Ichi (Haruka Ayase) is a blind samurai searching the land for the man she thinks may be her father. Her exceptional fighting skills keep her safe and help protect her from a group of bandits who mean to do her harm. During the scuffle, a man comes to her aid, another wandering warrior by the name of Toma (Takeo Osawa) who due to a childhood accident has been unable to draw his blade in battle. He befriends Ichi and promises to keep her safe, despite her impressive combat skills already doing so. The two then find themselves aiding a local clan, the Shirakawa, in protecting their village from a group of marauding bandits. Their relationship and fighting skills are pushed to the limits as the two must discover the courage within themselves to overcome their weaknesses and defeat the enemy.

Avoiding the often melodramatic nature of many other samurai films, adding a few modern touches and staging some impressive action, 'Ichi' is an invigorating samurai flick. Sori, the director of cult hit 'Ping Pong' and stunning animation 'Vexille', crafts a good looking film that doesn’t skimp on the human emotion or action. An often told tale it may be, 'Ichi' still feels fresh thanks to excellent performances, eye catching production design and some often touching moments in among all the slicing and dicing. Leading lady Haruka Ayase ('Cyborg Girl') gives an impressive performance and despite her small frame and good looks, convinces as the sword wielding heroine. Her Ichi is a fragile soul, still coming to terms with the way her life has turned out but a force of nature when she is called into combat to strike down those who will do her harm. Likewise, Takeo Osawa (Sky High) is excellent as the similarly damaged soul, Toma, providing a few lighter moments but never being relegated to the comedy sidekick. The relationship he has with Ichi is affectionately developed and often touching as they come to care for one another.

The colour scheme and setting are vivid in colour but never garish or overbearing. They give the film a heightened look rather than a gritty one but this never detracts from the story or drama. The film isn’t saturated with action but there is a good amount of sword wielding combat, wonderfully staged and shows that slow motion can be a bonus to an action scene rather than a hindrance. While the story may not be the most complicated or original it is the characters and the emotional journey’s they take that provide the backbone to 'Ichi'. Sori may drag a few scenes out and some may be a little irritated that Ichi gets sidelined for a while in favour of Toma but this is actually a film about the two of them. Unpretentious, well crafted, a great central performance and some excellent action make 'Ichi' a hugely enjoyable experience and refreshing take on the samurai genre.

Zin is the girlfriend of Thai gangster No. 8 and will do anything she can to protect his interests. However, when she meets rival gangster Masashi the two fall hopelessly in love and become heavily involved. Their romance is not very pleasing to No. 8 who warns them that they must separate or he will have them both killed. Much to his disappointment, Masashi is forced to head back to Japan whilst Zin realises she is pregnant and gives birth to an autistic girl that she names Zen. As the girl grows up, she develops an uncanny ability in the martial arts by watching the kids at a local Thai kickboxing school and studying the moves on television. Now with her mother taken ill, Zen needs money to pay the bills and it looks like her skills may come in handy when she starts collecting debts owed from several gangster connections.

When it comes to action cinema, the combination of director Prachya Pinkaew and action choreographer Panna Rittikrai always seem to come up trumps. Never has this been truer than in the case of 'Chocolate'; an absolutely sublime effort that is littered with bone crunching fight sequences and jaw dropping acrobatics that are benchmarks for the way martial arts movies should be handled. Newcomer Jeeja Yanin may not have the physical dexterity of Tony Jaa, but she is amazingly versatile and with the help of a few wires looks exceptionally realistic in each of her fights. I'd actually go so far as to compare her movements to Jackie Chan as she exhibits several similar combinations and is very adaptable to each fighting style. In short, she's brilliant and quite why she hasn't been lined up for any other films thus far is a mystery to behold.

Despite all this praise though, it's a real shame that Pinkaew is still not quite as adept at handling actors and storyline as he is at dealing with action sequences. That isn't to say 'Chocolate' is bad as it's visually very impressive and definitely a step up from 'Ong Bak', but it still has a number of weaknesses. For example, the setup for the relatively simple plot seems inexcusably long and thanks to a very predictable outcome, provides very little pay-off for such a large time investment. On top of this, the actors have the tendency to overact rather than emote effectively so you often find yourself struggling to empathise at sequences that should be tugging at the heart strings. That said though, Janin does manage to carry the film quite effectively and it will be interesting to see how she handles something that requires her to stretch her acting skills a little further.

'Chocolate' is excellent action entertainment from start to finish, and fight fans will be delighted to see that Pinkaew and Rittikrai haven't lost their touch, It is worth noting though that the film still suffers from the same issues (namely simple story and questionable acting) that plagued 'Ong Bak' and 'Tom Yum Goong' so it's far from flawless. Who cares though, we will always need good action movies and as long as Pinkaew keeps making them like this, I'll keep lining up to see them.

'Death Trance' is a visual splendour and shows Japanese cinema is at the forefront of creating comic book movies gone live action. A samurai movie crossed with Anime, 'Death Trance' knows no bounds in the imagination department with camerawork, production and costume design and action sequences all merging seamlessly to create a vivid and original world. Filmed in some beautiful forests and filled to the rim with creative ideas, 'Death Trance' unleashes swords that seem to be alive, vampire ninjas who live in a giant makeshift spider web, motorcycles and guns alongside swords, vivid colours awash across the screen and even the odd bit of strange stop motion animation. The filmmakers, despite what must have been a fairly low budget, throw everything at the screen and make the movie look incredible. This is also done with little CGI, it only used to enhance certain aspects and realize the fantasy heavy finale. It may not be epic in scope but that never stops 'Death Trance' being a treat for the eyes and it’s always bursting with creativity.

Some may find the lack of intricate plot unsatisfying but it is never really a detriment to the picture. Not all stories have to be complex and despite its streamlined plot, 'Death Trance' still packs a lot in and enough characters for us to care about. Plus it’s refreshing watching a fantasy flick where we don’t have to know every characters background and reasons for doing what they are doing. The only downside is that the flick doesn’t always make a whole lot of sense. Ambiguity can be a bonus and while the finale is visually arresting and impressive things do leave you with a sense of “huh?” Likewise the little girl that follows the hero throughout the movie: why is she there? It’s never really explained but is one of the many odd delights of 'Death Trance' as she is as cute as a button and even provides the odd bit of comedy. Plus, like many of the odd but unexplained events (that stop motion animation), is she wasn’t in it then 'Death Trance' wouldn’t be as memorable.

Of course coming from the stunt team behind 'Versus', the movie also packs a punch in the action scenes. Lots of sword fighting, fisticuffs and even gunplay feature in a bevy of imaginative fight scenes. They are plentiful and if you are at all sick of the common quick cut editing found in most Hollywood action films these days, then the well shot and cut fights of 'Death Trance' are a breath of fresh air. The standout is the sequence featuring vampire like ninjas and that giant spider web. Tak Sagauchi cuts a mean figure in the fight department and even gets some back up from Kentaro Seagal (Steven’s son) who plays one of the many people trying to steal the coffin.

'Death Trance' isn’t quite as good as 'Versus' (which it will always be compared to) but is nevertheless a visually striking, always creative and if a little slow in pace at stages, still packed with great Eastern flavoured action. And sometimes there is nothing wrong with a film just providing that.

Baek's leads eventually point to a white collar criminal who has organised a team of ex-cons to carry out his precise plans. But Baek is surprised to learn of the esteem he is held in by his target and the real intentions he has for the detective. Soon the men from either side of the law need to combine to bring down a common foe, a Korean kingpin who has tangled with Baek in the past yet continues to evade imprisonment.

Similar in execution to 'Running Out Of Time' - not to mention a number of other cop flicks, 'Eye For An Eye' hardly offers stunning originality. The cat-and-mouse thriller has been married to the police procedural film since the invention of celluloid and we've all developed cinematic gout from endless pairings of mercurial detectives with their kindred spirits on the other side of the law. Yet 'Eye For An Eye' is testament to how a glossy, slickly handled work can foxtrot over endless cliches.

Any story that is so centred on the battle of wits between two perspicacious protagonists is entirely at the mercy of their performances and how skilfully their characters inhabit the narrative. 'Eye For An Eye' can be thankful for its two flawed heroes and the enjoyment sustained from judging who has the upper hand and at what point. This even translates to the final act where the pair co-operate to take on the story's real aggressor. Han Suk-Kyu as the self-assured Baek is undoubtedly the pivot of the whole film and he dominates every scene he is in with a menacing glint in his eye and an obsessive determination that recalls 'Dirty Harry'. The way this maverick anti-hero saunters into investigations and reacts to the game he has found himself sucked into is beautifully realised by the two men behind the camera. This would be a far less diverting feature without Han Suk-Kyu participation.

'Eye For An Eye' has its fair share of twists and turns to compensate for the lack of hard-edged action. There's also a undeniable pleasure in seeing how a motley crew of robbers can pull off their tasks right under the noses of the law enforcers who are closely watching, then having to use the same wiles to keep one step ahead of the true villain of the piece. It may not be refreshing, it may not be especially exciting, yet 'Eye For an Eye' has a few aces up its sleeve - these are enough to recommend it to a wider audience.

Jun (sans make-up, plus a few pounds) plays Soo-Jung, a chain smoking, world weary reporter who’s made a career from human interest stories. Tired of work and people in general, she intends to quit and take a trip to Mongolia to be with her wayward boyfriend, using the money from her latest article (an expose on a man who thinks he’s Bruce Lee) to fund it.

Having barely set foot inside the train station, a thief makes off with her camera and her screams for help fall on deaf ears. All except except for one mans. Rushing to her aid is a local loon in a Hawaiian shirt who chases down the perp in a selfless act of heroism. He retrieves her camera with personal physical cost, but when Soo-Jung tries to thank him, the odd man replies that he was only doing his duty as Superman. She is suitably tickled at his obvious delusion, but eyeing a chance to make one last quick buck, she asks him for an interview.

He tells her that he is Kal-El, last son of Krypton, and that the evil villain Lex Luthor has placed a shard of kryptonite in his brain. He informs her that although it stops him from using his superpowers he can still help old ladies cross the road, rescue cats from trees and even stop robbers and that it is his dream to one day remove the Kryptonite and soar through the clouds once again. Soo-Jung and her crew cynically follow Superman for days on his unending quest to help people. As he subdues perverts outside the local school he seems quite happy and never notices the fun poked at him by many passers by. At first the film crew too can’t help but laugh at him, but when her curiosity gets the better of her, Soo-jung takes him to the hospital to have an X-Ray, and the discovery that he has something sharp lodged in his brain tells her she could be sitting on the story of her life.

Anyone who enjoyed Marathon will be in familiar territory here and the fact that A Man Once A Superman is based on real life events only heightens this beautiful, uplifting, tragic but humorous tale of the kindness of one mans soul. Jeong shoots the film in a refreshingly non-glossy but assured way and as mentioned before, some fans may not even recognize Jun in her stripped down, overweight real life image which is a million miles away from the idealized characters she essayed in Windstruck or My Sassy Girl. The beating heart of the picture is undoubtedly Hwang Jeong-Min, and he embodies his character completely with a range which is duly tested over the course of the film. Whether as the happy go lucky local weirdo, savior of the people Superman or a normal guy stripped of all life can take, he captures the viewers hearts and minds in a way few actors are ever able to achieve. He also has superb on-screen chemistry with Jun leading to an implied romance that is eons away from usual Korean melodrama.

To talk too much about the plot would only serve to give away the films wondrous ending but the script is refreshingly simple and surprisingly knowledgeable in Superman lore. DC fans will get a kick out of everything from the implied Lois (chain smoking, cynical, bad grammar) of Jun, to the definite Clark (bumbling, caring, phone booth loving) of Hwang. Indeed, at one point, when asked where he lives our hero explains “I used to live at the North Pole, but global warming melted the ice”. Ultimately though, the film touches on notions of inspiration, just like Jeong’s Marathon, and of how we each have a great gift and responsibility as beings who can inspire those around us to achieve more than they think possible. This is something film-maker Bryan Singer tried to touch upon in the recent Superman Returns. It is ironic however, that a non official, special effects-less Korean drama can put this notion across better than even his assured directorial hand.

In all areas I found A Man Once A Superman to be a resounding success. The acting is marvelous and fans of Jun will certainly go home happy as the young starlet adds yet another string of variety to her already impressive bow. I would also be shocked if it didn’t win new fans for Hwang as he too is truly mesmerizing. Credit, of course, must go to writer-director Jeong who doesn’t sensationalize the moving moments and manages to keep an ostensibly simple script moving at a rapid pace. At times it is laugh out loud funny, at others horrifically saddening but it never once drops the ball on what it is saying or where it is going. The destination will probably be inevitable to you 5 minutes into the movie, but that is unlikely to stop the tears rolling down your cheeks come closing credits and the journey, not the destination is the thing of greatest importance. Ultimately, the most powerful effect a film can have on a viewer is to make you reflect upon the gift we all have of being alive. As I write this review, a good 6 hours after seeing it, I feel like I took something away - a tiny piece of warmth - something I can use in real life. That has to be worth the price of admission.

If you're looking for an accurate representation of Yoshiki Takaya's Guyver manga or any of its anime adaptations, then it's probably fair to say that 'The Guyver' isn't the movie for you. Whilst it may feature a number of elements from the original story and a decent visual representation of the main character, it’s the film's openly tongue in cheek attitude and slapstick sense of humour that prevail. Playing out a bit like an adult version of Power Rangers, the film clearly takes it's cues from the 80s and 90s Hollywood comic book conversions and successfully makes up for its flaws by providing a number of men in ridiculous rubber suits and unintentionally amusing dialogue.

Similarly, the film's acting talent isn't exactly the cream of the crop but there are still a couple of appealing actors on show. Mark Hamill is billed as the film's main star (surely a statement in itself) but surprisingly doesn't portray the Guyver. Instead, he resigns himself to taking a role that doesn't require a rubber suit and convincingly fills the part of a CIA agent. Fan favourite Michael Berryman and 'Re-Animator' star David Gale also stand out and are both highly underrated actors who are more than capable of impressing in this particular environment.

As for the action on display, this is rarely taken all that seriously but is still quite fun and definitely suits the film's overall style. The majority of the Guyver's moves seem to be Aikido inspired and include a lot of quick takedowns mixed in with a few superhuman jumps and acrobatic flips. Considering the obvious restrictions of the rubber suits, the majority of these scenes are actually rather impressive and I remember being quite captivated when I first saw the movie as a child (and prior to my discovery of Asian cinema of course).

'The Guyver' is clearly some distance from the original source material, but is still a movie that can be immensely enjoyable if approached in the right frame of mine. If you fancy a film that falls somewhere inbetween 'Teenage Mutant Ninja Turtles' and 'Gremlins', then this is certainly a step in the right direction.

'The Young Hero of Shaolin' is nothing overly original and in old school kung fu terms, follows a well worn path. However, it stands above typical fare due to its impressive production values and widescreen photography. Apparently some money was invested in this production and many of China’s elite martial artists were used as fighters. The training and fighting scenes certainly stand out, highlights including an aging Sifu doing a handstand on two fingers and Fang beating an opponent atop a collection of Shaolin poles. However, the standout sequence, and perhaps the main reason to see this flick, is Fang and his buddy taking on the Temple’s students in the famous Lo Han Formation. Rows of students line and move in sync to confuse and engage the hero in combat forming such shapes as a Swastika and a Chinese good luck symbol. Shot from above, it’s an impressive sequence as we see the students moving in perfect tandem, seemingly creating one moving shape. Plus, any kung fu flick where the students form a Swastika (of all things) to try and beat the hero is worthy of a viewing, not least as it’s not something you see everyday, not even in old school kung fu movies.

The rest is pretty much business as usual as the tournament is just an extended series of fights before the big showdown. Nicely staged with varying fighting styles, it only pales in comparison to having just seen a giant human Swastika fight our hero. Still a worthy addition to any avid kung fu fan’s DVD library as it hits all the right beats, benefits from some impressive photography and features some interesting, well staged and even downright barmy fighting styles.

Detective Sergeant Jun Ma (Yen) is a hard hitting cop who prefers to do his talking with his fists and isn't afraid to crack a few skulls to get the job done. However, as good as he is at his job there is still one Vietnamese gang who have so far eluded the scales of justice. In order for him to get the drop on them, Ma's partner Wilson (Koo) has gone undercover within the gang and after years of service appears to have gained their trust. Unfortunately, this lifestyle has taken it's toll on Wilson and when the proposed big bust of the gang begins, Wilson is exposed and becomes a target for the gang. Now it's up to Ma to put his job to one side and protect his friend at all costs whilst still attempting to stay inside the guidelines of the law.

Although I considered 'Sha Po Lang' to be a solid effort with decent action scenes, somehow it didn't quite cut it for me as it just seemed to lack that va-va-voom (for want of a better expression) that has always made the Hong Kong film industry such a powerhouse in the action genre. For this reason, I was perhaps a little apprehensive about the hype that surrounded 'Flash Point' and went into it expecting an over-stylised yet vacant affair with a couple of passable action scenes. Imagine my surprise then when the film turned out to be an incredibly slick production that not only looked the business but also boasted a story that combined with the action to great effect. Perhaps it's fair to say the plot isn't exactly original and threatens to become overly predictable in places but it's subtle and strong enough to keep the film flowing and certainly seems fresher than the "corrupt cop" scenario dished up by 'Sha Po Lang'. Another overall plus is the general pacing of the film as it has you siding with the heroes from the off and despite the lack action scenes, doesn't open up too many unexplored avenues that could allow the viewer to dwell on the weaker elements.

Performances from the leading cast are also very competent. Louis Koo, despite being an actor who I've never been overly enamoured with, performs extremely well throughout and thankfully avoids his tendency to lapse into spates of over-acting (as he did in the rather inane 'Rob-B-Hood'). Yen on the other hand isn't exactly known for his repertoire of varied characterisations but he is perfect for an action hero as he's moody and tough, and always conveys the feeling that he's a force to be reckoned with. It's also pleasing to see he doesn't pause to pose for the camera too frequently which is a criticism that he is often saddled with. Ngai Sing slots nicely into the mix as the bad guy who flaunts a very believable callous attitude as well as being a suitable opponent for Yen with his obvious abilities in the martial arts. Added to this, it's nice to see Kent Cheng back in action (and minus a few pounds I might add) who seems ideal for the role of an aging police chief as he has the presence of a superior officer whilst retaining that innocent likeability that has always made him stand out in every one of his roles.

As far as the action goes, 'Flash Point' isn't quite the no-holds-barred kung fu extravaganza that you might be hoping for but what little action is on offer is certainly enough to get the adrenaline pumping. In truth, there are only two main fight scenes to speak of but Yen has chosen to inject a touch of originality in his choreography by utilising a raw yet powerful style that concentrates on grappling rather than relying on his signature kicks. This works exceptionally well for the film's atmosphere and the final duel between Yen and Chou is particularly impressive as two desperate combatants give their all for the sake of victory. There's also a certain degree of gunplay on offer that whilst not quite in the same league as John Woo, is very entertaining and the use of a sniper rifle during one of the sequences is nothing short of genius.

'Flash Point' isn't a perfect film in the classical cinematic sense but it is a damn fine action movie that doesn't short change the viewer in any department. I often seem to be guilty of stating that each new promising Hong Kong action film has the industry back on track but 'Flash Point' is clearly a step in the right direction and I'll certainly be looking forward to any future collaborations from Yen and Yip.

An infant boy is left on the steps of Lohan Hall just before his mentally unstable mother unfortunately dies. The orphan is looked after by the kindly monks and raised up according to their manner, though his laziness gets him frequently castigated by his superiors. Unkindly nicknamed 'Crazy Kid' on account of his mother's illnesses, the young lad begins to absorb the information he observes while working in the practice hall. Eventually one of the senior monks aids his learning and Crazy Kid becomes quite capable of handling himself outside of the temple. Life in the secular world takes an unusual turn when Crazy Kid helps the son of a local entrepreneur and is bequeathed a restaurant to run for all of his bravery. Yet the gang who runs the towns affairs takes an interest in the new business and begins to make more and more in-roads into the quiet life of Crazy Kid.

The usual lone warrior against local corruption story gets used for another Shaw Brothers action film and once again the basic synopsis gives little indication as to whether this is anything more than a run-of-the-mill fight-fest. Yet despite a storyline that is interchangeable with a whole host of its contemporaries, 'Boxer From The Temple' has a few aces up its sleeve and it produces them at even intervals. Wu Yuan Chun, one of the 'Five Superfighters', is the first notable strength of the film, showing aptitude in the many acrobatic fight scenes but also proving to be surprisingly expressive in the dramatic moments. The gentler sub-plot is an opportunity for him to be more than just an aspiring action star and he pulls of these scenes with some aplomb.

The fact that Lo Mar so keenly mixes emotions and styles together is the secret ingredient to this being something that little bit special. The early fight scenes have that touch of slapstick that many Shaw Brothers productions deemed necessary following the release of 'Drunken Master', yet even then there are some genuinely amusing moments woven into the fabric of the sequences. Much humour is also derived from Crazy Kid's parochial nature; his naive bewilderment at the outside world is played for obvious, yet relatively heartfelt laughs early on. 'Boxer From The Temple' then switches gears to include the romance between Crazy Kid and the young widow he saves, a delightfully shot scenario that comes as a pleasant surprise considering the way these stories tend to be constructed. Lo Mar then pulls the rug from underneath us once again by turning the charm and frivolity of the first hour into a far darker creation for the closing thirty minutes.

'Boxer From The Temple' is one of those genuinely interesting works that you occasionally stumble upon. It lacks the reputation that other more illustrious works have accrued, but it is perhaps the better for its relative anonymity. Lo Mar has crafted an ensemble kung-fu comedy that has a good number of intricately constructed showdowns and a few moments that manage true pathos rather than tacked on emotion. It's a minor classic that deserves some time in the spotlight.

Trouble arrives in town when a cloaked kung-fu expert sets about embarassing local masters with his exceptional ability. After meeting a humble, unassuming master and his three eager students, the fighter continues his arrogant mission and leaves another few reputations in tatters. The defeated master stumbles away with his pupils, but is left shattered by his complete loss of face. It is this dejected state that persuades his three students to look for revenge against the mysterious wanderer. However, they are well aware of their limitations and decide to split up in the search for worthy masters.

The first avenger meets an eccentric Crane style master who easily beats him during a fight. After some persuasion, the master accepts the newcomer and decides to teach him the precise Crane movements. The second meets a bean curd seller and her blind father. An initial misunderstanding is turned into a teaching opportunity when the second student is taught legwork by the high-kicking woman. Finally, the third is given a chance to learn pole-fighting from a fisherman after a failed attept to steal his fish. This opening animosity also turns into a fruitful teacher/student relationship. Meanwhile the original shamed master is also preparing his skills and, in between drinking bouts, sharpens up his swordplay skills. With each of the four now galvanised by this period of teaching, they are now ready to meet their tormentor.

First thing's first: 'Five Superfighters' is not among the absolute cream of the Shaw Brothers' crop. The plot is very basic with each character given very little depth or explanation. In the very best genre films, the villain at least has some motivation or reason for his activities. Here the main antagonist is merely a very unpleasant stranger whose whole purpose is to arouse trouble with those he meets. Thankfully though, this particular kung-fu flick is packed with some impressive fight action. The amount of masters/students on offer here means that the choreography has a wide scope and constantly throws something fresh into a conflict. The cast of young Shaw's stars are well-equipped to deliver an exciting end product and they do succeed, with varying levels of skill. There is the potential, with a storyline of this nature, for things to get too familiar and uninteresting. Lo Mar though keeps things moving along at a consistent pace. The high-point of 'Five Superfighters' is the lengthy final confrontation which throws together a number of different styles with aplomb. Scenes like this and the generally undemanding nature of the film make this a definite thumbs up for genre-lovers. It may not be the greatest of its kind, but there's plenty to recommend it.

Keith W. Strandberg, who wrote this film, also wrote a number of other American/Hong Kong crossover fight flicks such as 'No Retreat, No Surrender' and 'King of the Kickboxers'. This movie follows very much in the same vein, being highly violent and with a heavy emphasis on Eastern style choreography. The plot itself follows the characters of Gary Daniels and Chuck Jeffreys as New York cops on the trail of a serial killer who is hunting down martial arts champions. Essentially, a very transparent excuse for a string of fight sequences, but I'm not complaining, as this is what anyone who bought the movie really wants!

In terms of choreography and action, there are a number of fight sequences, almost all involving the talented Darren Shahlavi as the unnamed killer. He is an extremely talented performer and anyone keen on the genre will have seen him before. This, like Daniels, is probably his best on-screen performance. Again, this is due to the HK choreography team who forego realism for the sake of fluid moves and acrobatic kicks. Wirework is evident, but kept to a minimum to keep the fights grounded. As mentioned, if you’ve already seen a 'No Retreat, No Surrender' film, then you'll know what to expect.

Overall the film itself is not of the highest quality. The script is typically stilted and clichéd, and the performances are of the usual B-movie cheese variety. However, this is not supposed to be a dramatic exercise, and it's all about the action. Thankfully, for an American produced film, the action is of a high standard. It's no 'Police Story', but it holds up well against the likes of the 'In the Line of Duty' series from the HK golden age.

Recommended to all fans of Gary Daniels, and those who like their hands free action violent and acrobatic. Genre fans will also notice a few in-jokes, as well as cameos from some "famous" faces including Rob Van Dam and Keith Vitali; what greater recommendation is there!

The story opens with enigmatic teen uber-idol Eun-Sung charging to the rescue of a few damsels-in-distress, throwing some impressive moves into his heroics. Not everyone is keen on Eun-Sung and his entourage though and, when she spots a derisory comment he has posted about her school on the internet, fellow teenager Ye-Won strikes back with a scathing retort. Eun-Sung is not used to anyone daring to challenge his status and hurls threats at his new rival down her mobile phone. When they do finally meet, an awkward altercation means that their lips accidentally touch leaving both parties suitably embarrassed. The self-proclaimed 'King Of Cool' is shocked that his demeanour has been ruffled and tells Ye-Won that she will now have to be his wife, albeit in the future. The next few weeks sees the odd couple thrown into all manner of bizarre situations, but it takes an even longer period for Ye-Won to get beneath the ossified exterior of her strange new beau.

'He Was Cool', but he was also annoying, interesting and a mean little fighter. Eun-Sung, played by a suitably aloof Song Seung-Heon, is an intriguing clone of the original sassy stranger, bought to life three years before by the iconic Jun Ji-hyun. Lee Hwan-Gyeong and fellow writer Gwiyeoni give their brooding lead plenty of attitude and a truck-load of idiosyncrasies, but also succeed in adding that needed element of mystery to his background. The only reason we could put up with the erratic antics of Jun Ji-hyun in her famous role was the skill of the director to leave enough of an enticement for us to stay until the truth behind the character is revealed. 'He Was Cool' treads that precarious line between a odd-ball allure and frustrating wackiness more impressively than its first hour implies.

The two main flaws come gnawing to the surface like starved piranha though. When will Korea (or Japan for that matter) make a film of this ilk that doesn't stretch to nearly two hours? Having recently watched 'Nana', another enjoyable, yet needlessly stretched Asian youth picture, 'He Was Cool' gave my the impression that either my patience is woefully lacking, or film-makers are getting paid based on the amount of celluloid they use. The second major annoyance is linked to 'My Sassy Girl' and its many pretenders, in other words the structure used to tell their stories. 'My Sassy Girl' was easily the most polished exponent of this leap from wackedy (hopefully my first attempt at a neologism) to tragedy and 'He Was Cool' comes off a poor second in comparison. The first twenty minutes are a barrage of over-stylised visual tricks and self-conscious winks to the audience; these begin to dissipate as the story continues, but it takes optimism to endure these early weaknesses.

Despite two noteworthy problems - the combination of which cost the overall effort half a star - 'He Was Cool' is blessed with an outstanding performance by Jeong Da-Bin, an actress who very sadly committed suicide on the 10th of February. I watched her supremely charming turn as Ye-Won completely unaware of the tragic events that ultimately culminated in her taking her own life. It may be that her long battle with depression was tempered by her skills on screen and that films like 'He Was Cool' afforded her some measure of catharsis. Pointless analysis aside though, her diffident and lovable Ye-Won is the film's main ace. Couple that winning performance with a second half that finally begins to piece together the comic and the dramatic and 'He Was Cool' becomes a far more pleasing proposition.

The Shaolin temple is in disarray and the Abbot goes into solitary to repent for the sins of the monks (for losing the book). Jackie is also subjected to spending more nights guarding the books. One night a meteor hits and all the books are dislodged freeing five rather odd looking ghosts. As it turns out they are the masters of the "Five Fists" kung fu and see Jackie as the chosen one so they take him as their pupil.

Meanwhile a mysterious man is going around defeating all the kung fu masters using the style of the stolen book and the only man that stands a chance of defeating him is Jackie who, combined with the skills of the ghosts, must rescue the Shaolin Temple.

One of the films from Chan's 'Low Wei' era, "Spiritual Kung Fu" really shows its age mostly due to incredibly dodgy special effects and rather freaky 70's sounds. Still, the film contains some awesome fight choreography from Chan with some decent gags and early shades of the "Drunken Master" movies. Whether or not you can find a decent print in widescreen with subtitles is another matter as most copies seem to be very poor quality coupled with crap dubbing.