Director: Jeffrey Lau Cast: Hu Jun, Betty Sun, Alex Fong, Ronald Cheng, Wu Jing, Stephy Tang, Gan Wei, Law Kar-ying, Eric Tsang, Chin Kar Lok, Hong Jun-Jie Running Time: 102 min.
By Paul Bramhall
Kungfu Cyborg: Metallic Attraction opens with the onscreen text “If God created humans, and they created robots, should we not question our maker the way humans question theirs?” Deep stuff, and one may expect the next 100 minutes to be a rumination on that very question. Until that is, you remember that this is a Jeff Lau movie. It’s been 10 years since KFC: MA (as I’ll refer to it from now on) was released, and a burning curiosity (ok, a slight curiosity) to see how Lau’s cinematic oddity holds up in 2019, saw me recently revisit what at the time was promoted as Hong Kong’s answer to Transformers.
Hong Kong cinema was in an interesting place in the late 00’s. Having started the millennium practically dead on its feet thanks to the ravages of piracy, and many of its biggest stars jumping ship to try their hand in Hollywood post the 1997 handover, it spent most of the decade clawing its way back to relevance. Thanks to solid thrillers like the Infernal Affairs trilogy, and the pairing of Wilson Yip and Donnie Yen reviving the action genre with the likes of Sha Po Lang, Dragon Tiger Gate, and Flash Point, by 2009 Hong Kong cinema felt like it was in a good place.
It was a year that also produced the likes of the big budget blockbuster Bodyguards and Assassins, the culinary kung fu flick Kung Fu Chefs, and the legendarily bad Murderer. Looking back, the end of the 00’s was also the final era that Hong Kong cinema still truly felt like Hong Kong cinema. By 2010 the Mainland had already established itself as a box office juggernaut, and the appeal of the audience size compared to HK saw the gradual increase in co-productions, along with the shift to Mandarin from Cantonese. The very franchise that KFC: MA was inspired by, Transformers, itself became a China co-production by the time of its fourth instalment in 2014, with Transformers: Age of Extinction.
For all of the promise a title like Kungfu Cyborg: Metallic Attraction holds, audiences should be warned that Lau’s focus is very much on the ‘Metallic Attraction’ rather than the ‘Kungfu Cyborg’. Hu Jun, who appears here between his appearances in John Woo’s Red Cliff 2-parter, plays a morally righteous cop in a countryside town, and it’s this unflappable character that makes him the perfect candidate to babysit a cyborg that a secret government agency is testing out. Played by swimmer turned actor Alex Fong, the cyborg in question is jokingly referred to as being modelled on Andy Lau, although I challenge anyone that witnesses the coiffed hair and dewy complexion not to assume his look was based on Jude Law in 2001’s A.I. Artificial Intelligence.
What exactly is the plot beyond the above? You’d be hard pressed to tell. Fong fixes various computer problems by sticking his finger in them, and resolves a mountain of minor unsolved cases in less than a day, while Jun does the bare minimum to interact with his robotic partner. It’s when a fellow cop and neighbour, played by Betty Sun from Fearless and 2008’s Painted Skin, enters the picture that proceedings begin to get complicated. Sun finds herself immediately attracted to the mysterious Fong, not knowing that he’s a cyborg (and to add more drama to the mix, one that’s programmed to be incapable of love), which enrages Jun, who’s harboured an unrequited love for Sun ever since her late father asked him to look after her. Throw in the local geek (played by Ronald Cheng), who also has a crush on Sun, and Sun’s kooky sister (played by Gan Wei), who thinks she might like Cheng, and what do you get?
Well, for the first 40 minutes it’s essentially a romantic dramedy. As usual with Lau, he does create some genuinely funny moments of humor, however they’re quickly overshadowed by the constant insertion of lingering glances the camera requires from its romantically forlorn cast. Will Hun get over his jealousy towards a cyborg? Can Fung override his programming and feel real love? Will Sun realise that the man who loves her has been next to her this whole time? Where the hell are those kung fu cyborgs the title mentions? I won’t spoil the answer to the other questions, but we do indeed eventually get some cyborg kung-foolery. Secretive government official Eric Tsang arrives back in the picture to explain that one of their previous cyborgs has gone rogue, and has developed a personality of its own (the opening onscreen quote is from the cyborg in question), leaving it up to Hun and Fong to take out the renegade robot.
The cyborg in question is played by Wu Jing, who at this point in his career was still 6 years away from becoming the poster boy for the Chinese military with 2015’s Wolf Warrior. I mentioned earlier that it was the collaborations between Wilson Yip and Donnie Yen that put the HK action genre back on the map, and Wu Jing was an integral part of their first collaboration, 2005’s Sha Po Lang. Playing a sadistic assassin who’s weapon of choice is a knife, the alley way fight between Yen and Jing is one of Hong Kong cinema’s all-time classics, and Jing would became a regular go-to as an ass-kicking bad guy. Following on from 2007’s Invisible Target and 2008’s Fatal Move, here he’s again in villain mode (inexplicably decked out in race-driver get up), however unlike the previously mentioned titles, his talents are woefully underused.
In Wolf Warrior 2 he may have been able to stop a missile mid-flight with just some wire mesh, but the scene here still beats it, for the simple fact that he swallows a missile whole. Jing’s appearance heralds the long overdue appearance of the kung fu cyborgs, as both he and Fong transform into oversized robots that take to the air and battle it out. While action director Yuen Tak’s kung fu aesthetic is a welcome one – Fong flies around on a pair of Na Cha style spinning wheels and wields a pair of nunchucks – the CGI somewhat calls to mind Michael Jackson’s transformation in 1988’s Moonwalker. The battle is also distractingly set to a Canto-rock soundtrack, which does more harm than good. One element that is enjoyable though, is that once Jing returns to humanoid form, he keeps the oversized sword from his transformed state, which if nothing else makes for a cool screenshot.
Lau’s madcap creativity also rears its head in the finale, when a gigantic cyborg is created out of various vehicles and pieces of junk to turn into a gigantic hopping vampire (complete with the yellow talisman!). Robo Vampire would be proud. The real highlights of KFC: MA are neither the strained romantic shenanigans nor the bombastic action sequences, but instead they’re the briefly inspired moments of humour that Lau occasionally allows to shine through. A joke involving a cyborgs imitation program and a nearby can opener and can of tuna is genius, as is a sequence involving Fong’s ability to fire ‘motion depressants’, which result in the person being hit moving in slow motion while everything else remains in real time. However these come few and far between.
As with any Jeff Lau movie, the tone of KFC: MA is all over the place, at once asking us to laugh at someone attempting to smoke through their eye balls, while also wanting us to resonate with a cyborg who’s beginning to understand what it means to love. The handling of such disparate elements is a car crash, and at its worst culminates in a final scene containing one of the most overly histrionic outbursts ever committed to film. It may not have been Hong Kong’s answer to Transformers, and retrospectively (beyond the trailers) it arguably was never intended to be, however even taken on its own merits neither the ‘Kungfu Cyborg’ nor the ‘Metallic Attraction’ elements of the plot make for a good movie. Wu Jing has of course earned some sci-fi redemption points thank to the recent The Wandering Earth, for everyone else though, perhaps the lesson here is that sci-fi and kung fu are best left as separate genres.
On February 25th, 2020, Well Go USA is releasing the Blu-ray & DVD for The Climbers (aka Qomolangma), a survival-thriller from director Daniel Lee (Dragon Blade) and producer Tsui Hark (Once Upon a Time in China V).
The Climbers is a cinematic retelling of the first Chinese climbers to summit Mount Everest – the first ever to do so from the North Ridge. Well-known as the most challenging side of the mountain, the perilous journey takes its toll on the mountaineers, physically and mentally, forcing them to make life or death decisions at every turn.
China Lion is starting off 2020 with a bang! The company is giving Liberation a U.S. release. The war epic will open in Australia and New Zealand on January 9th before playing in New York City, Los Angeles and Boston on January 10th (via FCS).
Based on real life events, Liberation is set in January 1949 and focuses around a group of soldiers involved in the final stages of the Battle of Pingjin.
Liberation is directed by Li Shaohong (The Dream of Red Mansions) and Chang Xiaoyang (My Mr. Mermaid), and stars Wallace Chung (Three, Tik Tok), Elane Zhong (The Knight of Shadows: Between Yin and Yang), Zhou Yiwei (Dying to Survive), Philip Keung (Wild City, Keeper of Darkness) and Yang Mi (Painted Skin: The Resurrection).
If you haven’t already watched the Trailer, press play below:
Today’s Deal on Fire is the Blu-ray for MVD Rewind’s Special Edition of 1995’s Nemesis 2: Nebula, 1996’s Nemesis 3: Time Lapse and 1996’s Nemesis 4: Death Angel – all from cult director Albert Pyun (Cyborg).
Nemesis 2: Nebula: 73 years after the events in Nemesis, humans have lost the Cyborg Wars and they are now slaves to the cyborg masters. Rebel scientists have developed a new DNA strain, which could signal the end of the cyborgs, and it is injected it into a pregnant volunteer. When the cyborgs learn of the woman and her baby, both are listed for termination. To escape, the woman steals a cyborg ship and is transported back in time to East Africa in 1980, where the mother is killed, but the baby is saved. It takes 20 years, but a cyborg bounty hunter named Nebula (Chad Stahelski, director of John Wick and John Wick: Chapter 2) eventually locates the young woman, named Alex (professional bodybuilder, Sue Price), and travels back in time to terminate her.
Nemesis 3: Time Lapse: Alex finds that she has twenty half-sisters who are waiting for her to return to the year 2077. Central Command wants Alex (Price) captured alive and scanned to see if her DNA is a strong and more powerful strain than normal. But Alex may be too tough for Farnsworth (Tim Thomerson, Near Dark) to capture.
Nemesis 4: Death Angel: Following an uneasy ceasefire between the humans and the cyborgs, Alex Sinclair (Price) is making a living in the future working as a cybernetically-enhanced assassin for her boss Bernardo (Andrew Divoff, Wishmaster). But when Alex accidentally targets the wrong man and kills the son of a major crime syndicate head, she finds herself on the run once again as every assassin in town comes to collect the bounty on her.
Blu-ray Special Features:
High Definition Blu-ray (1080p) presentations of all three films (Nemesis 2 & 3 Aspect Ratio: 1.78:1, Nemesis 4 Aspect Ratio: 2.20:1)
There is a thrill that fills you up when you watch a martial arts movie performed by your favorite star. The feeling gets more exciting when the actor is ripped and you even find yourself dreaming of being like them. There are a lot of people who have gone to gyms to be just like their favorite movie star.
Some of the most successful action movies in the box office were starred by actors who were very muscular. Arnold Schwarzenegger, for instance, rose to prominence because of his enormous muscles and phenomenal acting skills. If you look at most martial arts movies, you will hardly miss a ripped actor.
Having a muscular body is now considered as one of the primary prerequisites of being a successful movie star. In this article, we have compiled a list of the most muscular martial arts actors.
Jean Claude Van Damme
Van Damme has starred in several movies, most of which have turned out to be very successful. Some of his best movies include The Street Fighter, Bloodsport, The Kickboxer series, and Double Impact. Van Damme began participating in karate competitions in his teen years and had to go to the gym because he was very skinny.
Now, one thing that cannot go unnoticed in his movies is his muscular body and perhaps his exceptional skill. You might even start to think that he uses anabolic steroids from vendors likeMusclefax. His skill and muscular body made him a household name starting in the late 1980s.
Scott Adkins
Famous for his role in the movies Undisputed 2 and 3, Special Force, The Shepard, and The Green Street Hooligans, you can easily agree that Adkins is one of the best martial arts actors. Just like Van Damme, Scott is equally good in martial arts while also having a ripped body.
As a young boy, Scott liked watching films all night while his parents were asleep and also participated at several sports events at school. Once, he and his brother went with their father to a judo club, and that is where he got his interest in martial arts. The determination was great to the extent that he turned his father’s garage into a training ground. Today, you can see the fruits of his hard work with his exceptional skill and muscular body.
Michael Jai White
Born on November 10, 1967, Michael Jai has appeared in several movies and even television series. His notable works in movies include Falcon Rising, Accident Man alongside Scott Adkins, and Undisputed 2 with Adkins, too. Michael has excellent martial arts skills combining with his muscular body to easily beat opponents. After Michael starred in the film Tyson as the boxer Mike Tyson, he has since starred alongside famous actors like Steven Seagal, Jean Claude Van Damme, and Scott Adkins.
Dolph Lundgren
Dolph was born in Stockholm, Sweden and started developing an interest in martial arts while in military service. He would go on to be one of the best martial artists in Japanese Karate. Dolph did engineering in college but decided to pursue acting in 1983. His first movie was A View to Kill, but his performance in Rocky IV alongside Sylvester Stallone brought him into the limelight.
Since then, he has starred in several films including Universal Soldier, The Defender, The Russian Specialist, and Expendables. One of the standout features Dolph has is his muscular body, which has helped him land major starring roles.
Warner Bros. is giving Chen Sicheng’s Detective Chinatown 3 a limited U.S. release. The upcoming movie is the sequel to the globe-trotting, comedy-mystery buddy films Detective Chinatown (2015) and Detective Chinatown 2 (2018).
What would the end of a decade be without a look back on the movies which came out of it? We may no longer be in the golden era of fight flicks, but one only needs to spend a few moments thinking of the past 10 years, to realise there’s still plenty of talent with the enthusiasm and skill to create a great martial arts movie. From new blood like Iko Uwais and Max Zhang, to members of the old guard like Sammo Hung and Jackie Chan, the 10’s was a decade which gave everyone their moment to shine.
This list started out in early December as a Top 10, and as the month progressed, before it hit Christmas it had become almost 100. Realising it wasn’t supposed to be a record of how many martial arts movies I could remember watching over the last decade, the last days of 2019 where spent trimming and pruning, often after a restless night of wrestling with my conscience as to what should stay and what should go. The result? A curated collection of 50 movies – 40 the best of them, and 10 of them the worst – because nobody wants to read that much praise in a single feature.
The small print – the list is in chronological order, from the start of the decade to the end. See a movie on either side that you disagree with, or one that you feel is missing? Feel free to mention it in the comments! Differences in opinion are welcomed, as is the questioning of my intelligence, and then of course there’s always those movies that I simply didn’t have the chance to get to. Most of all, we hope you enjoy reading, and maybe even find a title or two that went under your radar.
So, without further ado, let’s kick this thing off –
“Undisputed III: Redemption” Blu-ray Cover
Undisputed 3: Redemption (2010, USA) – If ever a movie isn’t supposed to exist, it’s Undisputed 3: Redemption, which made the vicious bad guy from 2006’s DTV sequel to Walter Hill’s 2002 boxing drama the main character. On paper it doesn’t make much sense, but onscreen, it’s easy to see why British martial arts star Scott Adkins’ portrayal of Boyka, the self-proclaimed “most complete fighter in the world”, developed such a cult following. Now the antihero of the piece, he has to return from crushing defeat to face off against the Latin Dragon, Marko Zaror. With a cast rounded off by the likes of capoeira master Lateef Crowder, Undisputed 3: Redemption set a new bar for US DTV action flicks.
Ong Bak 3 (2010, Thailand) – Another 3rd entry kicked off the 10’s, with Tony Jaa’s troubled follow-up to 2008’s Ong Bak 2. Made at a time when audiences still expected bone-crunching fight scenes from any movie with his name on it, almost a decade on Ong Bak 3’s uniquely spiritual take on the martial arts genre is well worth a re-visit. With an unusually deep narrative, the final entry in the saga is notable for pitting Jaa against his contemporary Dan Chupong. While their confrontation is more comparable to the likes of the action found in Yuen Woo-Ping’s Tai Chi Master than it is a flurry of elbows and knees, with the power of retrospect, it’s all the more admirable for doing something so different.
BKO: Bangkok Knockout (2010, Thailand) – After stepping in to help his protégé Tony Jaa complete Ong Bak 2 (2008) and Ong Bak 3 (2010), Thailand’s master of mayhem Panna Rittikrai (who sadly left us in 2014) returned to direct his first feature since 2004’s Born to Fight. With a plot thinner than a sheet of paper, as a movie BKO: Bangkok Knockout is arguably a watch-once affair, but as a showcase for martial arts it’s a non-stop rollercoaster of blistering action. Throwing most of Rittikrai’s stunt-team from the previous decade into featured roles, what’s lacking in acting chops, is adequately made up for by some of the most intricate and hard hitting exchanges to have graced the screen for a long time.
Jiu-Jitsu (2010, Japan) – Director Hiroki Asai’s tale of an arrogant Karate school challenging a dignified Jiu-Jitsu school may be lacking in budget, and just about everything else you’d normally associate with making a movie, however the good news is it delivers where it counts. Where that might be, is hinted at in the title, and that’s the action. The legendary Yasuaki Kurata produced, choreographed, and plays the wise Jiu-Jitsu sensei, with the rest of the cast being made up of real martial artists. Even better news, it that he also gets in on the action (and he’s definitely still got it!). So while you’ll find yourself wincing through the more dialogue driven scenes, when it comes to the epic finale, you’ll be unlikely to walk away disappointed.
The Man from Nowhere (2010, South Korea) – Since the Korean Wave in the early 00’s, its film industry has largely moved away from the martial arts movies that remained popular throughout the 90’s, however The Man from Nowhere showed that a slickly produced thriller could still go hand-in-hand with killer fight scenes. Casting Won Bin as a loner who runs a pawn shop, the kidnapping of his friendly kid neighbor reveals a set of skills from a past spent in the Special Forces. Yes, it heavily riffed on 2008’s Taken, however the action put it in a league of its own, thanks to a couple of tightly choreographed fights against Thai actor Thanayong Wongtrakul (ironically playing a Vietnamese assassin).
14 Blades (2010, Hong Kong) – It was impossible to get away from Donnie Yen in the late 00’s/early 10’s (in 2010 alone he also starred in Ip Man 2 and Legend of the Fist: The Return of Chen Zhen), and 14 Blades is one of the highlights from the busiest period of his career. A loose remake of the Shaw Brothers movie Secret Service of the Imperial Court, a visibly beefed up Yen goes up against the likes of Chen Kuan-Tai, and has a cast full of faces from old-school kung fu flicks, including Sammo Hung, Fung Hak-On, and Wu Ma. Successfully capturing the distinctly Shaw Brothers feel of old, 14 Blades is a refreshingly unpretentious martial arts adventure, and one of the few watchable movies director Daniel Lee has made.
True Legend (2010, Hong Kong) – At the time of its release True Legend was a big deal. The first time for Yuen Woo-Ping to step into the director’s chair solo for 15 years, and the first time for Vincent Zhao to headline a big budget kung fu flick since the late 90’s. An early experiment with using 3D technology in the kung fu genre, while this element wasn’t entirely successful, the kung fu itself (courtesy of the Yuen Clan) was 100% on point. Andy On stole the show as the villainous master of the Five Venoms Fist, complete with ghostly white skin and sewn to the flesh body armour. His character should have stuck around longer than he did, but even in its current form True Legend still delivers a worthy dose of kung fu action.
“Bad Blood” Chinese Theatrical Poster
Bad Blood (2010, Hong Kong) – Nobody is ever going to mistake Dennis Law for being a good director, but he sure knew how to throw together an action flick. After successful collaborations with fight choreographer Nicky Li on 2006’s Fatal Contact and 2008’s Fatal Move, in 2010 they proved that it was no fluke by reuniting for Bad Blood. Essentially a riff on the Hong Kong Triad flicks of old, I’d be willing to argue that Andy On and Jiang Luxia have never looked as good as they do here, with a healthy mix of both one on one and one versus many fights recalling the 80’s kickboxing era of HK action flicks. Why Jiang Luxia wasn’t able to build on her career as a leading martial arts actress, is one of the life’s biggest mysteries.
KG: Karate Girl (2011, Japan) – For a while at the beginning of the 10’s, it looked like Japan was looking to cultivate their own martial arts genre, with Karate expert Rina Takeda leading the charge. It may long have since fizzled out, however this 2011 unrelated follow-up to 2009’s High Kick Girl saw Takeda relegated to second fiddle in her own movie, thanks to a scene-stealing turn from 14 year old Hina Tobimatsu. Armed with an array of aerial kicks that belied her young age, despite the sometimes ‘waiting to be hit’ nature of the choreography, Tobimatsu’s performance was worth the price of admission alone. While Takeda’s gone on to carve out a place for herself in Japans film industry, sadly Tobimatsu was never heard from again.
The Raid (2011, Indonesia) – In 2009 we were introduced to a new director and actor partnership – that of Gareth Evans and Iko Uwais. Considering almost any South East Asian martial arts star in the 00’s drew comparison to Tony Jaa, it would take 2011’s The Raid for fans to really sit up and realise that Uwais was the next big thing. With a simple but effectively tense plot (that BKO: Bangkok Knockout could have learnt a thing or two from), The Raid featured a SWAT team whose mission is to take out a drug lord residing on the top floor of a high-rise. Their plans to do things quietly quickly unravel, and instead we’re treated to an almost non-stop assault of Silat brutality, one which is still influencing action cinema today.
Wu Xia (2011, Hong Kong) – Peter Chan’s homage to the 1966 seminal Shaw Brothers movie The One Armed Swordsman wasn’t content with just remaking its source material, it completely reimagined it, and then went one step further by casting the original One Armed Swordsman, Jimmy Wang Yu, as the villain. With a plot that often resembles a kind of kung fu CSI (the initial fight scene deconstruction is a joy to watch), Wu Xia took one of the oldest genres in Chinese cinema, and made if feel fresh again. Stellar performances from leading men Donnie Yen and Takeshi Kaneshiro anchor the whole thing, while the appearance of Kara Hui further casts its ties back to the Shaw Brothers productions of old.
The Lost Bladesman (2011, China) – Made at a time when China was still in the midst of Three Kingdoms-mania, kicked off by John Woo’s Red Cliff, The Lost Bladesman ironically got lost amongst many of the other battle movies bring cranked out around the same time. However any movie which casts Donnie Yen as the legendary Guan Yu (and of course his guandao!) is worth a watch, and while Yen’s acting is certainly less than legendary here, to see his choreography applied to a Three Kingdoms setting makes The Lost Bladesman definitely worth a look. Plus, Yen gets to face off against Andy On, in a fight which is far superior to their face off in Special ID 2 years later.
Death Grip (2012, USA) – Fans of the San Francisco based Stunt People had been hoping for another full-length feature ever since 2006’s riotous Contour, and in 2012 they got it with Death Grip. Once again Eric Jacobus directed and starred, and this time he brought Alpha Stunts and Power Rangers alumnus Johnny Yong Bosch along for the ride. Taking a more serious approach to the narrative, fans were split on the use of the technique which saw Jacobus imagining fights in his head, unbeknownst to the audience. What can’t be argued though, is that the action on display was of the highest level, featuring a furious knife duel, a hilarious real time slow motion fight, and the promised one on one pitting Jacobus against Yong Bosch.
Universal Soldier: Day of Reckoning (2012, USA) – Director John Hyams reinvigorated the Universal Soldier franchise with 2009’s Regeneration, but it was Day of Reckoning which showed just how much could be done with the genre. A unique hybrid of psychological horror and action, the plot saw Scott Adkins relentlessly pursuing Jean Claude Van Damme for the murder of his family, a journey which sees him facing off against the likes of Dolph Lundgren and Andrei Arlovski along the way. His fight against Arlovski in particular is a showstopper, and remains the most viscerally hard hitting confrontation in the British stars filmography. Give me another pairing of Hyams and Adkins over another Undisputed any day.
“Armour of God III: CZ12” Japanese DVD Cover
CZ12 (2012, China) – The last time Jackie Chan sat in the director’s chair for one of his own movies before CZ12 was 1991’s Armour of God II: Operation Condor. Combine that with his claim it would likely be his last time to headline a big blockbuster, and the “is it, isn’t it?” third instalment in the Armour of God series came with some high expectations. Despite some silliness, surprisingly almost all of them where met, with Chan giving it his all in the action scenes, and even allowing some of his co-stars (former Taekwondo champion Zhang Lan-Xin is a highlight) to shine. A welcome reminder of just what a creative genius Chan could be when it came to fight scenes, CZ12 would have been a worthy swan song (emphasis on ‘would’).
Ninja: Shadow of a Tear (2013, USA) – After a lukewarm reception to 2009’s Ninja, the director and actor partnership of Isaac Florentine and Scott Adkins looked to make amends with its 2013 sequel. Amends were most definitely made. The plot essentially comprises of Adkins rampaging around Myanmar on the hunt for who killed his wife, and that’s it. The casting of the forever underutilised Kane Kosugi proved to be a stroke of genius, with his confrontation against Adkins being worthy of inclusion on any Greatest Fights list, orchestrated by one of the best fight choreographers working today – Tim Man (who also gets his own fight scene against Adkins). There may be a lack of ninjas, but with action this good, who cares?
Bushido Man (2013, Japan) – After warming up with the likes of the Hard Revenge Milly flicks and Red Tears, director Takanori Tsujimoto reached his zenith with 2013’s Bushido Man, a wonderfully stripped back tale of a man wondering around Japan challenging masters of combat in their respective fields. Like a modern day Japanese take on Seven Grandmasters, lead Mitsuki Koga finds himself battling a cast comprised of real martial artists and stuntmen, resulting in a move which feels refreshingly old-school. An obvious lack of budget, and an almost criminal approach to a fight with nunchucks are minor deterrents, but overall Bushido Man’s promise to deliver on its tagline of ‘Eat and Fight’ is one that’s kept.
The Grandmaster (2013, Hong Kong) – Wong Kar Wai’s homage to the martial arts genre was over a decade in the making, as has come to be expected from the Hong Kong auteur, but it was certainly worth the wait. Casting Tony Leung in the role of Ip Man (Anthony Wong played him the same year in Ip Man: The Final Fight), under the tutelage of the Yuen Clan the action on display was the perfect accompaniment to the musings on what it means to be a martial artist. Featuring the now iconic rain drenched alley way fight scene, equally impressive action performances from Zhang Ziyi and Chang Chen, and a taste of what was to come from Max Zhang, The Grandmaster is another Wong Kar Wai masterpiece.
Vengeance of an Assassin (2014, Thailand) – In what would turn out to be Panna Rittikrai’s swansong after his untimely passing in the same year, Vengeance of an Assassin saw Rittikrai reunite with Dan Chupong for a rather hokey tale of two orphan siblings looking to uncover the truth behind their parents murder. Like most Thai action movies from the era, plot isn’t what we’re here for (and at least it didn’t involve elephants), it’s the action, and on that action front it delivers. Chupong as always is willing to be on the receiving end of an almost gratuitous amount of punishment, but he’s also more than capable of dishing it out, resulting in a movie which for most of its runtime feels like we’re back in 2003.
The Raid 2 (2014, Indonesia) – Director Gareth Evans said that The Raid 2 is the movie he originally wanted The Raid to be, but due to budget constraints they had to simplify what they could do. Those budget constraints resulted in the most talked about martial arts movie since Ong Bak, and meant that when the sequel did arrive, it was suitably epic. Expanding the scope from a single building to the whole of Jakarta, the tale of Iko Uwais’ cop going undercover introduced the iconic characters of Hammer Girl, Baseball Bat Boy, and the Assassin. The latter, played by Cecep Arif Rahman, led to one of the greatest final fights ever committed to screen, topping off a 150 minute runtime full of jaw dropping action.
Once Upon a Time in Shanghai (2014, Hong Kong) – Philip Ng takes the lead after appearing in numerous movies as that supporting character who shows up for a fight scene, and while his acting won’t win any awards, he certainly has the moves. A remake of The Boxer from Shantung, the odd color palette is a compromise between director Wong Ching-Po’s desired black and white, and producer Wong Jing’s wish for it to be in color. Thankfully the decision doesn’t impact the quality of the fight scenes, choreographed by Yuen Woo-Ping and Yuen Cheung-Yan, and the cast is filled with old-school faces like Chen Kuan-Tai (the original Boxer from Shantung!) and Sammo Hung. Ng’s fight with co-star Andy On is a highlight.
“One Million Klicks” Theatrical Poster
One Million K(l)icks (2015, Germany) – Representing Europe of the list, One Million K(l)icks is essentially a showcase for the talented German martial artist Mike Möller to show off what he can do. Thankfully, he can do a lot, and most of it involves punching or kicking people. Wrapped up in a tale of fight videos going viral and a couple of corrupt cops, amidst the many fight scenes Möller shows an ability to also inject some welcome humor into proceedings, resulting in a surprisinly coherent movie. Highlights include his confrontations with Taekwondo expert Cha-Lee Yoon, and Li Yan-Long, a stalwart of such old-school kung fu movies as South Shaolin Master.
SPL II: A Time for Consequences (2015, Hong Kong) – Creating an unrelated sequel to the movie that put the HK action genre back on the map may seem like a cynical move on paper, but onscreen it was anything but. Providing Thai superstar Tony Jaa with his Hong Kong debut, his role as a conflicted prison guard remains his most substantial outside of Thailand, and he gets to show off both his action and his acting chops. Wu Jing released Wolf Warrior the same year, catapulting him to stardom in China, so this will likely be the last time we see him headlining a contemporary HK action flick. Going up against a scene stealing Max Zhang, if that is the case, then it’s a worthy showcase for all involved.
Ip Man 3 (2015, Hong Kong) – Donnie Yen may have claimed that 2010’s Ip Man 2 was his last, but that all changed in 2015. Now with Danny Chan as Bruce Lee, Mike Tyson as a boxing gangster, and Max Zhang as an arrogant Wing Chun master, it was understandable why Yen changed his mind, and the results delivered. Pitting Wing Chun against the likes of Muay Thai, western boxing (much more effectively than it did in the sequel), and for the first time, Wing Chun itself, the balance of action and plot hit the right note. For the second time in the same year Max Zhang stole the show (leading to his own spin-off), with a final fight that served as a reminder that kung fu cinema was still alive and well.
Kung Fu Jungle (2015, Hong Kong) –Donnie Yen’s fifth appearance on the list (and it won’t be his last), headlining director Teddy Chen’s modern day homage to Hong Kong action cinema. Framed around a kung fu serial killer played by Wang Bao-Qiang, from an action perspective Yen takes a backseat for most of the runtime, allowing Bao-Qiang to shine in fights against the likes of Xing Yu and Fan Siu-Wong. Incorporating various styles, the action on display is a joy to watch, as are the cameos that form a who’s who of the kung fu genre. The final confrontation brings Yen and Bao-Qiang together, as the pair duel it out on a busy highway that brings the kung fu goodness.
Final Master (2015, China) – Xu Haofeng is quite the talent, having directed, written, and choreographed all 3 of his movies, the latest of which marks his best work to date – Final Master. Here he casts Liao Fan as a newly arrived Wing Chun master looking to open a school in Tianjin, he just needs to defeat the town’s current kung fu masters to do so. The charm of Final Master lies in its commitment to realism, which in turn, often results in a surreal (and often humorous) experience for the audience. Wise master’s drop oversized swords too heavy to carry, shoe laces come undone in the middle of a fight, and confrontations are over in the blink of an eye, resulting in one of the most unique and satisfying kung fu movies of the era.
Boyka: Undisputed (2016, USA) – 6 years since the last entry, Boyka returned with a 4th instalment in the Undisputed series, this time with what’s easily the smallest budget (and running time) of the whole series. Despite the ravages of piracy having an impact on the production values, what can’t be argued is that choreographer Tim Man is at the top of his game, working miracles out of the short shooting time. The talent in-front of the camera no doubt helped, providing star Scott Adkins with a healthy pool of opponents, including fellow choreographer Brahim Achabbakhe and man mountain Martyn Ford. Whether the world needs a 5th Undisputed is debatable, but if it stops here, Boyka is a worthy conclusion.
Re:Born (2016, Japan) – It felt like fans had been waiting for Tak Sakaguchi to make a full-blooded martial arts movie ever since his debut with Versus in 2000, and somewhat ironically, they got it with his 2016 retirement movie Re:Born. Featuring a new fighting style called the Zero Range Combat System, created by fight choreographer and villain of the piece Yoshitaka Inagawa, the focus of said style is on using bladed weapons to eliminate enemies as swiftly as possible. Death Trance director Yuki Shimomura goes for a “if it’s not broke, then don’t fix it” approach, throwing Sakaguchi and a small army of opponents together in a forest, and then letting them go at each other with satisfying results.
Karate Kill | Blu-ray & DVD (Petri Entertainment)
Karate Kill (2016, Japan) – The 70’s Karate exploitation movie is dragged kicking and screaming into the 10’s with Karate Kill, director Kurando Mitsutake’s follow-up to Gun Woman. The result of a chance meeting between Mitsutake and Karate practitioner Hayate (so cool he doesn’t need a surname), basing a movie around its stars martial arts skills may be a risky proposition, but in this case it paid off. Searching for his missing sister in America, who’s been taken by a cult led by a crazed madman, Hayate is given ample opportunities to show off his talents, leaving little doubt he’s the real deal. Watch out for the rotating 360 shot which sees him battling multiple opponents in a hostess bar!
The Bodyguard (2016, Hong Kong) – Over 20 years since he last directed, choreographed, and starred in a movie, in 2016 the 64 year old Sammo Hung returned with The Bodyguard. While hardly wall-to-wall action, the smattering of fight scenes make The Bodyguard worthy of inclusion to show just how astute and aware Sammo remains when it comes to choreographing fights. No longer able to flip and kick like he used to, the reliance on close quarter exchanges with a need to inflict as much damage as possible by doing as little as possible, is a joy to watch. As a swansong to an action career spanning close to half a century, The Bodyguard is a worthy send-off.
Sword Master (2016, China) – In Sword Master everything that’s old is new again, as director Derek Yee helms a remake of the very movie he was the star of 40 years prior, the 1977 Shaw Brothers flick Death Duel. Casting Peter Ho and Kenny Lin as the leads, Yee creates a wuxia that blends a modern approach to filmmaking with the traditions of the past, and it’s a successful combination. Action choreographers Yuen Bun and Dion Lam, working together for the first time, craft a number of imaginative sword duels. From one on one’s to group melees, the two veterans show a keen sense for applying their skills to contemporary filmmaking, striking the right balance between the performer’s skill and CGI spectacle.
Iron Protector(2016, China) – Let’s face it, Iron Protector’s bombastic trailer didn’t do it any favours. However forget about all the ridiculous claims, and what you’re left with is a pulpy high impact fight flick. Director and star Yue Song’s ambitions are clear, and he goes at them with an enthusiasm that comes off the screen. Eschewing any kind of CGI, it’s impossible not to smile when Song faces off against a small (well, it’s really not that small) army of attackers, and even flying kicks through the windscreen of a moving car like it’s still the 80’s. With the sole purpose of assaulting the viewer with kicks to the face and bodies thrown into breakable props, Iron Protector may be a hot mess, but it’s a gloriously entertaining one.
Paradox (2017, Hong Kong) – An official spin-off of the SPL franchise, Paradox sees Louis Koo travel to Thailand to find his missing daughter, where he teams with local cops Wu Yue and Tony Jaa. For anyone that witnessed Koo’s lame attempt at a fight scene in Flash Point 10 years prior, you’ll be relieved to hear that under choreographer Sammo Hung, he looks much better. Most of the heavy lifting still goes to Yue, with Jaa’s role amounting to little more than an extended cameo, and bad guy of the piece Chris Collins. The finale, pitting Yue against Collins (each wielding a pair of machetes and cleavers respectively), would make you swear you’re watching an 80’s Hong Kong action flick, and that’s not a bad thing.
The Brink (2017, Hong Kong) – Two of the decades kung fu scene stealers – Max Zhang and Wu Yue – got a chance to share the screen together in 2017 thanks to director Jonathan Li’s debut The Brink. The dockland setting provided a welcome change of surroundings, allowing for some nautical themed action which was a breath of fresh air (including an underwater action scene). Max Zhang puts forward his case here to be the 10’s answer to the 90’s angry cop character than Donnie Yen left his stamp on, and for the most part it’s a convincing one. The final fight on a boat in the middle of a typhoon is executed surprisingly well, proving that the Hong Kong action genre still has it.
Accident Man (2018, USA) – After pitting Scott Adkins and Marko Zaror against each other for a 2nd time in 2017’s Savage Dog, director Jesse V. Johnson teamed with Adkins again for Accident Man. A passion project for Adkins, the adaptation of an early 90’s British comic comes with a stellar cast of fighting talent, including Michael Jai White, Ray Park, Amy Johnston, and Tim Man (who, like in Ninja: Shadow of a Tear, is also on fight choreography duty). Everybody gets a chance to shine, with a highlight being the fantastic 2 versus 1 that pits Jai White and Park against Adkins, delivering a suitably brutal confrontation. The best news? A sequel is already on its way, and should be arriving at some point in 2020.
“Revenger” Korean Theatrical Poster
Revenger (2018, South Korea) – Korea hasn’t made martial arts movies for a long time, preferring to stick with thrillers that contain expertly crafted fight scenes, but that changed with 2018’s Revenger. Another passion project, this time it’s for martial artist Bruce Khan, who casts himself as the lead and choreographs the action. After minor roles in a handful of Hong Kong flicks, here Khan takes center stage and proves a formidable kicking machine, with a sense of power behind his blows making it immediately apparent he’s the real deal. The 6 minute final fight against Park Hee-soo is a rare pleasure in this day and age, with a drawn back camera allowing us to see everything, and a refreshing lack of quick cuts.
The Night Comes for Us (2018, Indonesia) – Initially planned to come hot on the heels of The Raid 2, The Night Comes for Us was mysteriously cancelled in 2015, before rising from the ashes in 2018 thanks to Netflix. It’s a good thing it finally saw the light of day, as despite a ropey plot, it serves up some of the most insanely gory (as is expected from director Timo Tjahjanto) fight action ever put on film anywhere. Joe Taslim from The Raid delivers as a leading man, Iko Uwais is cast against type as the villain (and he kills it, and anyone that crosses him), and Julie Estelle returns minus the hammer and the sunglasses. The action is great throughout, but the best is definitely saved for last, when Taslim and Uwais face-off.
Triple Threat (2018, USA/China) – Marking director Jesse V. Johnson and star Scott Adkins’ 3rd movie to be released in 2018, this USA-China co-production was a martial arts movie fans wet dream, bringing together Iko Uwais, Tony Jaa, and Tiger Chen. The trio alone bring enough onscreen fighting talent to fill 10 movies, but when you pit them against the likes of Scott Adkins and Michael Jai White, you’re left with a movie that’s harder to get wrong than it is right. Thankfully fight choreographer Tim Man brings the goods, and with ample opportunities for everyone to do their thing, even the “this has to be there to ensure Chinese distribution” sub-plot is easy to overlook.
Shadow (2018, China) – Director Zhang Yimou’s return to the wuxia genre 12 years after Curse of the Golden Flower was a triumphant one, creating one of the most visually sumptuous movies of the decade. The tale of an injured commander and a commoner who he’s trained to act as his double, the countdown to a duel with a superior enemy acts as a gradual tension builder, as both personal and professional allegiances begin to fray. Eschewing the flights of fancy many wuxia’s employ, choreographer Ku Huen-Chiu goes for a more grounded strategic approach to the action, utilising a bladed umbrella that’s a joy to watch onscreen. Battles in the rain have never looked as beautiful as they do here.
Ip Man 4: The Finale (2019, Hong Kong) – Donnie Yen has appeared in this list 5 times, and Scott Adkins 6, so it feels only fitting that the final entry brings them both together in the same movie. The final (this time they really mean it – the title says so) entry in theIp Man franchise, this time Yen travels to America, and ends up dealing with a pair of racist Karate practicing marines in the form of Adkins and Chris Collins. Everyone is in top form, with Wu Yue continuing to be a scene stealer thanks to a slickly choreographed Tai Chi fight against Yen’s Wing Chun. Yuen Woo-Ping delivers his best choreography for years, and Ip Man 4 finishes the 10’s on a high note, giving hope that the kung fu genre will still be alive and well in the 20’s.
& Now for the worst –
“The Kick” Theatrical Poster
The Kick (2011, Thailand/South Korea) – When The Kick was announced the excitement was palpable, imagine the hard hitting action of Thailand mixed with the grittiness of a Korean thriller, it was a recipe for success. Sadly the wrong ingredients came to the table, with The Kick being very much a Thai production. Made at a time when audience tastes had moved away from the hard hitting flicks of the early 00’s, and where more in-tune with teeth grating comedy, The Kick is a torture to get through. K-Tigers members Na Tae-joo and Tae Mi do their best, however Tae-joo’s B-boy meets Taekwondo routine induces feelings of violence, and this would be the first of many productions to completely waste the talents of Jija Yanin.
Shadowguard (2011, Hong Kong) – Otherwise known as the movie that Michael Biehn disowned (check out the interview here), and it was his directorial debut! After working together on 2005’s Dragon Squad (that incidentally belongs on any 00’s Worst Movies list), producer Bey Logan invited Biehn to China to direct and feature in the debut of a new action talent he’d scouted, Phoenix Chou. Basically a remake of The Last Blood, not even Fan Siu-Wong’s choreography could save this turkey, with his action undermined by a lack of power and commitment from those performing it. Combined with bargain basement production design, and a ‘new talent’ who was never heard of again, Shadowguard is one to avoid.
Tom Yum Goong 2 (2013, Thailand) – Almost 3 years in the making, Tom Yum Goong 2’s laboured production is all there to see onscreen. From its initial announcement in 2011, Tony Jaa’s return to his sophomore starring role was one mishap after another – somewhere along the way it was decided to shoot in 3D, then Jija Yanin became pregnant while filming, then it was decided to bring in RZA as the villain. Jaa’s heart clearly wasn’t in it, and the result is one that sees him sleepwalking through the fight scenes, while Yanin’s co-starring role is awkwardly reduced to a supporting character. The dumbest decision of all? A final fight which pits Jaa against RZA. The studio should have paid people to watch it.
Special ID (2013, China) – In 2013 Clarence Ford hadn’t directed anything since 2006’s Dating a Vampire, so handing him a Donnie Yen action vehicle probably made sense at the time. Unfortunately, Special ID is an unwieldy mess. With a major selling point being Yen’s angry cop versus Vincent Zhao’s gangster, the promise of a fight was quickly snuffed after Zhao quit mid-filming, sighting Yen as being too difficult to work with. Replaced by Andy On, while we still get a healthy fill of fight scenes, Yen’s fondness for MMA overly-dominates here, losing the exciting mix of HK choreography and grappling that he did so well in SPL and Flash Point. Sadly, watching grown men roll around on the floor together just isn’t that thrilling.
Rise of the Legend (2014, Hong Kong) – Reimagining the character of Wong Fei Hung has led to some of kung fu cinemas greatest hits – Gordon Liu in Challenge of the Masters, Jackie Chan in Drunken Master, and Jet Li in Once Upon a Time in China. Eddie Peng isn’t a part of those hits. Aiming to make Wong Fei Hung ‘gritty’ for the cool kids, Rise of the Legend sees the character go undercover as a member of the Black Tiger triad gang, led by a villainous Sammo Hung. It’s a cool concept, but undone by a plodding runtime, and fight scenes that rely too much on CGI and wires. If you do make it to the end, prepare for the embarrassment of an action scene set in a CGI blazing warehouse, then block it from your memory.
Kung Fu Yoga (2017, China/India) – Much like CZ12 never made it clear if it was an Armour of God sequel, so Kung Fu Yoga never makes it clear if it’s a sequel to The Myth, but let’s say it is. Let’s also say it’s one of the worse movies of Jackie Chan’s career. Half Bollywood nonsense, half Chan and his young cohorts running away from CGI lions and hyenas, Kung Fu Yoga is a train wreck. If anything it’s more a promotional piece for the relationship between China and India than a movie (or anything to do with yoga for that matter). Chan and director Stanley Tong prove to be tone-deaf, and when proceedings end with a fight scene being interrupted to break out into a Bollywood dance number, you’ll wish you were too.
Kickboxer: Retaliation (2018, USA) – Admittedly, it was a toss-up between this and 2016’s Kickboxer: Vengeance as to which one should be on the list, but in the end it goes to Retaliation, the 2nd in a trilogy (of which the 3rd has thankfully yet to materialise). An oddity of a movie, strange casting choices like footballer Ronaldinho, Mike Tyson, and Icelandic strongman Hafþór Júlíus Björnsson (who plays the villain) make for painful viewing. Alain Moussi spends more time in slow motion than he does at normal speed, as we’re forced to sit through every one of his flying kicks take a minute to unfold onscreen, be it against bikini-clad assassins wearing glow-in-the-dark lipstick, or Thai stuntmen waiting to be hit. Truly awful.
“Iceman: The Time Traveler” Theatrical Poster
Iceman: The Time Traveller (2018, Hong Kong) – When a sequel that was apparently shot back-to-back with its 2014 original takes 4 years to be released, that’s generally a sign of trouble, and Iceman: The Time Traveller is a textbook example. What started off as a remake of the 1989 Yuen Biao flick The Iceman Cometh with the Donnie Yen vehicle Iceman 3D (a fun but throwaway entry in Yen’s epic 2005 – 2015 filmography), turns into something borderline unwatchable in this mind-bending follow-up. Containing action scenes that can best be described as insipid (there’s some debate as to whether Yen and Yasuaki Kurata actually filmed their fight separately), even the most diehard Yen fan couldn’t recommend this one.
Master Z: The Ip Man Legacy (2018, Hong Kong) – Most likely the most controversial choice this side of the list, but for me Master Z is the perfect example of everything that’s wrong with modern kung fu movies. An aesthetic that’s too clean, bloodless decapitation, CGI props instead of breakable ones, inappropriate wirework, and a plot so focused on telling us that foreigners are evil, it forgets to give us a reason why we should care. Max Zhang reprises his role from Ip Man 3, but it’s a diluted version of the character, and the edginess that made him so cool previously has evaporated into thin air. Ironically the only person to come out of this one looking good is a foreigner, with David Bautista making a suitably imposing villain.
Invincible Dragon (2019, Hong Kong) – Director Fruit Chan’s first foray into the martial arts genre is, without doubt, the biggest head scratcher of the decade. What on earth where they on when filming this!? Invincible Dragon pits Max Zhang, unfortunately appearing for a 2nd time in the ‘Worst of’ section, against former UFC fighter Anderson Silva, and all you need to know is that their confrontation involves a bungee jump. Proceedings are dominated by Zhang’s unintentionally hilarious attempt to play a character well beyond his range (look out for the prosthetic potbelly!). Silva fares no better, as the least convincing serial killer of the century, and then of course, we have an actual dragon who makes an appearance. Madness.
That’s a wrap, so let’s all look forward to what the next 10 years has in stall. 2020, bring it on!
On February 18th, 2020, Well Go USA is releasing the Blu-ray for Warriors of the Nation (aka The Unity of Heroes 2) – read our review. In some territories, the film is going by the title Once Upon a Time in China: Warriors of the Nation.
Directed by Marco Mak (Colour of the Truth), this martial arts actioner stars Vincent Zhao (Once Upon a Time in China V, True Legend) as folk hero Wong Fei-hung.
After the Sino-Japanese War, the Japanese army tries to once again gain control in China by hiring the secret organization, The White Lotus Society, to kidnap the military minister Zhang Zhidong. Wong Fei-Hung and his disciples try once again to stop this attack and prevent another war from starting.
Throughout the years, Wong Fei-hung has been portrayed by various stars, most notably Kwan Tak-hing (Story of Wong Fei-hung), Jackie Chan (Drunken Master), Jet Li (Once Upon A Time in China), and Eddie Peng (Rise of the Legend).
Warriors of the Nation marks the 6th time Zhao will be playing the iconic character. He previously played him in Once Upon a Time in China IV-V, the Wong Fei Hung TV Series, and of course, the recent Kung Fu Alliance.
Every year more than two million Americans suffer from opioid addiction. The impact it has on their lives is enormous.
If you or someone you know is battling an addiction, you probably have heard about suboxone clinics. You may have even seen them popping up in your city or heard about them in the news.
So, what exactly is a suboxone clinic? Read ahead to see just what you need to know about suboxone clinics.
Fighting Back
There is some good news. Treatments exist to treat opioid overdose and addiction. Tens of thousands of people are alive today thanks to the invent of naloxone (Narcan), which can be given by just about anyone.
Although the use of Narcan continues to save many lives, it is not the end-all. Many, if not most, of those who survive an overdose experience a relapse if no further treatment is administered in the weeks and months after.
In short, Narcan is great for treating acute overdose but withdrawal is sure to follow. The severe cravings and somatic symptoms of withdrawal are unbearable enough to prompt the person to use again.
Going The Whole Nine Yards
Fortunately, there are effective treatment options for this condition. In recent years, they have become readily available to the public thanks to the health care professionals such as those at the Inspire Malibu suboxone treatment center.
This consists primarily of pharmaceutical treatment coupled with psychotherapy.
Understanding Suboxone
To truly comprehend what is suboxone and how it works we have to understand how opiates work.
Opium, heroin, and pharmaceutical opioids, such as fentanyl, activate the mu-opioid receptors. This reduces the sensation of pain, activates rewards centers in the brain, and reduces the motility of the gastrointestinal tract, among other things.
The body gets so used to operating under these conditions, hence the dramatic withdrawal symptoms. Suboxone is used to alieve these effects.
Buprenorphine treats withdrawal by activating in the receptors in a controlled, stable manner. Also, it prevents new opioids from reaching the receptor. This makes using them pointless, so there will be less temptation to relapse. It has a long half-life, meaning it will keep those receptors ‘busy’ for long enough to get you out of the woods.
Interestingly, the naloxone component is there to prevent someone from trying to inject the drug intravenously. If this occurs, its antagonist effect would outweigh the buprenorphine and immediate withdrawal will ensue.
Find The Help You Need
Whether you or your loved one is dealing with this condition, please do not hesitate to get in contact with nearby suboxone clinic. There, you can talk to trained experts and receive appropriate medications.
Most Medicaid and health insurance programs cover suboxone treatments so there are no reasons to get help.
Remember opioid addiction is part of a medical condition that has a treatment so never lose hope. Let’s do something about it.
5 Creative Resume Ideas That’ll Get You Hired ASAP
It’s hard to find enjoyment in resume writing.
It can be tedious and most of the time it doesn’t end up leading anywhere. Most resumes all look the same and a lot of job sites use a system that eliminates candidates based solely on keywords. If this describes your feeling towards resumes, then you’re not doing it right.
There’s still a good amount of evidence that a unique and eye-catching resume can get you the job. In this post, we’re going to give you 5 creative resume ideas that will actually get you that interview for your dream job.
We can only help get you in the door, so you’ll have to manage the rest yourself. Getting in the door is half the battle, though.
1. Facebook Feed
Dress your resume up like a Facebook news feed and you’re sure to get a double or triple take. What’s funny about the Facebook feed is that it actually does read like a resume, so you don’t have to change much to turn it into a good resume.
You can include a picture, nicknames, your education background, work background, your relationship status (aka employment status), and a few of your favorite things to let whoever’s reading it know that you mean business.
2. Newspaper or Magazine
A more elegant way to display your resume is to turn it into the front page of a newspaper or a magazine spread. Find your favorite magazine and flip through to find the main story to figure out ways to display your accomplishments.
You could make your cover letter the cover of the magazine and your resume the actual story. It’s a great look and it’s sure to stand out from the stack.
3. Infographics
People use infographics all the time when they’re analyzing business data, so why not use it to describe the data of your life? You can include a flashy timeline of how your education and work history played out, making it easy for the employer to see what you’ve been doing with your time.
Plus, if you’re applying for a job where you’ll need design skills, you can showcase them with your infographic resume. If you lack design skills, check out Adobe’s presentation templates for help getting started.
4. Headshot Included
Including a professional headshot is a bold move that might just pay off. If you’ve ever been on the other end of a job search, you invariably end up wondering what some of the faceless names in the pile of resumes look like.
Take the guessing game away by giving them an actor style headshot along with your cover letter.
5. Movie Poster
If you’re a graphic designer, you can’t go wrong with the movie poster resume. It gives you a chance to show off your graphic design skills, but you can also capitalize on something that everyone loves; movies.
You can either spoof an existing movie poster or showcase that creativity with something they’ve never seen before.
Creative Resume Ideas Can Set You Apart From the Crowd
Use these creative resume ideas to inspire your own unorthodox resume. They might not “do it” for every hiring committee, but you don’t want to work for a company that you don’t fit in with anyways. Creative resumes are a great way to stand apart from the crowd and find your dream job.
Did you find this post helpful? Come back and visit us again for more help with resume writing and personal branding.
Top 5 Most Expensive Women’s Shoes Brands You Can’t Miss
Do you consider yourself a shoe aficionado? If so, you know how much of a splurge on designer footwear can cost you. But did you know some shoes are considered so valuable they can’t even be worn?
Curious about what the most expensive women’s shoe brands are? In this article, we’re highlighting the best and most luxurious of women’s shoe brands in 2020. So, you can get inspired and start the year off on the right foot (or in the right shoe).
Christian Louboutin
Known for its iconic red soles and high heels, Christian Louboutin is one of the most iconic shoe brands on the planet. This brand blends classic style with a contemporary cutting edge and has been worn by everyone from Rihanna and Lea Michele to Nicki Minaj and Cardi B—in fact, Cardi B even mentions them in her hit song, “Bodak Yellow”.
So, how much can you expect to pay for them? Well, their Sexy Strass shoe is priced at close to $4,000. Which is quite fair given that it’s a leather pump encrusted with gorgeous Swarovski crystals.
Gucci
Gucci is another staple in any fashion maven’s shoe closet. Gucci shoes are popular among the rich and famous, as well as the standard shoe lover who’s willing to spend their holiday bonus on a pair of gorgeous shoes. And you can expect to see plenty of knockoffs of these shoes on these streets.
Gucci sneakers can cost anywhere from $700 to $1000 dollars. But their 2020 Woven Leather Boot will cost you closer to $4,000 as well. That’s what you should expect when you’re investing in alluring and unapologetic couture that’s been worn by the likes of mega superstars like Kim Kardashian.
Manolo Blahnik
Manolo Blahnik is a high-end shoe brand known for its dazzling sky-high stilettos. It’s been a fashion staple since the 1970s and has reflected rebellious and exotic style since then.
So, what’s the price tag on Manolo Blahnik? Their Blixa alligator pumps cost over $4,500—and are almost impossible to get since they’re always sold out. But these light orange Alligator shoes can’t be missed.
Stuart Weitzman
Another incredibly popular (and expensive) women’s shoe brand is Stuart Weitzman. This company and its manufacturers are all based in Spain, and created with only the highest grade materials like 24-carat gold.
Stuart Weitzman shoes range from $600 to thousands of dollars. And many A-list actresses and celebrities like Charlize Theron have been spotted out and about sporting these iconic shoes.
Louis Vuitton
Louis Vuitton is a brand known worldwide—thanks to its stunning array of shoes and handbags. They’re also behind the most expensive shoe to ever sell. Which, surprisingly enough, was men’s shoes.
That’s right. Their Manhattan Richelieu Shoes, which was released in 2010, sold for $10,000. Talk about an expensive pair of shoes.
Ready to Treat Yourself to One of These Expensive Women’s Shoes Brands?
Are you looking to strut down the street like a supermodel or A-list celebrity? Then you may want to invest in these expensive women’s shoe brands. While they may cost a pretty penny, they can elevate your look and make you the center of attention wherever you go.
Did you enjoy learning about these iconic shoe brands? Want to learn more? Explore our website for more information and ideas!
Which Casino Games Have the Best Odds and Which Have the Worst?
When you walk into a casino, the first question you should ask yourself is, “How much money am I prepared to gamble with?” But the very next question you should ask yourself is, “Which casino games have the best odds?”
It doesn’t matter how much money you bring to the casino with you. If you play nothing but casino games with long odds, you’re going to make it hard to win any money.
Let’s take a look at some of the games that offer both the best odds and the worst odds inside of a casino.
Best Odds: Blackjack
If you have $100 in your pocket and you commit to playing relatively small hands (think under $5 per hand), you can play blackjack for hours and hours on end.
Blackjack has turned into one of the most popular games at casinos because of how easy it is to learn. But it’s also popular because you’ll win about 49% of the blackjack hands that you play.
If you’re wondering which casino games have the best odds, look no further than the blackjack table. It’s the place to be for those who want to win money.
Worst Odds: Slots
Those visiting a casino for the first time are often mesmerized by the slot machines inside of it. They light up, make lots of noises, and give people the impression that they’re pretty much giving money away.
But this is not the case. There are some slot machines that offer decent odds compared to others. But generally speaking, the odds are astronomical when it comes to hitting the jackpot on any slot machine.
If you’re OK with losing all your money at a slot machine over time, it’s a decent way to spend an afternoon. But it’s not going to make you rich—or anywhere close to rich—in most cases.
Best Odds: Roulette
One of the other things people usually notice almost right away when they set foot in a casino for the first time is all the roulette wheels. People tend to gather around them to see where the little ball is going to land on the roulette wheel.
They also gather around roulette wheels thanks to the odds that they provide for gamblers. If you choose to play the outside during a game of roulette and bet exclusively on which colors will come out, you’ll win about 50% of your spins.
The odds go down a little when you start playing inside and betting on individual numbers on the roulette wheel. But even then, the payouts associated with those odds will more than makeup for it.
Worst Odds: Poker
We want to make one thing clear: Poker doesn’t always offer terrible odds. If you’re an incredible poker player, you can rake in the big bucks at a table filled with amateurs.
But if you aren’t that good at playing poker, you could very well be one of those amateurs getting your money taken by a more experienced player. In that situation, poker offers pretty bad odds to someone like you.
If you find yourself sitting at a poker table while on a cruise, you should know that casino cruises can be as high stakes as you want. But you should also know that those stakes shouldn’t involve poker if you’re not a highly skilled player.
Learn Which Casino Games Have the Best Odds and Play Them
Now that you know which casino games have the best odds, you should start playing them during your casino visits. Stick with blackjack and roulette over craps and poker (unless you’re a fantastic poker player!) and make money doing it.
Find out which other which casino games have the best odds, too. You can get away with playing games like craps, which also provides players with great odds.
Browse through the other gambling articles on our blog to get other great tips that will turn you into a better gambler.
Director: Wilson Yip Cast: Donnie Yen, Scott Adkins, Danny Chan, Vanness Wu, Chris Collins, Wu Yue, Lo Meng, Kent Cheng, Mark Strange, Jim Liu, Nicola Stuart-Hill, Linda Jean Barry Running Time: 105 min.
By Paul Bramhall
I once read somewhere that there’s nothing wrong with changing your mind, and while I forget exactly where it was, I have a feeling Donnie Yen may have read the same thing too. After 2010’s hyper-jingoistic Ip Man 2, Yen declared he believed he’d done all he could with his portrayal of Ip Man, and would be broadening his horizons to other roles. That all changed in 2015, with the arrival of Ip Man 3, with Yen declaring the script and story just felt right, offering up a true conclusion to the cinematic Ip Man saga. I admit Yen had me fooled with the third, because I went ahead and wrote this, genuinely believing it was a wrap with the trilogy. However it turns out there’s more mileage to be had from Ip Man after all, with a fourth instalment arriving on our screens in 2019.
Apparently this really is the last chapter, and as if to convince us further, the filmmakers have even added additional wording to the title – Ip Man 4: The Finale – a quirk previously reserved for unofficial entries in the franchise, such as Ip Man: The Legend Begins and Ip Man: The Final Fight. Yen once again claimed that the right story had come along, and this time went one step further to say that Ip Man 4 (we’ll drop The Finale for the rest of the review) would be his final kung fu film. A strong statement, but one which could well be true, since having watched Yen’s latest outing as the iconic Wing Chun master, it’s safe to say it is indeed the last entry in the series. It’s also a fitting one.
It was inevitable at some point that the franchises focus would turn to Bruce Lee. The Little Dragon has had a lot of attention in 2019, thanks to Mike Moh’s portrayal in Quentin Tarantino’s Once Upon a Time…in Hollywood, and a lot of the marketing for Ip Man 4 has focused on Lee’s role. Thankfully, much like his appearance in Ip Man 3, the marketing is mostly a red herring. Danny Chan once again steps into the role of Bruce Lee, and really his role is only there as a means to bring Ip Man to America, and feature in an extended alley way fight against British powerhouse Mark Strange (Bodyguard: A New Beginning). It may be superfluous fan service, however his inclusion is a welcome one and smartly used, even allowing for some nunchucks action.
That’s good news for Ip Man fans, with a story that continues the melancholy tone from Ip Man 3. After losing his wife, Ip Man learns he’s also been diagnosed with cancer, so under the guise of going to see Bruce Lee perform in the San Francisco Karate Tournament, he heads to America to see if it’d be a suitable place to send his son once he’s gone. It turns out to be far from smooth sailing though, since to even consider applying to schools there, he needs a letter of recommendation from the Chinese Benevolent Association in Chinatown. Comprising of the areas Chinese martial arts experts, they’re not impressed with the way Man’s apprentice, Bruce Lee, has been openly offering to teach westerners kung fu, and the letter is only offered in return for his help in stopping Lee’s non-conformist approach. Will he go against his former student for a chance to benefit his son, or will he stick to his unwaveringly upright principles?
Since I’ve already mentioned Bruce Lee isn’t in it much, the answer is clear. But therein lies the same issue that Ip Man 3 had, in that Ip Man’s personal struggle (the last time it was his shortcomings as a husband) is more compelling than what develops into the main plot. Thankfully this time the narrative is not as rambling as part 3 (although personally I enjoyed that aspect of it), however what turns into a main conflict between the Chinese kung fu masters, and the Karate obsessed racist US Marines (Yes, it’s an oxymoron. No, it’s never addressed) is handled in a ham fisted manner. Escalating from a painfully unnecessary subplot involving the CBA head’s daughter winning a high-school cheerleading competition over her all-American competition, soon the American girl’s military father is involved, and those damn Chinese have nowhere to hide. Bring It On was never this intense. (Disclaimer: I’ve never actually seen Bring It On)
Despite the hokey elements, Yen keeps even the more ridiculous aspects grounded with a heartfelt performance, and he’s more than ably backed-up. The head of the CBA is played by Wu Yue, one of the most underrated martial artists working today and a fine actor to boot. If you don’t know him, watch Paradox, he’s the guy who steals every scene he’s in and makes Louis Koo look like a weak child. Yue brings a sense of dignity to his role as someone who’s spent most of his life feeling oppressed by the racism he’s encountered, and for once it doesn’t feel like we’re getting hammered over the head with it. Other familiar faces from Hong Kong cinema also make welcome appearances, such as Venom alumnus Lo Meng and the portly Kent Cheng.
On the villain side it’s a different story, with Chris Collins playing the Marines ruthless Karate instructor, and Scott Adkins playing his racist superior. Both are clearly having a hoot, and perhaps aware of the late Darren Shahlavi’s battle stories from Ip Man 2 of how he was constantly asked to go more over the top, they mitigate falling into the same trap by belting out some hilarious lines. Collins spends his whole time shouting about how the power of “real combat Karate” is going to show just how useless “hanky panky kung fu” really is, and Adkins plays his role in a way which is best described as a Cannon Films version of R. Lee Ermey’s drill sergeant from Full Metal Jacket. Just swap jokes about being able to suck a golf ball through a garden hose to jokes about a Wing Chun dummy being someone’s wooden girlfriend.
Like Ip Man 3, action duties go to Yuen Woo-Ping, and here he produces his best work since, well, Ip Man 3. It takes a while for Ip Man to spring into action, however this just means that the action doesn’t feel rushed (and the Bruce Lee alley fight tides the audience over). An amicable confrontation with Wu Yue is a highlight, calling to mind Yen’s similar confrontation with Chen Zhi-Hui in the 2008 original, and is remarkably fluid and crisp. It’s been a long time since I’ve felt a sense of awe at watching a modern day fight scene, however this scene brought those feelings right back. We also get a variation on the horrendous table-top fight from Ip Man 2 which is focused on subtly showing the power of kung fu, and almost feels like Woo-Ping is saying “Hey, Sammo, this is how you should have done it.”
Action fans are spoilt with a showdown of kung fu masters, as Chris Collins invites each of them for a one-on-one fight, and each get to show off their own distinctive style. While it would have been great to get a re-match between Wu Yue and Collins after their contemporary face-off in Paradox, we do get to see Yen face off against him, and it’s a suitably satisfying confrontation. Adkins saves himself for the finale, not appearing until 50 minutes in, however gets to fight both Yue and Yen. Ip Man 4 reinforces my opinion that the British star should take on more villain roles, as here like in 2018’s Triple Threat, he makes for an intimidating presence. His fight with Yen should satisfy, and in many ways rectifies the Wing Chun versus Karate finale of the original, in which Yen faced off against non-martial artist Hiroyuki Ikeuchi. Here’s there’s no mistaking that Yen is evenly matched, and you feel every one of the blows Adkins delivers.
Ip Man 4 is arguably director Wilson Yip’s most mature work to date. The tone and pace reflect an understanding that for the audience, the promise of some action, is just as important as the action itself. There’s a confidence in both the direction and the acting performances, indicating a partnership between a director and star that’s reached its peak, almost 15 years since reigniting Hong Kong action cinema with 2005’s Sha Po Lang. As Yen’s final bow playing the role that’s defined his career over the last 10 years, it’s a worthy one, and perhaps more importantly, it’s also an outstanding kung fu movie. Oh, and in case anyone is wondering – yes, there’s chain punches.
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