks tequila slammers, yells at his boss, plays the sax, saves babies, and spits out his matchstick with unequalled contempt, before blowing someone's face off. Where else are you gonna' see a character like this but in a John Woo movie?

Tony Leung gives the best performance in the film as the conflicted and tortured undercover cop that can almost be seen as a precursor to the part he played in "Infernal Affairs". And if you wanna' see what real acting is, then watch the forced smile he gives Anthony Wong before blasting his "old gang" to bits with an Uzi. And speaking of Anthony Wong, well, he does what he does. He can play everything, and despicable villain is only one of many strings to his bow.

Final honorable mention goes to Kwok Choi. Philip, if you will. Yes, "The Lizard" himself, as uber badass henchman "Mad Dog". He is such a cool character here that he should have had his own movie. He also served as action director, much like he did on Woo's "Once A Thief", and is only one of three "Venoms" featured in this movie. Feel free to play "Where's Waldo" with the last two--"The Snake" is a bit tricky.

This is the kind of movie that makes you drop to your knees and thank Buddha for HK cinema. Like Mr. T, I pity the fools that haven't experienced the balls to the wall wonder that is "Hard Boiled". Just watch the damn movie if you haven't. And if you have, go watch it again.

Chow Yun Fat might be cool in a trenchcoat and shades, or a slick suit and tie, wielding his double 45's and chewing on a matchstick, but as a bandana wearing, tattoo sporting, motorcycle riding, balisong twirling badass bouncer, he truly takes the cake--and eats it. To oppose him, nothing short of Simon Yam, as an evil, fashion concious gay gangster full of magic tricks, would do. And I don't ever remember seeing a movie where the villain had the hots for the hero, and would admit as much. At least not one where they were both dudes.

This is not your standard HK gangster action flick, for sure. Most of the characters are actually pretty out there. Anthony Wong plays a great coward gone mental. And check out Bonnie Fu as a crazy, bloodthirsty nympho, and the mammoth Frankie Chin as a muscle bound dimwit, sporting the baddest mohawk combo since Mr. T. They are a riot, and add a lot to the proceedings.

The action is pretty over the top stuff as well, at times bordering on gory (at least in the uncut version). There's enough stylish gunplay, bullet POV, explosions, stabbings, bloody limbs, and nice juicy close ups of entry and exit wounds of all shapes and sizes to keep even the most jaded action fans happy. It is glorious. All set to a rocking score and haunting electric guitar riffs, just to underline how fuckin' rock n' roll this movie really is.

This is not Ringo Lam at his most subdued. And some may claim that it is a case of style over substance. But I think the story is tight, the acting is good, and the action is on point. So if that is indeed the case, then I don't really care. This is one of those movies that kicks you in the balls and reminds you why you got into HK cinema in the first place, in case you forgot. A wild ride from start to finish. And if you're willing to hang on, you won't be sorry.