Review: Monkey Fist kung fu has appeared in a number of films but never shown as more entertaining or as masterfully executed as in Mad Monkey Kung Fu. Not only that, but ample humor and top notch choreography makes this film a joy to behold. Director, choreographer, and leading man Lau Kar-leung, also the leading master of the genre, is at the peek of his creative prowess here.

A Chinese opera performer named Chan (Lau Kar-leung) finds his life ruined overnight. In order to gain possession of Chan's sister (Kara Hui), brothel owners Duan (Lo Lieh) and his wife make it appear that Chan has made sexual advances on Duan's wife. To spare him, Miss Chan becomes Duan's concubine and Chan's hands are crippled. Several years later Chan meets a petty thief named Little Monkey (Hsiao Ho) who ends up learning Chan's Monkey Fist in order to defend himself from local gang members. When its discovered that the gang works for Duan, Chan joins Little Monkey in seeking revenge on Duan and saving his sister.

Within director Lau Kar-Leung's many films, he has always striven to retain the traditions of kung fu by portraying the styles in an authentic fashion. Mad Monkey Kung Fu features meticulously choreographed scenes depicting the unusual and dynamic style of Monkey Fist amid incredibly entertaining fight sequences. The real treat is seeing Lau Kar-leung in his first leading role. The man was already an established master of kung fu choreography behind the camera, but he proved himself capable of acting and fantastic kung fu displays to rival any of the performances provided by his star protégés. The opening fight is Lau's opportunity to really show off his stuff. As he becomes increasingly drunk, his style becomes more fluid in contrast to his opponent's "hard" styles.

Looking at Lau's pupils and co-stars, Kara is impressive in a short match with Lo Lieh, but her role is short. The acrobatic Hsiao Ho, who never really took off as a leading man, still offers an incredible performance on par with Yuen Biao and Chiang Sheng. Later in the film, Hsiao delivers an outstanding performance as a character who naturally apes the movements and gestures of a monkey. His master is also well known for setting up complex fights involving large numbers of opponents and doesn't disappoint here either. Hsiao's two battles in the brothel are pure genius. Its all fast-paced with props such as tables and nets being put to good use. While its nice to see Shaw Brothers veteran Lo Lieh going at it with Lau, this isn't one of his better performances overall. His kung fu is no match for the rest of the leads, but he holds his own.

While having the standard revenge angle along with a few deaths, mangling of hands, and drama, the film is actually quite intentionally funny. Hsiao Ho sparkles as the mischievous thief who is constantly getting into trouble. The choreography is often playful, but always intense and intricate. The dialogue features a mom joke and other comic gems (best presented by the original English-dubbed version).

Old school kung fu fans should not miss out on seeing this film. With brilliant choreography and loads of humor, Mad Monkey Kung Fu is a genre classic with superb kung fu.

REVIEW:
In 1955, one of the greatest novels of all-time was finally adapted for the screen nearly twenty years after its author, Eiji Yoshikawa first published it in serial form. This first part in a trilogy on the life of Musashi Miyamoto is a brilliant piece of filmmaking that captures the soul of the samurai and Japan's most famous example like no other film.

The story begins with a wild and burley youth named Takezo (Toshiro Mifune) convincing his friend, Matahatchi (Rentaro Mikuni) to join what turns out to be the losing side in the famous Battle of Sekigahara in 1600. With Matahatchi wounded, the pair escape from the battlefield to end up at the house of Oko and her daughter Akemi. After several months, Takezo defeats bandits who assault the household and Oko attempts to seduce him, but he runs away. The two women leave with Matahatchi who decides not to return to his mother, Osugi and his fiancé, Otsu. Takezo fights his way through border guards to get home to tell Osugi of her son's fate, but is nearly trapped by the bitter old woman. Takuan, a wise and good-natured Buddhist priest becomes Takezo's mentor and eventually sets him on the path of a samurai when he locks him in a castle room for three years with nothing to do but read. Renamed Musashi Miyamoto, the young samurai is sent out into the world to further his learning in the ways of the sword and samurai. Although torn by his love for Otsu, Musashi leaves her behind while she vows to wait patiently for his return. Meanwhile, proud Osugi and Matahatchi's docile Uncle Gon begin their search for Musashi in order to kill him.

I'll begin by saying that I've read the 970 page book and had huge expectations for this trilogy. The original story is a fictionalized account of the real Musashi Miyamoto who wrote The Book of Five Rings after the supposed adventures chronicled in this tale. What is so compelling about him and this story is that he is a brilliant example of a man of faults who overcomes them while not becoming a victim of the evil's of the world. In fact, this is exactly what happens to most every other character in the story. The film captures this aspect of the original story perfectly.

Toshiro Mifune owns this role. He was born for it. Even in his early days as Toho after World War II, he was considered an actor of raw intensity. Although quiet and respectful off camera, once filmmakers such as Akira Kurosawa set him lose, he was magnetic. In this case, his role as Takezo, the wild man is perfect. And after he emerges from his transformation into Musashi, Mifune pulls a masterfully subtle 180 that renders him with a convincing level of composure befitting the character's state of mind. Although Rentaro Mikuni would not return for the sequels, his performance as the weak-minded Matahatchi is well played. Kuroemon Onoe as Priest Takuan adds the necessary combination of vitality and maturity to the role of Musashi's mentor.

Most of the women in this tale are portrayed as highly dependent and trite which will likely seem a bit confounding to Western audiences, given the circumstances. Keep in mind that in feudal Japanese society women had little or no status. Kaoru Yachigusa plays Otsu, Musashi's true love who decides to devote her life to him even though he chooses the way of the lone warrior over being with her. At the same time, Akemi (Mariko Okada ) has also fallen for Musashi, but as the remaining films will show, her state of mind is much less stable. All of this effectively points to Musashi's clear vision. Where love seems to be a temptation that leads to ruin, there appears to be a noble purity in mastering the sword. Of course, Musashi still has much to learn about both.

It would have been great had the series been filmed in wide screen. The Japanese actually were the first to fully take advantage of the technology once it become common a number of years later. As is, the camera work is excellent and the lighting deserves special mention. Most of the film is shot in scenic outdoor locations and adds tremendously to the film's realism. The fights are performed less like the more heroic chambara films of Toei and more realistic, much like Kurosawa's Seven Samurai (1954) which had a strong aesthetic influence on this film. This is essential to the story since part of Musashi's success was the fact that he wasn't afraid to fight and die. Most of his lesser opponents simply didn't have the courage or will to fight and they would often attack in groups and were quick to make glaring errors in judgment that any kendo student could point out.

Quite simply, Samurai I: Musashi Miyamoto is a flawless film. No movie adaptation could capture every element of the book, but this one does a fine job. The acting is superb, the pacing and the production is first rate. You must read the book, but if can't manage that then you better watch this film or you'll be missing out on some of the best Japanese cinema you'll ever see next to Akira Kurosawa's works.

Review: I finally got to see Hapkido and I wasn't disappointed, not one bit. For those expecting a plot, forget it. This one is old-school all the way. No wires or any of that shit. Its just people beating the holy hell out of each other.

When we first meet Angela, Carter and Sammo, they're sitting down and talking in a park. Some Japanese come across them and their leader notices Angela, he begins to make unwelcome advances and Angela tries to ignore it. It's Sammo who finally hits first and we're off. These three have just graduated, learning the art of Hapkido and they return to China in the hopes of setting up their own school, which they do. The Japanese, who consider it an inferior martial art, try to run them out of town with some traitorous Chinese, including Pai Ying. Angela, Carter and Sammo don't want any trouble as it goes against the wishes of their master and his teachings. It's Sammo who finally loses it after being insulted by some Japanese. This doesn't go down well and Sammo becomes a wanted man, having to hide out while Angela and Carter try to reason with The Black Bear Gang without much luck. Finally the Japanese go too far and Angela, Carter and Sammo are forced to fight back with devastating results for the Japanese.

Like I said, this isn't a film where the plot is important. It's not terrible but it won't win any awards either. It's there to serve the action and it has plenty of that. Angela Mao is just lethal in this. Each one of her fight scenes is a classic. My favorite being when Angela goes to the Japanese dojo and destroys everyone in there without breaking a sweat. Sammo gets two or three fight scenes to show off his skills and he's just great. Carter Wong is also very good in a number of fight scenes, although he only really gets one fight scene and spends the rest of the film helping Angela. Pai Ying also provides suitable menace as a Chinese with powerful kung ku skills who sides with the Japanese.

All-in-all, this film rocks and should be mandatory viewing for any kung ku movie fan, even with the dubbing.

Some movies try to inform. Others try to innovate. Most at least try to entertain. Then there are a very small number of movies that detonate from the first reel with a ceaseless barrage of unrestrained absurdity that floors the viewer with a 10-megaton palm blast to the senses. DEMON OF THE LUTE fits the bill as a fantasy wuxia pian created to end all fantasy wuxia pian with distinctive chi-powered fighters battling like Super Saiyan gods as driving guitar and synth rock erupts amid a steady stream of eye-catching visual effects and stunt work.

It is as if martial artist and first-time writer-director Dang Tak-cheung had unloaded every idea he had ever absorbed or conceived of in over 12 years of stunt work, acting and action directing in over 50 Shaw Brothers classics beginning with RETURN OF THE ONE-ARMED SWORDSMAN in 1969. There is never a dull moment as MR. VAMPIRE star Chin Siu-ho and leading martial arts actress Kara Hui headline an eclectic cast of talented performers in a family-friendly (by PG-13 standards) update to the classical Chinese fantasy genre.

The story unfolds like a twisted children’s fable, as if Terry Gilliam had directed a Hong Kong movie. The plot itself is standard genre material, but its presentation and the energetic cast performances keep it very lively.

Kara Hui is Feng Ling, an animal-loving sword heroine wielding the power of fiery balls, spider’s silk and a remotely-controlled Rainbow Flying Sword. She is sent by her master (Kwan Feng) to put a stop to a would-be jiang hu conqueror known only as “Demon of the Lute.” This villain has threatened the entire martial world ever since he got his hands on a rare lute strung from the ligaments of six pre-historic monsters, with its body reinforced with steel and capable of making music to put the smackdown on even the greatest of kung fu masters. Ling’s best hopes rests in locating a “fiery bow and arrow,” the only weapons capable of destroying the lute, and secure the help of a top kung fu expert to battle the demon.

Along the way Ling befriends an odd assortment of quirky martial heroes who come to her aid. First there is Venoms star Philip Kwok as The Thief, a three-armed Robin Hood character who is thoroughly upstaged by his young onscreen son Xiao Ding-dong (Kei Gwong-hung). He’s a fearless, pint-sized bundle of destruction who plays a critical role in saving the day despite his small stature and lesser skills. His special attack is the “Ding Dong Flying Kick.” This child actor is fantastic, especially when he has to play drunk after he winds up downing some wine.

Ling also enlists the aid Yuan Fei (Chin Siu-ho), a wild young man with a facial birth mark, weaned on agility-enhancing stalactite drippings and raised alone in a cave with only a skeleton, instructional kung fu hieroglyphs on the walls and a mutt to keep him company. Although quite able, it takes the strength-enhancing and meridian point-clearing powers of Skinny Elf (To Wai-wo) and Fatty Elf (Chiang Kam) to unlock his true potential. Yuan Fei doesn’t have a special attack, but gets to wield the powerful (and phallic) Elf King Sword that feeds on his inner strength to extend in length.

Acrobatic stunt actor and successful action director Yuen Tak (THE MYTH) also threatens to steal the show as Old Naughty, Feng Ling’s perpetually drunken brother with a mass of white hair who rides around on a horse that trots backwards. He’s a Monkey King-like trickster wielding oversized Golden Scissors.

The heroes may be strange, but the villains are stranger. Harkening back to the earliest days of Chinese cinema is the Eagle Man (Ngai Tim-choi), a soaring birdman looking something like DC Comics’ Hawkman. His fellow henchmen include the gender-bending Hermaphrodite, the Viking-like Demon of Horn and The Long Limb Evil, whose arms stretch out like Mr. Fantastic to deliver punishing blows from a great range.

The main threat Feng Ling and her friends face is the Demon of the Lute himself, along with his masked bodyguards. The Demon is also masked initially. He’s a killer baddie, definitely rock star potential born to front a band like Spinal Tap. He ends up in a titanic clash of spinning mayhem with the Woodcutter (Lung Tien-hsiang), his old nemesis and a reluctant ally to Feng Ling. The Demon’s use of the lute as a weapon should be familiar. Yuen Wo-ping worked with the same idea in KUNG FU HUSTLE when he crafted the memorable CGI-infested fight featuring two harpists.

First prize in this pageant of kung fu clowns goes to Lee Hoi-sang for his turn as the Red-Haired Evil. He has the best kung fu around. Balding viewers everywhere will be tossing away their Rogaine in favor of learning his secret to rapid hair growth as he transforms into a Super Saiyan with red troll doll hair. This power allows him to wield a flying axe the size of an economy car. Genius.

DEMON OF THE LUTE is a brilliant live-action cartoon that will keep you amused from start to finish and possibly left bewildered. It could easily be compared to a lot of fast-moving action anime and some of Japan’s more bizarre fantasy movies such as Takashi Miike’s THE GREAT YOKAI WAR (2005). What sets it apart is the high-caliber wirework and acrobatic stunts that are unique to Hong Kong. Live-action effects that turn a horse cart, an enormous silver orb and multiple weapons into bouncing, twirling and zooming objects of ruination hold up very well by today’s standards. Limited animated visual effects and a cheaply animated opening credits sequence are quaint at best, but do have a certain style of their own, like any medium. With the added visual flair of Shaw Brothers’ house art direction, the film looks a lot more vibrant than most of the early ‘90s wirework films such as KUNG FU CULT MASTER.

Dang Tak-cheung only wrote and helmed one other movie, LONG ROAD TO GALLANTRY, where many of the cast members from DEMON including Kara Hui returned. It’s too bad he didn’t have more opportunities to direct. With this film he not only shows a mastery of the most elaborate wuxia and fantasy action, but also displays an interest in trying new things like casting a young child as a prominent kung fu hero. The film itself is shot with kids in mind, hence the opening dedication to children, the many animals featured, and cartoon action and visuals designed to hold the viewer’s attention indefinitely. This idea of making martial arts movies from a kid’s perspective has rarely been exploited as successfully until films like SHAOLIN POPEY and MY FATHER IS A HERO came along a few years later. While talented young wushu performers were featured, all of the characters in those martial arts movies pale in comparison to the mighty Xiao Ding-dong and his Flying Kick!

Review: In 1978, one of Japan's most accomplished directors, Kinji Fukasaku helmed Shogun's Samurai, his first samurai film. Better known for his gritty and sometimes controversial crime dramas, Kinji would go on to complete his last and most controversial film in 2000, namely Battle Royale. Shogun's Samurai was a uniquely ambitious effort that came together at a time when Japan's film industry had already collapsed upon itself resulting in limited financing for even modest productions.

Combining the stately intrigue, romance, and scope of past classics with the visceral action that modern audiences demand, Shogun's Samurai is a supremely entertaining film. The principle cast includes practically all of Japan's key martial arts stars headlined by Sonny Chiba, with his two apprentices Etsuko Shihomi and Hiroyuki Sanada in supporting roles. The scale and visual splendor of the production is stunning while a gripping, fictionalized account of political conflict in 17th century Japan delivers the knock out blow.

The real star of the film is Kinnosuke Nakamura who plays Yagyu Tajima, a fencing instructor to Shogunate General Hidetada's first son, Iemitsu. Iemitsu is a stuttering young man with a large facial birthmark who is disliked by many, especially his own father who plans to pass the generalship to his second son, Tadanaga. Loyal to Iemitsu, ambitious, and ruthlessly cunning, Yagyu takes a calculated risk by having Hidetada poisoned to death. A struggle for the generalship begins as Tadanaga and his supporters including his mother, the Lord of Owari (Toshiro Mifune), and representative of the Emperor, Courtier Ayamaro (Mikio Narita) leave the Shogunate castle after failing to prove that Hidetada was murdered. By birthright, Iemitsu should be declared general by the Emperor, but the Emperor's courtiers plot to play both brothers against one another in an attempt to eradicate the position of Shogunate altogether. In response to these events, Yagyu sets in motion a brilliant political and military maneuver to discredit Tadanaga by making it appear that he killed an official representative of the Emperor. The displaced Negoro clan of ninja are recruited for this purpose and promised the return of their former land in return. The plan works and Tadanaga is forced into exile. Yagyu orders the slaughter of the Negoro to bury the truth, defeats a rival swordsman, and celebrates as Iemitsu is declared the third Shogunate General. But what Yagyu fails to take into consideration is that his own son, Jubei (Sonny Chiba) has close ties to the Negoro. A dramatic confrontation of Shakespearian proportions is in store. I'm proud to say that I called this scene in terms of what would happen before it actually did. It was the most dramatic and powerful finale I could imagine given the circumstances and Kinji let it happen. Bravo!

I relish historical epics, bow to Sonny Chiba, and respect Kinji Fukasaku, so I was already predisposed towards this film. But it thoroughly surpassed my expectations. The film is masterfully constructed with equal amounts of intrigue, action, and romantic angst. Kinnosuke is outstanding and presents a powerful and devious figure who shadows over everyone in a very subtle manner. His character is forced to confront challenges on every level that you could imagine and meets them all. His character presents an interesting contrast to Iemitsu whom Hiroki Matsukata convincingly portrays as a weak and naive leader to be easily manipulated by the cunning Yagyu.

For martial arts fans, Yagyu's rivalry with another swordsman, played by Tetsoru Tamba (The Water Margin) provides several fine action scenes including the best one midway through. The two confront each other indoors. Sensing trouble, Tetsoru turns, slashes a reed wall and runs out dripping blood from a sword cut. Chiba emerges clutching his own bloodied face. Tetsoru returns later to face Kinnosuke alone. Another great standoff features Chiba versus Mikio Narita, who plays Courtier Ayamaro. The courtiers are the Emperor's loyal aids and are portrayed as effeminate men with powdered faces and flowery clothing. I liken them to the Eunuchs of ancient China as portrayed, for example by Donnie Yen in Dragon Inn (1992). Unlike the rest, Mikio is deadly with a sword and nearly skewers Etsuko Shihomi. Later, a wild-looking Chiba now sporting an eye patch unleashes his full fury on Mikio. Another big martial arts star is a young Hiroyuki Sanada (Ninja in the Dragon's Den) whose impressive skills are not featured prominently enough this time even though he plays a member of the Negoro ninja clan. For ninja action, there is only one scene at the beginning of the film that features their sneaky exploits in black garb. And nothing comes close to the crazy wall climbing or burrowing tomfoolery one expects from camp classics like the similarly titled Shogun's Ninja (1982). This was a more action-oriented film clearly made to exploit the success of Shogun's Samurai.

Despite the polished production values and classical treatment, historians should check their accuracy meter at the door. Shogun's Samurai takes license with actual events during the Tokugawa reign in favor of presenting a more exciting story. In addition to the dramatic political and martial exploits, the film is rounded out with beautiful Reiko Ohara (Zatoichi Goes to the Fire Festival) playing a singer and love interest to Iemitsu while her flute accompanist (Yoshio Harada) pines for her affections. Even Sanada gets a little action with Mayumi Asano (The Bushido Blade), another trained ninja who thwarts an assassination attempt on Iemitsu. All of this is seamlessly tied together with the main plot.

Completing the film's excellent presentation includes Kinji's own brand of dynamic direction that features jarring angles and freeze frames. Cinematography that captures lush outdoor settings, intricate interiors, and colorful costumes adds to the film's luster, as does a modest, but complementary musical score from Toshiaki Tsushima. Unobtrusive narration scattered throughout the film keeps the broad events in focus. Add fine acting performances from this all-star cast, especially from Kinnosuke and Sonny Chiba and you have a bold, samurai epic that can be considered one of the best of it's kind.

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

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

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

REVIEW:
Mention the "The Prodigal Son" to any aficionado of Hong Kong cinema and you will witness them mysteriously get misty-eyed and ramble on about the golden age of Hong Kong cinema.

Sammo Hung directs and leads the supporting cast in this classic of Hong Kong cinema. Yuen Biao stars as Leung Chan as a spoiled rich kid who thinks he is a kung-fu master after beating over 300 opponents, but unknown to him all of his matches have been fixed and he can't really fight.

Enter Lam Ching-Ying who plays Leung Yee Tai, a camp Chinese opera actor who beats Leung Chan after accidentally picking up a fight with him. After Yuen Biao gets beaten up and exposed as the fraud he really is, he buys up the Chinese opera troupe where Lam Ching-Ying works and subsequently becomes his side-kick much to Leung Yee Tai's disgust.

Sammo Hung directs this rare piece of cinema, (made at the height of the golden age of Hong Kong movies), a martial-arts film which was not only box-office smash but critically acclaimed. Adorned with just three Hong Kong Film Award nominations, including Best Director (for Sammo Hung) and Best Picture (a first for a martial-arts film), it won only one HKFA for Best Action Choreography when it really deserved a hatful.

The cast, is absolutely magnetic. Yuen Biao plays his character to perfection and is brilliant. Frankie Chan is wonderful and Sammo Hung showcases a masterful comic performance. But the real star of the show is the late, great Lam Ching-Ying who really is magnetic as the asthmatic Leung Yee Tai. Lam Ching Ying's performance really deserved a nomination for Best Actor at the HKFA if not the award itself.

Everything about this film really fits. The storyline and plotting is spot on, especially for a kung-fu film. The fight choreography is truly marvelous, which won the coveted Hong Kong Film Award for Best Action Direction.

The choreography is really mostly Wing-Chung with added acrobatics and high kicks (with a slight mixture of other styles). But even if you don't like Wing-Chun choreography this will blow you away. Virtually the main cast choreographed the fight scenes which means that all the cast fights, punches, blocks to sheer perfection. The camera-angles are wide and continuous, and the editing of the fights supreme, unlike today's MTV style fights where every fight is filmed too close, edited woefully and with the added burden of some truly awful rock/rap music attached which seems to be a mainstay of not only Hollywood movies but unfortunately Hong Kong martial-arts movies nowadays.

This movie really defines Hong Kong fight choreography. Although the fighting could be said to be "old-school" the fighting is very fast, and even by today's standard the choreography is top-notch, fast, furious and award winning. What makes the fight choreography even more amazing is that very few camera tricks are used. There is hardly any "under cranking" (if any) and no wirework at all.

I could go on and on about this film. I really can't bestow enough praise on this film. The only minus point of the movie is that the part where Yuen Biao and Lam Ching-Ying meet up with Sammo Hung is a bit slow, but that's like saying Mozart is loud and really is criticizing for the sake of criticizing.

Even if you absolutely hate martial arts films this will win you over. This movie is not just for martial arts fans. This classic movie has a marvelous ensemble cast with electric performances, absolutely wonderful fight scenes, a good storyline, with comedic elements balanced out with some surprisingly dark moments, thanks to the ace direction of Sammo Hung. All the cast are at the peak of their powers, on-song at the same time with great interaction with each other. I mean where else would you see Yuen Biao and Lam Ching-Ying fight and serenade each other at the same time?!

A classic of not just Hong Kong action cinema but Hong Kong cinema itself.

Review: As Korea's enlivened film industry has been churning out prestigious, large scale productions of every genre, its not surprising to see their country's early history explored on epic proportions. Enter Saulabi, a lush historical account of one of Korea's greatest kingdoms that fell into ruin.

Much like Musa (2001), which explored a latter period in Korean history dominated by the Koryo, Saulabi brings an earlier period to life with all the spectacle of a big budget Hollywood production. The story begins around 600 A.D. as the last vestiges of Paekje rulers succumb to their kingdom's demise. Warriors commit ritual suicide in the fashion of Japanese samurai while the ministers poison themselves. 450 years later, 17 warriors cross over to a Paekje settlement in Japan in order to restore the kingdom by creating a Heaven sword which will purportedly unite the people. They engage a contingent of samurai who kill all but two of the warriors. One of the two known as Ko Woo-Do is sent to meet with Kanemura, a fisherman and sword maker. But after an encounter with Ando, the region's Japanese warlord, Woo-Do falls in love with a Japanese courtesan named Osame. Unfortunately, her father has arranged for her to marry Ando. Once the affair is discovered by Osame's father and Ando, the Paekje village is attacked, Woo-Do is wounded in a duel with Ando, Osame becomes the warlord's wife, and the remaining Paekje withdraw for about fifteen years. Having completed the Heaven's Sword, Woo-Do returns to challenge Ando in order to regain his honor while Kim Jin-Woo, the only other surviving Paekje warrior sent to Japan fights desperately to save his people.

Without knowledge of Korea's early history, the film's opening minus any historical reference is somewhat confusing for the layman. But, once the story shifts to the warriors arriving in Japan where the majority of the movie was actually filmed, it becomes easier to follow. The action choreographed by longtime Akira Kurosawa collaborator Takakura Eizi (Samurai Fiction) eschews wirework and fanciful martial arts for more realistic swordplay and open handed fighting. There are many well played battles, mostly towards the end. While Choi Jae-Seong's dramatic role is small, he dominates the later fighting with one outstanding, although somewhat romanticized last stand against a force of samurai. Mortally wounded, his final moments fighting without a sword are fiercely poetic and dramatically brilliant. Enoki Takaaki's (Heaven and Earth) performance as the Japanese warlord contains subtle depth. His eyes alone are able to convey his character's determination and intensity. A silent moment where he comes to the realization that Osame has rejected him, presently one of the most powerful men in Japan is deliciously restrained, yet potent in its clarity. He practically steals the whole show and I'd love to see him in more classical samurai films.

A good portion of the story focuses on the romantic relationship between Ko Woo-Do, played by a stoic Lee Sang-Hun and Japanese actress, Umemiya Masako as Osame. Lee remains a bit detached, but Masako's frustration over the restrictive role she is forced to play, countered by her dangerously wild love for Woo-Do is poignant. Early on, their relationship is focused on their shared love for a Korean stringed instrument that only Woo-Do's kin may play. Though Osame's vow to make music with it is realized which only confirms her symbolic legitimacy as Woo-Do's mate, destiny proves unkind and the two are separated by the apparent brutality of Japanese dominance.

Saulabi boldly addresses the long standing problems of Japanese-Korean relations. The film has even generated a fair amount of controversy over the origins of the samurai code, something the film seems to indicate originates with the Paekje. In addition, the film's acknowledgement of Japanese intolerance towards Korean descendants living in Japan is a problem which persists to this day. If nothing else, the film's message is one of pride in a people and culture who have felt the sting of oppression for hundreds of years.

Without a doubt, Saulabi is a grand film that offers equal parts drama, action, and romance. A fitting musical score, memorable period costumes, and striking cinematography rounds out the film's already robust repertoire of entertaining features.

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

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

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

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

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

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

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

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

REVIEW:
From the synopsis, it sounds like your average action flick, right? WRONG. This is an action film, there’s no doubt about that but if there’s one thing this film isn’t, its average.

When we first meet Jeff (Chow Yun Fat), he’s in a church before pulling a job and he’s met by Brother Sei (Chu Kong) a retired hitman who now operates as middle man for Jeff. Jeff performs a hit in a nightclub and accidentally blinds Jenny (Sally Yeh) who is a nightclub singer. Overcome with guilt, he watches her perform and comes to her rescue when she’s attacked by some thugs. Jeff befriends her and falls in love with her. When we meet Inspector Li, he’s in the midst of a weapons deal which goes wrong once a policeman stumbles into the middle of it and gets shot. Li chases the gangster responsible and shoots him on a tram. Li is reprimanded because the hostage the gangster was holding had a heart attack and died on the spot. Jeff decides to pull one last job before retiring to a life of harmony with Jenny and also help her pay for an eye operation she needs. Jeff pulls off the job in spectacular fashion in a classic scene (one of many), but he’s betrayed by the people that hired him and also Brother Sei, who has his own reasons. Jeff has now caught the eye of Li, who wants to capture him. All this culminates in one of the most awesome shootouts ever filmed.

What else can be said about this masterpiece of a film and the pinnacle of HK filmmaking or any other accolades which have been laid at its feet and deservedly so. For a start, the characters are exceedingly well written. Chow Yun Fat brings style and grace to the role of Ah Jong, even though he’s a hired killer, Chow makes us feel for him with every word and facial gesture. Danny Lee is suitably entertaining as Inspector Li, although not as flashy as Chow. He brings the requisite amount of weariness that the role needs. Sally Yeh is fine but nothing really to write home about. Her role was significantly underwritten as a result of her being less than committed to the film at the time. Other fine supporting turns include Chu Kong, Kenneth Tsang and Shing Fui On. The music is still quite powerful, it has a resonance even today and it hasn’t dated one bit. Every time I hear Ah-Jong’s theme it’s almost heartbreaking.

The action scenes in this film border on the near ridiculous. There’s more firepower here than the war in Afghanistan. Woo enjoys building his action scenes, so we get a few small ones to start off with and they progressively get more and more elaborate. Finally we’re in a church and the casualty rate is getting higher and higher. It’s funny to think this film was made on a budget of $2 million. It’s really a low budget action film compared to the kind of Hollywood action films we’re used to seeing. There’s nothing more to say on this film. Buy it. Watch and keep it in your collection forever because that’s where it belongs.

REVIEW:
This is undoubtedly Akira Kurosawa's most famous film in the West. In fact, the film was based upon an American Western novel and consciously parodies the genre. It also happens to be a brilliant film featuring a ludicrous collection of genre caricatures, a grim and tense plot, and a terrific performance by Toshiro Mifune who scratches and chews his way through the scenery while oozing charisma.

The story begins with your classic Western motif of a heroic stranger who comes to a town overrun with criminals while the townspeople hide behind closed doors. The proper tone is set with the ominous site of a dog carrying the remains of someone's hand. The accompanying soundtrack pounds and claps out a playful tune that belies the grim reality of the town's predicament. This is also where the traditional Western motif takes a back seat to Kurosawa's deft interpretation of a men bent on each other's destruction, where morality is blurred and only the opportunist prevails. Despite this, the film is not particularly deep or sweeping. Unlike "The Seven Samurai" and "Rashoman," Kurosawa's "Yojimbo" is content to provide a simpler story where a skilled and intelligent warrior is pitted against a mob of increasingly undesirable and unintelligent thugs. In the hands of others, the story could have suffered. Yet, Kurosawa intentionally creates caricatures of the villains who earn their fate. Likewise, Sanjuro is portrayed as the consummate samurai who can take on any number of warriors and emerge victorious. And in Mifune's performance we find the lynch pin that makes it all work. Mifune dominates the screen. His rough-around-the-edges and coy manner became a model for the raging anti-hero of 60's and 70's film. You can't help but root for him as he cuts his way through the mass of thugs despite his backstabbing ways.

The action, while frequent enough is not the end all. Kurosawa himself has staged grander battles. Its what leads up to the fights that make "Yojimbo" so entertaining. How can Sanjuro establish his reputation in the shortest amount of time? How long can he play both sides before they turn on him? How can he take on a pistol wielding thug, armed only with a sword? The film presents these and other situations that draw the viewer in, enhancing struggles that otherwise would be considered too short to satisfy. It should be known that these elements proved irresistible to Western audiences. In 1964 Italian filmmaker, Sergio Leone responded with a "spaghetti" Western called A "Fistful of Dollars" starring Clint Eastwood who assumed Mifune's persona. Bruce Willis took on the role in another interpretation in "Last Man Standing" (1996).

The premise of "Yojimbo" has remained popular all these years simply because its so entertaining. In Kurosawa's version, the visuals snare the viewer, Mifune charms you and the visceral thrill of watching a non-apologetic warrior in his element will keep you coming back for more. Don't miss this classic!

Review: When it comes to hardcore, old school kung fu without gimmicks or lame storylines to get in the way, 7 Seven Grandmasters cannot be beat. Although sharing the production standards of a lot of inferior movies, this one is virtually non-stop fu masterfully choreographed by Corey Yuen Kwai and Yuen Cheung-yan, with incredible performances by all.

The plot is basically a traveling version of an arena-style competition which allows for wall-to-wall fights in picturesque outdoor locales. Jack Lung in one of his finest roles plays Shang Kuan-cheng, an aging grandmaster of Pai Mei kung fu who is joined by his daughter (Nancy Yen) and his three students as they travel across China challenging the top seven grandmasters. This includes Monkey Fist and Mantis Fist masters. Its a cordial affair meant only to prove his reputation as the best of the best. On the advice of a mysterious stranger, a young man named Hsia Hsiao-ying (Lee I-min) begins doggedly tagging along in hopes of becoming Kuan-cheng's student and avenging his father's murder. Hsiao-ying quickly becomes the old man's top pupil, but the two are destined to cross fists when Kuan-cheng is pegged as the murderer.

According to kung fu movie aficionado Linn Haynes (who wrote liner notes for the Media Blasters release) this film is based on the life of a real Pai Mei kung fu expert named Cheung Lai-chun who fought and bested top mainland kung fu experts in the mid-1940s at the age of 66. Genre fans may recognize "Pai Mei" as the name of Gordon Liu's character in Kill Bill: Vol. 2 or traditionally as one of five elder monks of Shaolin Temple who is most often portrayed as a white-browed traitor who aided the Manchu in destroying the temple. Cheung Lai-chun was apparently a martial descendent of Pai Mei, a style of kung fu still practiced today. Although highly fictional in its portrayal and even its setting, 7 Grandmasters definitely has its roots planted firmly in reality which helps it to be a cut above your standard exploitation film. It also helps that Joseph Kuo, one of the top independent kung fu directors is in charge.

Now the man chiefly responsible for the action is Corey Yuen who deserves a lot of respect. Not only has he toiled for years as a lowly stunt actor and risen to become one of the top action filmmakers in Asian and Hollywood, but he has crafted some of the finest old school kung fu committed to film at a time when the likes of Sammo Hung and Lau Kar-leung were at their peak. 7 Grandmasters is probably the best example of this apart from Ninja in the Dragon's Den which featured more ambitious and unusual action sequences, but lacked the previous film's tight focus on unrelenting kung fu. Having worked on Ng See-yuen's excellent Secret Rivals 2 with Yuen Wo-ping as choreographer, Corey noticeably drew inspiration from it. This can be seen in the advanced acrobatics, legwork, locked-limb maneuvers, and a distinctive tandem flip where one fighter rolls backwards and his opponent rolls forwards over him. His choreography seamlessly blends traditional kung fu with opera-style acrobatics and more fantastic moves like ground sliding and flipping onto an opponent's shoulders. It's all shot perfectly with the right mix of cuts, close-ups, undercranking, and zooms. On the widescreen print, the camera work also perfectly frames each fight without leaving dead space which can be a challenge in films with limited sets and few cast members.

With seven main fighters to tussle with Jack Lung has plenty of opportunities to show off his skills. He's one of the more well-rounded kung fu stars of his day and is a joy to watch. Credit also goes to his opponents for matching him and providing such interesting fights. Each of the seven main duels are great, but a few are simply brilliant. Chin Yuet-sang as the Monkey Fist expert is incredibly dynamic and seems to just float around Jack. Corey Yuen himself plays a weapons expert and the least-friendly of the grandmasters. His weapons sparring with Jack may be sped up, but it's precise and intricate to the point where it's amazing that neither of them lost an eye while shooting. Alan Chui plays the leading villain and he remains inconspicuous until the end, but has a memorable fight against Lee I-min who seems to be cast as the token Jackie Chan clone, but easily stands out on the strength of his own skills. The finishing move in this last fight is spectacular, but painful to watch.

There really is nothing wrong with 7 Grandmasters. A bigger budget could have allowed the crew to shoot on big sets and have fancier costumes or more extras, but none of it's needed. This film is about the moment when two or more screen fighters make magic by perfectly executing coordinated combat that looks complex, effortless, dangerous, and very cool - all at the same time. And that moment is repeated over and over again in this film which makes it a must see for even casual old school kung fu fans.

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

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

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

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

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

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

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

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

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

REVIEW:
East meets East in this immensely entertaining ninja vs. kung fu classic that features outstanding martial arts choreography and direction from Corey Yuen (The Transporter), with top performances from Japanese superstar Hiroyuki Sanada and newcomer Conan Lee.

The story follows the tradition of previous Japanese and Chinese crossover films such as Lau Kar Leung's classic, Heroes of the East (1978) by having a Japanese martial arts master travel to China to end up in a struggle with an equally talented Chinese opponent. One of the things that separates this film from the rest is that the combatants truly are equal. This leads to a stalemate and their team-up against a spiritual kung fu expert played by Hwang Jang Lee. Another unique quality of the film is their choice for a Chinese lead. Where Hiroyuki Sanada was already well known in Japan as a star, thanks in part to being a student of Sonny Chiba, Conan Lee was an unknown from the United States. But in this film, he proved to be another impressive discovery for producer Ng See Yuen who is credited with the discovery of Jackie Chan and Hwang Jang Lee.

In a way, Conan is cast as a Jackie clone and does bare a mild resemblance to the Drunken Master star, although Conan had next to no martial arts training before this production. You would hardly be able to tell though as he performs seemingly difficult and definitely memorable fights with apparent ease. Its a shame that his Hong Kong film career fizzled right after this film as he appeared to have the sort of uncanny adaptability that made a star out of Leung Kar Yan.

In the film Conan plays Ah Ching, a smug martial artist who comes to his master's defense after the old man, named Uncle Foo is attacked by a ninja. The ninja is Jen Moo (Hiroyuki Sanada), a rogue assassin who has traveled to China with his wife to kill Foo who turns out to be a retired ninja master. Other members of the same ninja clan follow Jen to China and vainly attempt to kill him. Ashamed of his own cowardice in escaping to China years before, Foo poisons himself and makes peace with Jen which leads to a misunderstanding between Ah Ching and Jen. The two battle each other to the top of a pagoda and finally settle their differences just in time to face a spiritual boxer played by Hwang Jang Lee.

Probably the greatest distinction that this film bares is its notoriety as Corey Yuen's directorial debut. Corey was originally a student of the same opera school that produced Sammo Hung, Jackie Chan, and Yuen Biao. Up to 1982, he had already amassed an impressive filmography acting in and/or choreographing films such as Invincible Armor (1977) and Dance of the Drunken Mantis (1979). Add to that the savvy of producer Ng See Yuen whose skill at casting and storytelling was matched by Corey's masterful action direction.

It is action that defines this film as a masterpiece. Corey's direction of the fight scenes are simply incredible. From editing shots together and camera placement to use of props and creative set design, nearly every action scene is impeccably constructed for maximum effect. Several scenes stand out such as a duel on stilts involving Conan Lee, Sanada's battle with a scarred ninja master within the interior of a large boat, and most of the main event which is the fight between Conan and Sanada in the pagoda. Sanada brought his own stunt team for use in the film and the marriage of Hong Kong and Japanese martial arts choreography looks terrific on screen.

There are some camp qualities to the film that favor humor and unrealistic combat, but its somewhat successfully integrated into the more serious plot. The most noticeable shift in the film's tone comes at the end when Jang Lee shows up. Our two heroes have reconciled their differences, the main plot is over since all the remaining Japanese ninjas are dead and now a common foe must be fought. Jang Lee plays the clown as a pompous priest who uses spirit summoning as his kung fu style. He's out to avenge the defeat of one of his students by Conan earlier in the film. He first sends a couple of lackeys to fight and then jumps in himself before meeting with an explosive end.

Ninja in the Dragon's Den is a top-notch martial arts film that deserves to be seen repeatedly. Now I must qualify this statement. The film's humor may grate some hardcore martial arts film fans while casual viewers could be disappointed that there are not more wild ninja high jinks. But for the rest who can recognize the mark of creative genius at its best, this film is an unequivocal pleasure to watch.

The Tai Chi Master tells the story of Yang Yu-qian ( also spelled Yang Lu-chan), Qing-era founder of the Yang style of Tai Chi, during the years where he mastered this style before founding a school. This 2005 release is a two-hour movie, edited from 25 original episodes of the Master of Tai Chi television series. Wu Jing, whose abilities are greatly missed on the international stage, delivers a brilliant performance as a young Yu-qian.

After learning about a powerful style of kung fu known as Tai Chi and only taught to members of the Chan family, kung fu practitioner Yu-qian sneaks into the training area in disguise to watch the clan master, Chan Ching-ying (Yue Hoi) at work. He inadvertently befriends Chan's cross-dressing daughter (Amy Fan) and gains her help in continuing to learn the style. When Master Chan is assaulted by servants of a Qing lord (Billy Chow) who is obsessed with besting Tai Chi, Yu-qian comes to his rescue and in doing so, gains recognition as the first outsider to be accepted as a pupil. As pressure increases on Master Chan to fight with the lord, Yu-qian puts his newfound kung fu expertise to use in a multi-level, pagoda-style match arranged by a Qing princess who is attracted to him. After Master Chan is forced into accepting a death match with the lord, Yu-qian steps in to fight in his place.

Chinese television series may be where most of the martial arts action has been taking place since the mid-'90s, but the quality is generally sub-standard with rushed shooting schedules, stock footage used, non-martial artists starring, and sappy soap opera drama geared more for aging housewives than your average genre fan. Yuen Wo-ping and fellow directors Yip Chiu-yee and Lee Kin-wu beat the tar out of this preconception with a series that effectively transplants the Yuen style of kung fu action to the small screen and delivers everything else on a similarly high level of excellence. But what is so amazing is that I daresay, Master Yuen and brother Yuen Cheung-yan have outdone all of their previous work.

When it comes to the kung fu action the brothers Yuen have provided a textbook on screen fighting excellence. Every single fight scene, many of them long, are exceptional and without fault. They have found the perfect blend of old school and wire fu and advanced the kind of action seen in the likes of Iron Monkey to new levels. The line between the two styles shifts back and forth slightly, but never goes astray. Even the pagoda scene that could have become a cheap rip off of Bruce Lee's Game of Death takes on a life of its own. Lee might have disagreed with the subversion of his theme on adapting to the fighter, but tai chi has never looked so good when set against a pure strength, stick fighting, drunken boxing, and even a female ninja. And arguably, the Yuen's uphold the spirit of Lee's vision by showing how a practitioner could use an internal style to adapt to different fighters, rather than an external one.

I'm no expert on tai chi, but this mostly internal style is chiefly about turning an opponent's strength against them in regards to combat and The Tai Chi Master shows this in ways that will make anyone who cares cry tears of joy. The whole idea of "sticking" to your opponent and deflating their attack strength is repeatedly illustrated in jaw-dropping scenes where Wu Jing gracefully floors one opponent after another as he exploits joints and glides in with elbow attacks and throws. The Yuen brothers just make this more authentic action better by dropping it in dramatic settings like an arena filled with swords dangling from string and adding their patented wire work and playful camera work.

It really helps to have competent screen fighters and this series has plenty, including a few recognizable big screen stars. Wu Jing excels in his role, delivering beautiful execution of Tai Chi forms and acting with an easy charm. He mostly missed out on the '90s kung fu movie boom in Hong Kong, but here shows why he has become the heir apparent to superstar Jet Li. Yue Hoi, a champion martial artist and one of Mainland China's finest screen stars who has been at since Shaolin Temple (1982), performs like a man half his age. This veteran will probably never receive the kind of international recognition that he deserves, but at least we get to see him in this role, where he gets to show his lighter side with some comical bathtub kung fu, in addition to the wonderful fighting he performs. Though playing a villain of weak spirit, Billy Chow of Fist of Legend fame shows that he's quite strong when it comes to fighting fierce. Shaw Brothers devotees will even get a chance to glimpse at screen-fighting veteran Kara Hui (My Young Auntie). Unfortunately, her screen time appears to have been cut short in this version. The rest of the cast appears to be filled out by a mix of veteran television stars and wushu artists.

Great kung fu alone makes The Tai Chi Master essential viewing, but everything else matches this level of quality. As for this version, Frank Djeng and his cohorts at Tai Seng (for whom I am ever so grateful) have done a fine job of editing this series into a two-hour movie. The pace is understandably a little too fast moving and the characters a bit underdeveloped. Yet these are small gripes. Anyone interested in the full series can pick it up non-subtitled on VCD. This, however, is a welcome chance to see Chinese television production and kung fu screen fighting at their best and in a form where you can actually follow along.

Review: No weapon in all of the martial world is more feared than the notorious Flying Guillotine, a spinning metal disc of death that whistles like a band saw before it drops onto a luckless victim's head and uses razor-sharp blades to remove it from their body with a swift tug on the attached chain. The weapon is lightweight, collapsible, and accurate up to one hundred paces in the hands of a trained assassin. It's origins spring from a historical account concerning the creation of a secret order of imperial assassins trained in secrecy to eliminate Manchu Emperor Yung Cheng's political enemies. In 1974, Shaw Brothers produced The Flying Guillotine, the first and greatest of four films from various studios to put this marvelous weapon to use onscreen.

The flying guillotine is a fabrication, but the events surrounding its use are apparently not. Rather than make a wuxia fantasy where such a weapon would struggle to draw attention among spinning, magical swords and lanterns that emit poisonous webbing, director Hoh Mung-wa puts this outrageous weapon against a historical backdrop where characters possess real motives and fears. Most comparisons to Jimmy Wang Yu's knock off, Master of the Flying Guillotine are like night and day. While this unofficial, independent sequel released two years later is highly entertaining, it's complete camp that makes no pretense to being a serious film. In contrast, Meng-hua masterfully weaves fantasy into a robust period adventure with enough skill that you may find yourself cowering under a table the next time you hear the blender.

Given an ultimatum by Emperor Yung Cheng (Kong Yueng) to quietly make a pair of well-liked ministers disappear, Xin Kang (Guk Fung) invents the flying guillotine and begins training a group of guards loyal to the emperor in its use. Once trained, the group begins assassinating the Emperor's enemies. But trouble brews for several members of the group grow disenchanted with killing good men as an ambitious spy within their ranks sets the Emperor against them. As a result, the most gifted member, Ma Teng (Chen Kuan-tai) is marked for death and makes a narrow escape. With his former comrades in dogged pursuit, Ma and an attractive street performer he marries, go on the run for two years until they are finally forced to fight back.

It may come as a shock, but the story and acting performances are very good, well above the standard for genre films. First, no one is presented as a superman. Each of the guillotine users are initially described as possessing basic kung fu skills. Chen Kuan-tai is suitably heroic when the time is right, but spends as much time running as he does fighting. There's no ego here. He simply wants to get away and lead a normal life. This leads into the main characters' motives which are all tied together perfectly. The Emperor is both fascinated and terrified of the guillotine and the men who use them. He nervously teeters between praise and ruthlessness. The spy is played wonderfully by Frankie Wai who is both jealous and ambitious and plays the Emperor's fears against his enemies. Guk Fung is brilliant as a man whose only motivation is the preservation of his life and that of his family. At this time, the Emperor would often promise to kill a subordinate's family as the price of failure. You can see Fung's desperation as he violently kowtows to the point where he repeatedly bashes his bleeding forehead on the ground. Wong Yu has a small role as a guillotine fighter who cracks under the strain of killing innocent people.

Then there is the beautiful Lau Ng-kei. It's not so much her acting that stands out, although she is well-paired with Kuan-tai, but how Meng-hua juxtaposes her struggles with Kuan-tai's. She doesn't fight, but in two excellent scenes where Chen does, we see her struggling to distract attention away from Chen while singing and dancing and later bringing new life into the world while Chen fights for his own life just outside. It's this kind of editing that adds new dimension to the combat by making it more immediate and vital.

The ability to land a small disc on someone's head and chop it off from a distance requires some serious suspension of disbelief, but it looks about as good as it could without today's CGI. With multiple beheadings, the film rates as fairly gory, although it's not excessively gratuitous. It's nice to see that the guillotine isn't overused and does have faults. In several cases, Chen and his opponent resort to simple kung fu sparring after shattering their guillotines. The actual choreography isn't great, but what makes up for it is intent. When Frankie Wai challenges Guk Fung in a small room towards the end, it has greater meaning as a result of what the viewer has already learned about the two.

The Flying Guillotine is truly a martial arts masterpiece. It has the best of everything that Shaw Brothers possessed, save for Lau Kar-leung's choreography, and goes a few steps beyond with the script. In every case, Ho Meng-hua builds a strong relationship between the action, the characters, and the story while introducing a new and fantastic visual element. This is what sets the film above many other kung fu classics.

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

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

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

As the story continues, Brother 5 finds his way to a hunter's home and the first of the film's greatest fights begins. Director Lau Kar-leung makes an appearance as the general turned hunter who sacrifices himself to save Brother 5. It won't take long for Jackie Chan fans to see similarities to the choreography in this film in comparison to "Drunken Master 2" which Lau is credited for directing even though he left midway through production. What sets Lau's best fights apart from the pack is the amount of sheer energy and creativity unleashed as men and props are thrown together in an inconceivably fast and furious display of traditional martial arts and dynamic stunts. This film is even more remarkable because the fights start out strong and just keep getting better.

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

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

Review: By 1974, writer/director Chang Cheh had already established himself as the leading martial arts filmmaker in Hong Kong with a string of hits, mostly swordplay and contemporary martial arts actioners. Of course, much of this success was due to the masterful kung fu choreography of Lau Kar-leung and Tong Gaai, and also two of Chang's first-generation superstars Ti Lung and David Chiang. But in this year, Chang practically reinvented himself as a filmmaker by turning his attention to the subject of Shaolin kung fu. Films like The Savage Five, Men from the Monastery, and Shaolin Martial Arts began a new trend that betrayed the growing influence of Chang's prized action director Lau Kar-leung, himself a real martial descendent of Shaolin kung fu.

Five Shaolin Masters is one of Chang's last and best Shaolin films produced in '74. It's an epic kung fu classic featuring an ensemble cast of traditionally heroic and villainous actors representing Chang's first and second generation of favored talent. But most importantly, the film is specifically engineered to fill the screen with phenomenal martial arts action from start to finish with a wide variety of actual Shaolin kung fu styles.

Shaolin Temple, released two years later, is a direct prequel to Five Shaolin Masters and it's therefore recommended that viewers consider watching that film first. It's Chang's version of the destruction of Shaolin Temple by Manchu forces and the birth of five heroes who emerged from its ashes. Five Shaolin Masters begins with the scattered heroes, all senior students but not actual monks, fleeing from Manchu forces. The noble Tsai (Ti Lung), the child-like Ma (Alexander Fu Sheng), his chiseled rival Li (Chi Kuan-chun), the quiet Fang (Mang Fei), and their leader Hu (David Chiang) split up to meet with several independent groups of anti-Qing rebels in order to bring them together.

Hot on our heroes' trail are the Manchu led by seven kung fu fighters with unbeatable skills. There is Pao Yu-lung (Choi Wang) with his deadly Flying Axe, Chen Wen-yao (Kong Do) and his twin assistants wielding 'police' batons, Mantis Fist expert Chang Chin-chui (Fung Hak-on), the powerful Chien San (Leung Kar-yan), and Shaolin traitor and master of the Plum Blossom Palm Ma Fu-yi (Johnny Wang).

After a daring rescue of Chao-hsing, who had been captured by the traitorous Fu-yi, the five Shaolin students go into hiding for a year in order to master their own styles. They emerge with a plan to trap and isolate the Manchu fighters in order to defeat them and rejoin the rebellion against the Manchu government.

If there was ever one film more rewarding for fans of Shaw Brothers and old school kung fu than Five Shaolin Masters, then someone please enlighten me. Chang Cheh is at his very best on this one, which possesses the big production feel of his older films and the group camaraderie among kung fu screen legends that dominated his later films starring his third generation of talent, the Venoms. And what Chang really offers his audience is a dream team challenge with some of the era's top screen-fighting heroes pitted against the top screen-fighting villains. The whole film is entertaining and saturated with great action scenes, but everything is a lead-up to the final match, a supreme battle of the masters that is pure, unadulterated bliss.

Rather than run through the entire film, it should suffice to layout what can be expected in the big showdown at the 'SB' corral. The setting is a picturesque riverbank with a shallow body of water and an adjacent, grassy field. Seven fierce Manchu warriors emerge to face our heroes, all dressed in white. The perfunctory exchange of taunts precedes a rush by the Shaolin masters who quickly target their desired opponent and draw them apart.

Ti Lung wields a short staff against Choi Wang, who has been shredding luckless victims throughout the movie with an axe blade tied to the end of a rope. Choi's handling of the difficult weapon is superb, but Ti has a few tricks to counter it.

Alexander Fu Sheng has been playing a bit of a fool up to this point, but having mastered the Tiger and Crane style, he is charged with the important task of subduing the traitorous Johnny Wang. It's payback time following an embarrassing defeat suffered by Fu Sheng earlier.

David Chiang has mastered the chain dart, another difficult-to-wield 'soft' weapon capable of piercing multiple bamboo stalks and any bodies that get in the way including Kong Do and his twin goons, assuming they let him.

Chi Kuan-chun has the difficult task of challenging Fung Hak-on and his Mantis Fist, a style the actor frequently employs in his films. Kuan-chun's answer comes in the form of not one, not two, or even three styles, but a whopping ten.

Last up is poor old Mang Fei who is sorely underused in this film, but still has to contend with 'Beardy' himself, the great Leung Kar-yan. Both their characters and kung fu seems like more of a sideshow attraction compared with everyone else, but Mang manages some good, ground-level legwork while Leung is certainly no slouch.

Lau Kar-leung student Gordon Liu deserves special mention for what amounts to a cameo as a long-haired rebel who comes to Mang Fei's aid by taking on Leung Kar-yan. Taking this and all of the other battles into account, this film is a smorgasbord of celebrity match-ups almost too good to be true.

Five Shaolin Master: own it, watch it, love it. If kung fu, old school with a screen full of talented and charismatic martial arts legends trading expertly-choreographed blows with fists and exotic weapons sounds like something worth seeing, it is. Even it if doesn't, it is. Chang's direction is spot on, the soundtrack is zesty, the camerawork delivers long takes and dynamic motion, there's lots of bare-chested hunks for the ladies, and the action from Lau Kar-leung and his brother Kar-wing is relentlessly outstanding. There's nothing worth complaining about and everything to like in this masterful classic.

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

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

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

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

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

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

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

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

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

REVIEW:
This film has received a lot of hype, some of it is justified and some of it isn’t. The film was a huge success in Japan and it’s not hard to see why. This film is an exercise in pure style, not that there’s anything wrong with that. The plot here is not important and neither are the characters, but the action is what everyone wants to see and this film delivers in spades.

The first image to appear onscreen is a blood-splattered samurai ready to deliver the smack-down to a load of undead samurai. The build up to the eventual ass-kicking is awesome and when he does let go, he slices and dices like a true professional. I know zombies aren’t the most mobile of creatures, but to see him hack his way through them all is pretty damn cool. Once he’s hacked his way through the zombies, a mysterious figure stands near the edge of a river. The samurai attacks him and is dispatched in a fairly vicious manner.

We move on to the present where two criminals are running through a forest. They meet up with a group of Yakuza in a pre-arranged location. One of the criminals, only known as Prisoner KSG-301 (Tak Sakaguchi), decides to ask too many questions, especially when a young girl is introduced (Cheiko Misaka) for an undisclosed reason. When 301 decides a young girl like that should not be involved in any of this he shoots one of the yakuza and a stand-off ensues. The dead yakuza member suddenly comes back to life and proceeds to choke one of his comrades. The zombie is put down after the rest unload their bullets on him. The leader then shoots the other criminal and waits for him to come back to life so they can shoot him again. 301 takes off with Cheiko during this time and the yakuza follow, resulting in more zombie action. The yakuza meet up with their boss (Hideo Sakaki) and attempt a coup, but find he’s a lot tougher than they think. It turns out Hideo has been waiting for the girl to reincarnate so he can have supernatural power. We finally have a standoff between 301 and Hideo that results in one of the best swordfights ever committed to film.

Versus is just one hell of a ride. It’s a whirlwind of guns, kung fu, swordfights and blood-splattered gore. Ryuhei Kitamura has a great visual eye as his camera whirls and tilts around the action. Tak Sakaguchi looks like he just stepped off the cover of a Calvin Klein ad, but he gets better as the film progresses. Hideo Sakaki is such a kickass villain that l almost wanted him to win, which reflects how good he really is. The rest of the cast do relatively well with their roles. Cheiko Misaka is stuck with the helpless girl role, but there are plenty of other fighting chicks in the film. Kenji Matsuda plays his role so over the top that it starts to border on annoying and his facial expressions are just ridiculous. There were an extreme amount of poses in this film and I lost count. The soundtrack is like prodigy with 80’s metal mixed in for good measure. All said, this film is a rush to watch and reason enough why I have to see it again.

REVIEW:
There are three things your normal action hero could never get away with. One, carrying an umbrella in the rain. Two, wearing a Band-Aid on his face during three-fourths of the film. And numero tres, getting in a fight with a bunch of dudes at a Japanese gym, all of whom are wearing two-toned, ultra tight striped boxer shorts. But then Terri Tsurugi is not your normal action hero. In fact, he's not really a hero at all. More like a uni-browed nightmare.

"Return of the Street Fighter" is the second installment of the trilogy, and quite honestly, is one of the few sequels that can hang with the original if not exceed it in exploitation excellence by an inch. If the plot sounds familiar that's because it is. Although not as creative as the original, it contains many of the same elements. Terri is assigned a mission by the Japanese mob, he disrespects them, they think he knows too much, he needs to be killed, etc. The thing that makes "Return of the Street Fighter" so different is the direction and cinematography.

Shigehiro Ozawa, who directed the first "Street Fighter," took a different approach in this installment, which includes enough hand-held camera work to make P.T. Anderson take note. It's no wonder that if you were to ask most indie or exploitation movie buffs which Chiba flick is their favorite they will probably reply "Return" over the original and hands down over "Revenge" (the third installment). "Return" seems to have that punk rock moviemaking energy that makes action films enjoyable. The beginning sequence where Terri is on the run from the cops is just cool '70s filmmaking. It's sad that this was Ozawa's second to final film, as he seemed to be carving his own niche as an action director.

The only disappointment with the sequel is that it lacks the over-the-top action that the first contained. I mean let's face it, Sonny Chiba isn't exactly the most graceful bird in the flock. He needs a gimmick action-wise. Don't get depressed though, "Return of the Street Fighter" is going to fulfill that good old homo-sapiens craving for violence, just with a lot more style and a little less substance.

REVIEW:
MR. VAMPIRE 2, which was produced by Bo Ho Films (Sammo Hung's production company, is an underrated classic. This film is actually better than the first one. The late, great Lam Ching Ying reprises his role from the first film while Yuen Biao stars in this classic.

The story is that of an archaeologist with two goons who find three vampire bodies (A man, woman and son) that they decide to steal and therefore make money. However, when the little one goes missing, everything goes wrong. Although I won't further explain the film's plot for you as to ruin it, I will explain why this film is better than MR. VAMPIRE.

First, Lam Ching Ying, of course gives a great performance. But the real surprise is the range of Yuen Biao's acting skills that would come to the fore in such classics as ON THE RUN and THE ICEMAN COMETH.

Since MR. VAMPIRE 2, unlike the first one, is set in the present day, this makes the jokes more accessible, but also the screenwriters including Wu Ma, make some poignant social commentary about the fear of loneliness, the disgusting treatment you get from others for being different to each other. And also (which is now a potent issue in some countries) about refugees being targeted. However, the social commentary does not dominate the film but is quietly integrated in the film, so repeated viewings are essential.

The acting in the film is tremendous by everyone, especially Yuen Biao and Lam Ching Ying; the direction by Ricky Lau is flawless, especially the way he integrates dark blue colors and the soundtrack will move you to tears and laughter. It is that good.

Since this film is less than 90 minutes long you will feel sadness that this film will have seemed to have flown past you but also happiness in watching such an underrated gem of a film. A classic of all time but also one of the most underrated. This film is way better than the first one.

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

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

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

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

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

REVIEW:
I have to admit to not really being interested in Shaw Brothers films previously. They're the sort of films that you either love or hate. I guess the biggest criticism that's aimed at them is that their fight scene's are too slow. Not really knowing where to start, I decided to go with a film called Boxer from Shantung and did it ever kick my ass.

The story starts out as two young men from a poverty stricken background come upon the town of Shantung in hope of earning money and riches. The elder of the two men, Mai Yung Jung (Chen Kuan Tai) is an expert practitioner of kung fu and also a philosopher. He believes they will both make it rich through hard work and perseverance. They come upon a local gangster (David Chiang) who has some connection with Mai Yung Jung and he gives them some advice. Mai Yung Jung then comes upon a group of men who are fighting and is immediately told to mind his own business. Mai tells them he doesn't like to fight but if they insist on doing so then he'll oblige them. He then duly opens up a can of whoop ass, breaking their leaders arm and kicking the ass of his right hand man.

It is not long before Mai Yung Jung proves himself as a force to be reckoned with and is elevated to the status of gang leader as he begins to inspire a few followers. The leader of the other criminals has plans though, that don't include Mai Yung Jung so he set's about killing off the competition and finally killing off Mai Yung Jung in what may be the bloodiest kung fu fight of all time.

I'll save time by saying that this is an absolute CLASSIC. Shaw Brothers have many of them I know but this film will kick your ass HARD. The final bloody fight is a wonder to behold as Mai Yung Jung just won't die, even after taking an axe to the stomach for chrissakes. Just when you think he's going to die he somehow manages to find the energy from GOD knows where to keep going. I mean, this guy was Bruce Lee on speed, it's possible this would've been the kind of film Bruce Lee would've made had he joined Shaw Brothers. Either way, it's brutal, bloody and must be seen to be believed by any kung fu fanatic.

Review: Have legendary filmmaker Ng See-yuen bring together two unknown superkickers named John Liu and Hwang Jang-lee, together with the well-rounded and charismatic Don Wong Tao and you have something special. Add incredibly talented crew including master action directors Chan Chuen and Tommy Lee, and the dynamic acrobatics of Yuen Biao as stunt double and you have one of the greatest kung fu classics of all-time. Thanks to some truly inspired legwork, Secret Rivals is also the undisputed king of kicking!

At the time of its release, Secret Rivals could have been just another small wave in a sea of martial arts films produced in Hong Kong. Shaw Brothers films were masters of the box office and everyone was still obsessed with recreating the magic of Bruce Lee three years after his death. This upstart production was the creative genesis of an independent filmmaker named Ng See-yuen. His claim to fame was directing a series of solid, yet generally unremarkable films in the early '70's. His greatest gift as a kung fu filmmaker may have been an uncanny knack for surrounding himself with the most talented people. Early on, he worked alongside emerging choreographers like Yuen Wo Ping and Tommy Lee. He flirted with using quality stars like Yasuaki Kurata and Chan Sing, but Secret Rivals proved to be a major turning point.

Enter 'Silver Fox.' To this day, Korean Taekwondo master Hwang Jang-lee is still known by this name, or 'Northern Leg' as he was also called in the film. It was the screen debut for this already seasoned bootmaster, brawler, and one-time military combat trainer, and what an impression he makes. Don't let the goofy silver wig and headband fool you, this guy displays physical skills and natural charisma that most action stars would kill for. This was likely See-yuen's effort to find someone to match Bruce Lee, but he was smart enough not to attempt to replace him. Jang-lee doesn't use some of the trademark leg moves he would incorporate in later films such as the mounting aerial kicks and leg locks, and like most of his films he's used sparingly, but no matter. Kung fu fans know and love the real deal when they see it. Jang-lee's power, speed, and dexterity when kicking is immeasurable. His arm work, usually employing Tiger or Eagle Claw should not be overlooked either. Watch a brief exhibition sequence where he performs speedy hand work followed by a long series of spinning kicks and you will surely be amazed.

The heroes of the film are Don Wong Tao and John Liu, two more relative newcomers picked by See-yuen. After separately converging on a small Korean town to seek out and destroy Silver Fox, the two develop a nice little rivalry based on their shared interest in a local girl. John Liu is the more tortured of the two, having frequent flashbacks of his family murdered at the hands of Silver Fox. It's inevitable that these two cross fists and feet. When they face each other we are treated to another excellent exhibition as both fighters show off their strengths. John Liu's dexterity and jaw-dropping legwork are countered by Wong Tao's strength and form. Shame on the girl who disrupts their ensuing match before it really gets interesting. Thankfully, the two swap blows later before jointly facing Silver Fox. This film provides some of the best performances from both of these stars' careers.

The plot is very simple, but mostly works to the film's advantage. Like Sergio Leone's Westerns, See-yuen knows how to use his resources for maximum effect without dwelling on shortcomings such as a noticeable lack of extras and murky explanations for our heroes' motivations. The backdrop of a martial arts contest hosted by an official and friend of Silver Fox provides little distraction from the real confrontation, mostly because our heroes are not participating, that is until Don Wong Tao decides to impress the official in order to get close to Silver Fox. This provides the film's most colorful moments when a big, hairy caricature of a European fighter shows up to terrorize little children and hurl insults at everyone in sight. Don Wong knocks him down a peg and sends him running away like a scared rabbit. This would be the film's only diversion from the main action, but it is appropriately short and humorous.

The final pay off with Jang-lee versus Wong Tao and John Liu becomes a wonderful whirl of fast-moving limbs without any cheap gimmicks such as wire use or gratuitous camera tricks. But whenever Silver Fox flips head over heels, its more than likely Yuen Biao stepping in. Few kung fu stunt doubles in Hong Kong, save for Yuen Wah are capable of the gymnastics seen in this film. One scene in particular is guaranteed to be a rewind moment. Biao leaps over a railing in a single roll and lands on his feet. He then cartwheels once and launches impossibly high into another tucked roll just as John Liu slides underneath.

Secret Rivals is an amazing kung fu classic that firmly established the careers of its stars and began a stunning run of outstanding films from Ng See-yuen who went on to draw from the best emerging talent including Jackie Chan. The film also proved Taekwondo and all high-kicking arts to be some of the most exciting to watch on screen, especially when performed by true masters of the craft. With no reservations, this is a landmark title and a must see for any fan of the genre.

REVIEW:
A Touch of Zen is a stunning and poetic film that further established the standard for the wuxia or swordplay genre after King Hu's landmark film, Come Drink with Me was made for Shaw Brothers in 1966. It's long and slow at times, yet beautifully shot and builds up to one of the best and most effective action finales, period.

The film plays out in two acts and even appears to have been originally released as two films. Part One begins with an introduction to Ku Shen Chai (Shih Jun), a scholar with few ambitions who lives with his mother on an abandoned estate, part of which is rumored to be haunted. He meets a mysterious man named Ouyang Nin (Tin Peng), a stranger to the village who who is revealed to be an officer looking for two wanted criminals named Yang Hui Ching (Hsu Feng) and General Shih (Pai Ying). These two are trying to escape from the grasp of a corrupt high official named Eunuch Wei after Hui Ching's father had attempted to warn the Emperor of Wei's crimes. The two hide out on the abandoned estate where Shen Chai awkwardly courts the woman with his mother's aid. As Nin's men close in, Shen Chai vows to aid them by putting his knowledge of military strategy to use in defeating the enemy's superior numbers. The story reaches a mid-climax in a bamboo forest as our heroes engage Ouyang and his men, reducing their numbers piecemeal. This is the famous scene that supposedly inspired Ang Lee's "balancing on bamboo" moment in Crouching Tiger, Hidden Dragon (2000). Hu's scene actually plays out very differently, but is no less striking.

Part Two begins by replaying the struggle in the bamboo forest. This leads to a second memorable encounter on the estate as Shen Chai effectively uses the ground's reputation as being haunted to upset the attacking troops and unleash a series of deadly traps. In a "morning after" scene, Hu brilliantly displays Shen Chai's near madness as his obsession with his own cleverness gives way to revulsion when he suddenly chooses to see the victims of his traps. The film switches gears at this point when Hui Ching and Shih journey back to Shaolin Temple where they had been previously hiding for two years. Shen Chai searches for Hui Ching, but he is rejected by her when she chooses to become a nun. She does leave behind their infant son as a gift to his mother, which allows the family name to continue.

Although the movie might have easily ended here, a final struggle remains. A warrant is out for the arrest of Shen Chai, who escapes after Hui Ching and General Shih intervene. Eunuch Wei's chief commander, Hsu (Han Ying Chieh) challenges the pair with his two sons, one of whom is played by a young Sammo Hung. Thus begins an incredible battle that culminates in a brilliant stand-off between Hsu and Shaolin's Abbot Hui Yuan (Roy Chiao Hung).

There are two main aspects of this film that make it a masterpiece. One, is director King Hu's ability to get into the minds of his characters and effectively expose the viewer to the same experience. For instance, through the use of artful editing, character development and good acting, you understand the awe and fear that Shen Chai experiences. Even more effectively, you see the villains as more than just pure evil. They experience doubt and awe and Hu plays on this to create a surprising reversal at the end. This leads to Hu's second aspect of genius which is the tightly strung reverence with which the Shaolin monks are held in. This is not to say that they are portrayed in a realistic light, but their martial abilities are given a spiritually serene tint unlike what you have likely seen in films subsequently. Veteran actor Roy Chiao's performances as Abbot Hui is in my mind the ultimate manifestation of Shaolin martial power. Sure he fights, but it is his show of restraint, piety and calm that are his most impressive qualities. This is the crux of the film's message which is highlighted in the closing shots.

There are a couple of things that I do not care for. The shear length is daunting and a good portion of the running time, especially in the first third of the film is taken up by extended scenes that could have been trimmed. Also, Hsu Feng's character remains intentionally cold and distant throughout the film. Subsequently, her relationship with Shen Chai lacks the immediacy or emotional depth that I would have preferred.

Just about everything else on the film is well done. The cinematography, lighting and editing is excellent. It takes nearly an hour for the action to kick in, but it gets progressively more exciting from there and the choreography is very impressive for the era. Aptly titled, A Touch of Zen is a potent film that has aged well and although clearly an inspiration to modern filmmakers, it still contains a depth rarely if ever tapped in martial arts cinema.

SYNOPSIS:
In the near future, Toby Wong (Mark Dacascos) is a rogue Chinese assassin with a performance enhancing bio-implant who convinces a reluctant Malik Brody (Kadeem Hardison) to help him reach an organization interested in buying the device. The pair begin an action-packed road trip as they evade hired assassins while encountering crooked cops and a quirky, young seductress (Brittany Murphy).

REVIEW:
Without a single reservation, Drive is the number one American martial arts movie of the 20th century. But let's step back first and put this into perspective. "Martial arts movies" have only existed within the U.S. since 1967 when Tom Laughlin introduced 'Billy Jack' to the world with his indie hit The Born Losers. The genre didn't catch on locally until Bruce Lee lit the screen with Enter the Dragon in 1973. Since then, Hollywood has produced a fair share of martial arts films, a few actually being moderately good. But nothing compared with the absolute mastery of action pouring out of Hong Kong from about 1965 to 1997. It was with the emergence of filmmakers like Jackie Chan, Sammo Hung, Yuen Wo-ping, and their many talented contemporaries who created hardcore action from about 1978 to 1994 that pushed stunt work and choreography to the absolute physical limits of the human body. It was the reverse of Hollywood production that emphasized safety, technical advancement, and story development first.

Hong Kong's dominance over American action filmmaking didn't stop visual effects wizard-turned-director Steve Wang from creating a film that not only matches the best modern Hong Kong martial arts productions, but surpasses many of them. In fact, it only inspired him. Beyond Wang's vision, the keys to Drive's success are two men; action director Koichi Sakamoto and martial arts star Mark Dacascos. The strengths of this film could have stopped here and the production would have remained a worthy effort, but a very solid script from Scott Phillips and excellent performances from the supporting cast elevate Drive light years beyond its paltry $4.2 million budget. Modest in scale and overall presentation on the exterior, Drive doesn't look any more remarkable than most direct-to-video films until you actually sit down and watch it for 10 minutes and then you're either hooked or you have no business calling yourself a martial arts film fan.

Drive takes place at an undefined time in the near future, a place where video greeting cards and bio-implants are not unusual. Until the final moments of the film, the filmmakers smartly steer away from attempting to visualize too much in the way of futuristic elements. Instead, the focus is on a conventional, but exciting road trip beginning on a cargo ship where an assassin from Hong Kong named Toby Wong (Mark Dacascos) arrives in America. He's just gone AWOL from a criminal organization that breeds super assassins who all possess a mechanical device in their chests that enhances their reflexes and strength. After a fierce fight that establishes Wong as a man not to be taken lightly, he retreats to a bar. Here he picks up an innocent bystander named Malik Brody after a long-haired assassin in cowboy boots named Vic Madison (John Pyper-Ferguson) catches up with him. Wong and a reluctant, but always wise-cracking Brody hop into a monster '73 Dodge Challenger and hit the road. The pair are stopped by crooked cops who hand-cuff the two together and leave them to fight it out with Vic and his thugs before they make a spectacular getaway. Wong and Brody eventually hook up with a bubbly brunette armed with salacious charm named Deliverance Bodine. She's played to perfection by Brittany Murphy (Just Married) who manages to pull off being humorous, immature, insane, and desirable all at the same time.

The film hits a big climax midway through as Vic, his oddball sidekick (Tracy Walter), and a mob of masked thugs with stun sticks barge into a motel room for a pitched close-quarter battle with Wong, followed by more martial mayhem and blistering bullet exchanges in a car garage. An explosive finale sets in motion the final chapter as Wong's former boss sends an 'Advance Model,' played by Japanese actor Masaya Kato to finish the job. Wong and Brody's last stand takes place at a futuristic karaoke bar called Apollo 14 where motorcycle thugs, Kato, his entourage of assassins, and good old Vic converge for an advanced session in pain dissemination all around.

Major kudos to Alpha Stunts, the team of Japanese stuntmen led by Koichi Sakamoto (Power Rangers, Savate). These guys trained under the great Yasuaki Kurata and after performing in this film are equals to any Hong Kong stunt group including Sammo Hung or Jackie Chan's outfit. The choreography and execution of fighting is stunning, especially considering the limited time available. All of the fights are outstanding, although the motel brawl and the film's final match are extra special. This is action really done Hong Kong style, old school. There may be more cuts in keeping with modern editing practices, but it doesn't diminish the fact that these boys move like lightning and take hits and falls with as much flair as anyone could ask for.

Although he had been around for some time, this is the role that finally puts Mark Dacascos (Brotherhood of the Wolf) firmly on the register as one of the world's top martial arts actors. No one can doubt his skills after watching this film. As Koichi mentions in an interview, Mark does it all; kicking, punching, flipping, you name it. He's got speed, power, and grace. I have to admit that he played his character a little too stiffly, but for a genre film it doesn't really matter. We're all here to see ass-whooping and Mark delivers the goods.

Apart from the action, the film itself is surprisingly entertaining in character interactions and humor. The story starts out pretty standard with the usual setup for another cross-cultural buddy movie much like Rush Hour. But twenty or thirty minutes into the feature, the characters really begin to leap out of their conventional modes. Kadeem Hardison (Vampire in Brooklyn) is the film's chief comedian and delivers a regular stream of decent one-liners, mostly adlibbed. In addition to Brittney Murphy's surprisingly fun character, John Pyper-Ferguson turns what could have been a thoroughly generic villain into another memorable character with his own quirks whom audiences could almost sympathize with.

Drive is a rare film. Its low budget and only managed to get an edited video and cable television release in the U.S. Yet, the action is superb, the acting and story is solid, and even the production values that include numerous sets, models, and convincing explosions seem better than they should be. Why this film has seemingly been suppressed when subsequent action sewage like XXX is plastered everywhere is an injustice. Director Steve Wang (Kung Fu Rascals, Guyver: Dark Hero) ultimately deserves credit for taking his love of kung fu movies and turning it into such a respectable Hong Kong-style martial arts film made specifically for the fans. Its the kind of action fans may well be looking back on for years and marveling at as more and more computer effects, wires, and sophisticated editing replaces any semblance of physical prowess.

TECH:
Audio commentary by Steve Wang, Koichi Sakamoto, Kadeem Hardison, & Mark Dacascos that is nearly as entertaining as the film itself; trailer for Drive; photo galleries; interviews with Mark Dacascos, Steve Wang, Wyatt Weed, Koichi Sakamoto, & Kadeem Hardison; profiles of Mark Dacascos, Kadeem Hardison, Brittany Murphy, Steve Wang, & Koichi Sakamoto; 4 deleted scenes & 2 extended scenes; and a 48 minute Making Of featurette with additional cast and crew interviews and outtakes.

Notes: This disc features the Director's Cut of the film which includes 16 minutes of footage (mostly dramatic scenes) omitted from the U.S. release and restores Walter Werzowa's original score. Picture quality is very good, but a few scenes exhibit lighting that limits clarity. The digitally mastered audio is excellent with very professional recording and folly work.

REVIEW:
Come Drink With Me rates as one of, if not the greatest martial arts film of all time thanks to a combination of King Hu's meticulous direction, Shaw Brothers' ample resources, and Cheng Pei Pei's mesmerizing performance. This film really revolutionized the martial arts film genre at the time of its release by boosting the production standards and level of action. Although Shaw Brothers produced the film and went on to create dozens of outstanding martial arts films themselves with the likes of director Chang Cheh, King Hu gets full credit for this masterpiece.

The story doesn't have as much punch today as it might have in 1966 since elements of it have resurfaced over and over again, but effectively casting a female in the lead is actually less common today then in the '50 and '60's era of Hong Kong. A 19-year old Cheng Pei Pei was cast by Hu to play Golden Swallow, the twin short sword-wielding protagonist who is sent to free her brother, a government official, from the grasp of ruthless bandits. Their aim is to have their leader freed in exchange, but Pei Pei lets them know, in a famous teahouse fight, that its not going to be played that way. The opening battle is actually the film's most memorable one. In a moment that has since been repeated in countless genre films, Pei Pei arrogantly displays her skills to a group of the bandits through several acts of supernatural ability. But, we soon learn that even her incredible skill is shadowed by an even greater hero who passes himself as a drunken beggar as played by Yueh Hua.

Despite Hua's subsequent success as a martial arts star, he may have been miscast as the wizened drunkard. This was only his second film after Monkey Goes West (1966) and even Pei Pei admits that the character was meant to be played by an older man. But, Hu managed to get the best performance out of him. Two bottles of wine before each scene and another actor's voice dubbing him helped to give the character more substance. Hua becomes Pei Pei's mentor and like so many films afterwards, she is drawn into a struggle between her master and a former associate with superior skills. The government's attempt to stop the bandits becomes secondary to Pei Pei's growth as a fighter and her mostly platonic relationship with the beggar.

In contrast to Hua, Pei Pei anchors the film with her performance. Her dancing experience, which helped win the role also contributed to her fighting scenes. They are nothing short of spectacular. Hu makes a point of pulling back the camera to show completely unedited movements that are fluid and graceful. Pei Pei's arresting beauty and solid acting performance clinches the role. Her distinctive costumes deserve mention as they help to define the character. According to Pei Pei, Hu dressed her in long gowns and large hats to make up for disproportionately long legs and a small head. For whatever reason, she is stunning and easily ranks as one of the best dressed heroes in martial arts cinema.

Hu's eye for detail extended not only to action and wardrobe, but also to set design and cinematography. The film's exterior scenes were shot in Hong Kong's New Territories, much of it wilderness and on SB's lots where they constructed an entire temple for the film. Interior sets were used for some outdoor locations, but they an artistic quality to them that makes up for any loss of realism. The most noticeable aspect of the film visually is that distinctive Shaw color. The film is vibrant and in restored condition, almost looks like a new production. Hu would go on to feature stunning outdoor cinematography to greater effect in independent films like A Touch of Zen (1971) and Legend of the Mountain (1979), but the camera movements, reminiscent of classical Japanese or Hollywood cinema are in full use.

Another interesting aspect of the film are the nods to Chinese Opera that is often apparent in Hong Kong period films. The inclusion of several songs that Yueh Hua supposedly sings are not only entertaining, but critical to defining Hua's character and moving the story forward. The soundtrack incorporates a lot of percussion along with orchestral music, further hinting at older musical traditions. Since so many subsequent films of the '70's used stock music or stolen clips from Western films, while modern films used synthesized scores, hearing an original orchestral score from this era on a Hong Kong film is quite refreshing. Some of the other elements such as Chen Hung Lieh's painted face and the mostly ballet-like action are more subtle examples of theater. Given more freedom away from SB, Hu developed his keen sense of staid theatrics even further.

In essence, Come Drink With Me is a very theatrical production, one that contrasts sharply with the direction that Hong Kong took their action films after Bruce Lee and his realistic fighting became popular in the early '70's. Yet, with an industry grounded so firmly in operatic roots, it wasn't long before filmmakers like Tsui Hark and Ang Lee looked back on this King Hu classic for inspiration as evidenced in most of the swordplay films of the early '90's and beyond. But, what is so intriguing is how beautiful this film remains, alongside overblown CGI films like The Duel (2000). For its level of influence and overall quality, this is the most significant swordplay film in history and it must be seen if you count yourself a fan of the genre.

REVIEW:
It’s not often that a Shaw Brothers film deserves the kind of cult status generally reserved for the likes of Kelly’s Heroes or The Dirty Dozen, but Anonymous Heroes is one such film. Ti Lung and David Chiang are supremely charismatic as roguish scrappers turned rebels with a cause while the film is perfectly balanced by director Chang Cheh’s violent male chivalry and the incredible martial arts choreography of Lau Kar Leung and Tong Gaai.

In the 1930’s, warlords are dividing up China in an attempt to control the country while rebels struggle to unify the country. A local warlord has just received a shipment of 3000 new bolt action rifles which will give him a tremendous advantage. In a rare role where he’s both a good guy and bereft of age enhancing wigs, character actor Ku Feng is a rebel looking for someone to aid him in stealing the rifles. He finds David Chiang and Ti Lung who play two wild and crazy guys quick with their minds, even quicker with their fists, and ready and willing to take on all comers. Apart from providing Shaw with a prerequisite pretty face, Ching Li joins the trio by offering to get her father, an officer in the warlord’s army to give her two trucks to carry the stolen rifles to a waiting train. Our heroes kidnap another officer and fake their way into the warlord’s armory. The mission nearly fails when procuring falsified authorization to take the arms nearly fails, but the weapons are finally loaded on the train. The warlord discovers the truth and is hot on their tracks until they derail, hide the goods, and slip into a neighboring city to meet their contact. After getting the goods to the rebels Ti, Chiang, and Ching make their final stand against the warlord’s forces.

Anonymous Heroes is the kind of rousing adventure film that you’ll want to watch over and over again. David Chiang and Ti Lung are amazing and it’s no surprise. They starred in dozens of films together, many under the direction of Chang Cheh, but mostly in traditional period kung fu or swordplay films. This is one of few films they all worked on in a 20th century environment. These fellows are in top form and it’s obvious that they work well together. One early scene depicts a rambunctious fight between the two that nearly brings their modest abode down on their heads. The combat involving some traditional kung fu with less emphasis on particular styles is outstanding and only gets better and more furious as the film progresses. Ti Lung is the more competent of the two when it comes to martial arts combat, but they both make terrific action leads that exude confidence.

Ching Li is one of the great kung fu queens of Hong Kong . She’s not in a fighting role, but is no less charming as the friend of Chiang and Ti. Ku Feng has probably never had a bad role thanks to his versatility and lack of overly distinctive traits. He fits right in as always with his slightly wizened demeanor.

Shaw Brothers puts on a good show when it comes to the actual production. 1930’s or ‘40’s era trucks and motorcycles are used while dozens of soldiers with rifles and bayonets, and even a train are put to good use. Admittedly, models used to depict the train derailing look pretty hokey and a few outdoor scenes are obviously indoors, but these complaints are negligible in the wake of the film’s greatest asset, the action. The use of guns is cleverly limited to allow for the maximum amount of hand-to-hand or bayonet combat. By the end, our heroes are holding off an entire army ordered to take them alive. Probably taking longer than they should have, a decision to open fire is finally made after countless solders are shot by our heroes. The film’s tone gets progressively more dire and tense as the odds become impossible. And like nearly all Chang Cheh films, a spectacularly bloody finale awaits the viewer. Lau Kar Leung distinguished himself in independent and latter Shaw Brothers classics featuring more lovingly authentic kung fu, but his masterful efforts on this early classic is noticeable. Likewise, Tong Gaai who excelled at large scale combat scenes featuring weapons use has a field day with masses of soldiers bearing bayonets on rifles.

This film is simply a blast. Chang Cheh’s later films with the venoms crew may be more popular in the West due to greater circulation up to this point, but early efforts like this one have the same examples of heroic bloodshed that influenced a generation of filmmakers, fine leads like Ti Lung and David Chiang, the highest production standards Shaw Brothers ever had, and superior action direction. With a veritable dream team of filmmakers, stars including Chan Sing, and miscellaneous extras including Yuen Wo Ping and Fung Hak On working on Anonymous Heroes, it’s no wonder that the film is so great. This is a must have for any action fan and a fine introduction to the Chang Cheh style of filmmaking for those new to the genre.

REVIEW:
More than any other effort before or after this classic, Bruce Lee magnificently earned his status as the greatest Chinese martial arts celebrity and certainly one of the most captivating film stars in history.

Genre fans know the story well. Bruce Lee plays Chen Jun, a fictional student of real life martial arts hero Fok Yuen Gaap who was apparently poisoned by Japanese in Shanghai during the 1930's. From here on the film breaks from history by following the exploits of Chen as he seeks to prove the worth of Chinese in an area controlled by foreign powers. Members of a Japanese martial arts school insult Chen and his brethren at the Jin Wu school, which only gives him an excuse to take out his frustrations on the Japanese. But he eventually learns that his teacher's death was actually the result of poisoning that was ordered by the head of the Japanese school. The stakes get higher as Chen kills the conspirators in a cold rage and becomes a fugitive from law. After learning that the Japanese have nefarious plans for the Jin Wu school, Chen attacks the Japanese, killing their leaders. Yet, his actions come too late when he returns to discover that most of his colleagues have been killed. With no one left to focus his anger on, he turns himself in to Chinese authorities before staging a triumphant final show of defiance.

Its amazing to truly consider the incredible influence this film has had on the Hong Kong film industry. Although Bruce was already a star after his turn in The Big Boss (1971), its tremendous success afforded him the opportunity to have much greater control over his next film with Golden Harvest. For the reason alone, Fist of Fury stands as the single most important work in martial arts film history. Credit for direction goes to Lo Wei who was a competent filmmaker, but was somewhat set in his ways while the film's official fight choreographer, Han Ying Chieh also came from an old school of filmmaking. On the other hand, Bruce had worked in Hollywood, watched many Japanese chambara films, and embraced all things new and daring. What happened when these two styles merged is both profound and disappointing.

On the positive side, much of the film from set design to costumes and music as well as fight choreography and acting managed to combine the best of both worlds. With twice the budget of Lee's previous film, Golden harvest went all out to recreate lavish indoor and outdoor sets meant to replicate the look of Shanghai in the 1930's. Some of the sets are obviously reused as new locations while a few real outdoor shots lack the same level of detail, yet its a minor gripe. Joseph Kuo's score is outstanding throughout the entire film. He manages to evoke Lee's emotional state in musical form, thus providing a perfect compliment.

Bruce was basically responsible for directing all the action scenes that he participated in. There is a clear distinction between his directing style and that of Ying Chieh and Lo Wei. For instance, Lee's greatest moment takes place in a Japanese dojo, surrounded by angry assailants as he proceeds to kick nine of them without a pause or edit. The shot is seen overhead from a dynamic angle rarely if ever used in Hong Kong films from this period. Other scenes shared similar traits. Yet, it was often Lee's movements or facial expressions that provided the most dynamic form of expression. Lee's style of fighting is hard, rough around the edges and more realistic in application. All of the action where Lee is involved is deliberate, but also infused with a sense of raw energy that cannot be matched by any other physical performance in film. Lee's intense acting is tied closely with the action. Its purposely accentuated and remains constant throughout. So, although he may appear to be laying it on a bit thick, the grimacing and shouts work. There is even a moment when we get to see Lee performing in a more light-hearted manner when he dons a phone repairman's disguise to sneak into the Japanese school and acts the fool. Sadly, this hints at a depth to his acting abilities that was never fully mined before his untimely death in 1973.

Some of the older film conventions act as a detractor. Some unnecessary uses of wires and attempts to mimic other films of the era result in less than stellar examples of superhuman abilities such as when Lee lifts a rickshaw or when he conveniently positions his victim to be impaled by a sword that's falling to the ground. Its fun stuff that would work in any Chang Cheh or Jimmy Wang Yu film, but is out of place here. There is also a lot of static dialogue between action scenes that deflates some of the momentum. Nora Miao exhibits little emotion in her role as Lee's love interest and even their one intimate moment seems artificial. The rest of the cast does well with fine performances from genre star, James Tin and especially from the director himself, Lo Wei who plays a Chinese detective caught between the interests of his people and the responsibilities of his job.

Even with its faults, Fist of Fury is absolutely a classic that deserves its due respect for managing to revolutionize martial arts film. Equally important is Bruce Lee's heavy influence that gave the film not only an incredibly visceral lead performance, but also raised the bar on choreography, camerawork, and editing. But in the end, it comes back to Bruce Lee himself and that means that you'll never truly see another film quite like this one.

REVIEW
This hugely entertaining film features a stellar cast, impressive production values, a great story, and killer martial arts action!

Yu Rong Guang (Iron Monkey) plays Wuwechimatao, a Japanese martial artist who was once disgraced by a Westerner in his own country. A visiting Shaolin monk convinced the young man not to commit ritual suicide. He gives him a manual on how to perform the "Dog Fist" style of kung fu and recommends that he travel to China to improve his skills. Unfortunately, Yu got on the wrong boat filled with Japanese pirates intent on pillaging coastal villages. Yu thwarts their attempt to kidnap a bunch of children and ends up left behind when the pirates make their retreat.

Now, he's hiding in China where anti-Japanese sentiment is high and he's branded a pirate. His only friend is a young girl who he saved. She smuggles him into the city where he eventually meets Cui Gu (Cynthia Kan), a master of the Dog Fist style. He slowly earns the trust of several Chinese, and begins to learn kung fu. Yu eventually joins his new friends in foiling an attempt by the pirates to invade the town.

What a refreshing spin on the tired old Japanese vs. Chinese films of the '70's. This time around, its a Japanese hero who saves the day, albeit with Chinese kung fu and a Chinese actor playing the role. Ru Rong Guang is simply outstanding. I can never say enough about how much he deserves to be in more starring roles. By taking on the additional task of co-directing the excellent fighting scenes, Yu displays his physical skills and the sophisticated choreography that comes off as very polished. Sure, you can see a few wires every now and then, but its a forgivable sin. As an actor, Yu sparkles as he develops a friendship with the young girl who aids him. There is some real chemistry and layers of character development as the more streetwise girl school's her naive Japanese friend in the ways of getting along in China, creating some humorous results.

Cynthia Khan is an extraordinary martial artist and this more than makes up for her limited acting prowess. She's a very physical performer who exudes real power in her movements while retaining a certain gracefulness. The other standout performer is, of course Yue Hoi who played Jet Li's mentor in both Shaolin Temple (1982) and Kids from Shaolin (1984). He's a decade older, but this only enhances his presence as a wizened elder monk and he still performs some great martial arts.

Yu Rong Guang and Yue Hoi are both mainland Chinese actors and its clear that the production took place in China and was likely co-financed by a mainland studio. Sumptuous location shots include ancient fortified walls, large Buddhist statues, and breathtaking scenery. Even the story itself appears to have been written with a mainland aesthetic, giving emphasis to character development, drama, and pacing. As much as I love Hong Kong cinema, combining the strengths of mainland Chinese and Hong Kong filmmaking usually generates the most complete and satisfying cinematic experience and Deadend of Besiegers is no exception.

With a strong adventurous spirit, soaring music, and ample humor to match the outstanding action scenes, I highly recommend this film to everyone, especially casual Asian film fans who might consider Hong Kong action films to be excessive.

REVIEW:
Remember those old samurai films where a group of men are brought together to protect an emperor from certain death and they form a bond along the way? Try to imagine that story in a modern day setting and The Mission is what you’ll get. It’s a modern day samurai story.

The five men in question are Curtis (Anthony Wong Chau Sang), Roy (Francis Ng), Mike (Roy Cheung), James (Lam Suet) and Shin (Jackie Lui). Each have their own history, Curtis is now a hairdresser but used to be a feared and respected right hand man, Roy and Shin are small time gangsters struggling to keep their turf free of invaders. Mike is a crack shot with a gun, but he also works as a valet and James is a gun merchant and respected bodyguard. As these men come together there are sparks, naturally but they’re all professionals and there is an unspoken code of honor that exists between these men, almost like an army unit, these sparks, mostly come from Roy and his attitude towards Curtis. Right from the very beginning when all five men are introduced, a division is set with Roy and Shin on one side and Curtis and James on the other. Mike has the unfortunate position of being in the middle. Despite whatever differences they may have, they know it’s their job to protect their Boss and anything else just won’t do.

The only way to describe this film would be say it’s Akira Kurosawa by way of Takeshi Kitano. Johnnie To has cited both filmmakers as an influence on this film and especially Kurosawa. I say this because To has taken a particular trick of his and adapted it for this film. It’s called "Moment in Stillness," which is a style of using the camera in such a way that although nobody’s moving onscreen, the action is clearly visible. It may sound boring, but trust me, it works and Johnnie To is at his peak here as he pulls it off with style. He’s also assembled a first rate cast Including Simon Yam and Eddie Ko not withstanding and each actor performs admirably. I’d have to say Anthony Wong and Francis Ng give the best performances individually but I prefer to think of it as group effort with each actor contributing.

What else can I say? This film is a classic and it’s easily one of Milkyway’s best efforts. If you haven’t seen it yet, what are you waiting for? It’s waiting for you to buy it!

REVIEW:
Not long after Bruce Lee died, Asian film producers scrambled to crop the next martial arts mega star. Bruce Li and Bruce Le, both Hong Kong imports, fizzled out in a short length of time. Japan decided to step up to the plate and throw their kung fu curve ball, a former TV star named Shinichi Chiba - but his friends called him Sonny. "The Street Fighter" ("Gekitotsu! Satsujin-ken") was Chiba’s American debut. The film did fairly well in the grind house/drive-in theaters due, in part, to the notoriety of being one of the first American films to ever receive an X-rating for pure violence alone.

"The Street Fighter" lends itself less towards Bruce Lee and more towards Dolemite, film wise. It’s a martial arts exploitation film. That being said, like most exploitation films the plot and acting take a back seat to the action and body count. One thing that differentiates "The Street Fighter" from the martial arts and even most of the exploitation movies of the '70s is that it really has no moral lesson and the film makes no apologies for that. Chiba embodies all that is great about the anti-hero. He does exactly what he wants to do. I mean why not sexually abuse the woman you plan on protecting?

The martial arts aspect of "The Street Fighter" is adequate and sometimes laughable. In many scenes where Chiba’s character has to display his Japanese karate skills a sound similar to a near-death asthma patient can be heard coming from our hero. This has been described as Chiba "redistributing his chi." I don’t know about that, but it’s pretty disturbing. Especially considering he does it while inside an automobile with the enemy about a thousand feet away. Word has it that Chiba is a master of a Japanese style known as Kyokushinkai, one of the most powerful forms of martial arts in the world. I’m sure for "The Street Fighter" series of films he over-exaggerated some of the techniques to give a little pow to his character Terry. With a name like Terry some pow is probably a good idea.

Unlike most, I really didn’t find the plot of "The Street Fighter" all that bad. The film could have easily gone with the avenging someone's death or traveling assassin plot, quite common in martial arts cinema. Instead, the film actually has plot and sub-plot that work quite well off each other and conclude nicely. Naturally, the meat and potatoes of the film are the action scenes, which are great. Instead of trying to groom another Bruce Lee imposter, Toei studio went for the throat (I had to go there) and created their own cult star. I mean anyone who can rip out a guy’s testicles and whip his hands with the dude’s underwear deserves his own place in the martial arts hall of fame. Or maybe in a back alley behind the martial arts hall of fame.

REVIEW:
Phillip Kwok and Lo Mang are the perfect comic team in this relatively lighthearted Chang Cheh and Venoms collaboration.

Ying (Phillip Kwok) and Chun (Lo Meng) are two young men in their prime, stuck with menial jobs. When their bosses are away, they spar and dream of becoming famous kung fu fighters. For about the first 25 minutes, the film takes on a humorous and laidback tone that is by no means dull. Kwok is right at home with his usual comical approach to kung fu and he also performs some terrific acrobatics. Meng's entire interaction with his character's boss, a bean curd shop owner is a riot. The two befriend Chu Tsai (Sun Chien) who is being ostracized at his kung fu school.

Eventually, the main plot begins when we witness the white-browed Pai Mei, famed for being the traitorous priest who burned down Shaolin Temple corner several of the school's remaining heroes. San Te (portrayed by Gordon Liu in "The 36th Chamber of Shaolin") and Feng Shi-yu (aka "Fong Sai Yuk") are murdered while Hung Si Kuan escapes with his life. Turned away by Chu Tsai's teacher, Feng ends up in the care of the three young men who struggle to find the money necessary to bring him back to health. But the medicine proves to be their undoing when a spy figures out that Chu Tsai is harboring the rebel. Nearly captured, Feng and his three companions decide to hide at Chu's school. After defeating the school's teacher, the four plus Han Chi (Chiang Sheng) are trapped by Kau Ching-cheung (Lu Feng) and his small band of fighters who have been tracking the rebel. Kau and his anxious fighters wait till dawn to engage the men so that none will escape in the dark. In a final battle employing various weapons, Feng and his companions manage to defeat Kau and his band before the Ching army arrives. Finally fulfilling their desires, the badly wounded Ying and Chun finally die for a noble cause by staying behind to stall the army so that Feng can escape.

While everything in the film is quite conventional, the ample humor, range of weapons and quantity of highly entertaining fights makes "Shaolin Rescuers" a worthwhile film to see. Its certainly one of Chang Cheh's more refreshing films since it relies less on bloody carnage and more on story and character development.

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

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

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

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

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

REVIEW:
I bought this film fearing quite a bit. After all, despite having Yuen Biao, the greatest Hong Kong actor/martial artist ever, could he really star in a film with no martial arts scenes at all? (not even one kick). Well how wrong could I be?! One thing I must mention though is an absolutely incredible stunt Yuen Biao does at the beginning of the movie. It has to be seen to be believed.

Director Ronnie Yu (a brilliant Capra-esque director, also one of the best directors in the world, but largely underrated), who directed this before directing the acclaimed "The Bride with White Hair," delivered here an enjoyable, moving and highly underrated gem which has been virtually all but forgotten. Yuen Biao is credited in the starring role, despite the film focusing more on Leon Lai. Ng Man-Tat is the kind-hearted owner of an apartment and restaurant in a poor deprived area of Hong Kong. Yuen Biao plays his uncle (also a cook) and Leon Lai a rich kid who runs away and finds the family atmosphere of the neighborhood much more appealing.

Yu has an eye for direction much like American director, Frank Capra. Yu highlights issues such as the importance of family over money. Ronnie Yu also draws incredible performances from the cast, especially Yuen Biao and Ng Man-Tat. However, one minor quibble of the movie [spoiler] is that the third section of the movie suffers due to Yuen Biao's absence. Despite the fact he turns up about 5 minutes from the end. He is actually absent again at the end of the movie which was very disappointing, but to be fair, the end credits focus on Yuen Biao's character.

This film was released in Hong Kong, at the beginning of 1992 when the Hong Kong public watch New Year's movies highlighting mostly Chinese New Year etc. Since the film's storyline is about cooking, it immediately appealed to the Hong Kong public and deservedly so.

In a day and age of high tech and big budget movies such as the absolutely awful "Pearl Harbor," this film is a breath of fresh air. This is a wonderful, warm-hearted and touching gem of a Lunar New Year movie, highlighted by the utterly incredible scenes of Yuen Biao preparing meals as only he can.

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

Nothing remarkable as far as the DVD goes. Standard trailer, incomplete filmography, and various subtitles. The real treat is in the audio and video departments. The availability of Cantonese, Mandarin and English audio tracks is great and the quality is good except that the English dub is too quiet. The letterboxed video transfer is clear.

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

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

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

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

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

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

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

REVIEW:
Something that makes me angry is when a movie comes out that is so beautiful that everyone should see it, however no one goes to see it. Then a movie comes out a few years later, wins worldwide praise despite ripping off the other movie and wins a host of awards without acknowledging the other movie at all. The over-rated "Crouching Tiger, Hidden Dragon" ripped of this classic movie. If you're a fan of "CTHD" then you will love this movie.

Sang Sui directs this flawless masterpiece of cinema. Siu highlights issues such as the gap between the rich and the poor and the injustice caused by corruption to the poor beautifully. Yuen Biao stars as Li San (who at night is the Swallow Hero, a sort of Robin Hood). Despite helping the poor, he yearns to find his loved one who was cruelly raped and put in a brothel. Biao, who was born for this movie, gives such a diverse performance filled with anger, love, sadness, and even sometimes happiness. It's really incredible that to this day Yuen Biao has not received one Best Actor nomination from the Hong Kong Film Awards and even the Golden Horse Awards in Taiwan. This really is a terrible indictment on both these awards. Also, Athene Chu, who plays his loved one, gives a beautiful performance filled with yearning, who also deserved at least a Best Actress nomination at the Hong Kong Film Awards. The whole cast is wonderful and complements Yuen Biao and Athene Chu beautifully.

Wu Kam choreographs the fight scenes with such elegance that Yuen Biao seems to fight like a twenty year old. Wu Kam not only brings out the very best of every fighter but also emphasis beauty in the fight scenes. Some of the scenes that Wu Kam directs were ripped off by "CTHD." Sang Siu includes some wonderful wirework as Yuen Biao flies, walks over walls and exhilarates. The wirework in this movie had been directly ripped of by "CTHD."

The soundtrack is really wonderful too with the use of traditional Chinese instruments. Also, as this film was filmed in mainland China, the cinematography is beautiful. It really is wonderful and brings out the best of rural China.

Sang Siu and Wu Kam will go very far on the evidence of this. Sometimes a person lives and dies without seeing unseen masterpieces. This is one of them. If you ever get to see just one film throughout your whole life, then make it your goal to see "The Hero of Swallow." Copied by "CTHD," this is a masterpiece that comes only once a generation, if even that. One of the things I like about Yuen Biao is that his movies are not bound by the Hollywood conventional happy ending. This movie has a deeply sad but poetic and beautiful ending. The way Yuen Biao acts at the end will probably never be bettered. I dare you not to cry at the end of this beautiful and emotional movie.

REVIEW:
Deadful Melody is a classic movie unfairly criticized by hardcore swordsman movie fans. I won't reveal the plot details as to ruin your enjoyment, but I must tell you this is a brilliant movie. Much better than say, SWORDSMAN and FONG SAI YUK. The story brilliantly balances moments of drama, comedy, action and romance.

Brigitte Lin stars with Yuen Biao, complemented by a cast of Hong Kong stars such as Carina Lau (in her only swordsman style movie role) and Wu Ma. Brigitte Lin is wonderful as the sensual lyre playing master. While Yuen Biao is fantastic as the security guard sent out to deliver the magic lyre. The biggest surprise is Carina Lau who is supremely dynamic and manages to even outshine the likes of Wu Ma who is also brilliant.

The direction is also flawless. The magical effects are exhilarating, especially for a Hong Kong movie. The cinematography is fantastic and the storyline is really good.

The test for any movie is it's soundtrack, and I'm pleased to say the soundtrack in this movie is exhilarating. Especially the lyre pieces which are beautiful and haunting.

What can I say? All I can say, is see this underrated masterpiece and enjoy watching this, with fantastic performances all around, brilliant cinematography, an exhilarating soundtrack, flawless direction and a bitter-sweet denouement between the relationship between Yuen Biao and Carina Lau. What more could you want?