AKA: The Young Rebel Director: Seijun Suzuki Cast: Ken Yamauchi, Masako Izumi, Midori Tashiro, Chiharu Kuri, Emiko Azuma, Mieko Takamine Running Time: 95 min.
By Kelly Warner
The Taisho era, named after Emperor Taisho, was a period in Japan sandwiched between the rapid modernization of the Meiji period and the ultimate push to war of the Showa era. Director Seijun Suzuki was born in the final years of the Taisho period but that period of Japan seems to have meant something to the filmmaker. One of Suzuki’s most critically acclaimed works was the Taisho Trilogy of films (Zigeunerweisen, Kagero-za, and Yumeji), which used the period of change as a backdrop for some of the strangest stories of his career. The Taisho period is also the focus for one of his earlier and lesser-known films, The Incorrigible, which tells the story of a troubled youth who doesn’t fit in with his time or place.
The Incorrigible (also known as The Bastard) is based on the semi-autobiographical tale by author Toko Kon (Stolen Desire). The Toko stand-in is named Togo in the film and played by young Ken Yamauchi (Whistle in My Heart). Togo comes from an upper-class family in the city of Kobe. Togo’s a bit of an ass, shows little respect to his elders, and his antics get him kicked out of his private school. His mother is tired of him embarrassing the family, so she tricks him into joining her on a train ride and dumps him in some backwoods town at the house of a school headmaster. But Togo ain’t having it. He plans to raise all hell and force this new country bumpkin town to expel him, too, thus hopefully sending him back to the big city.
It’s difficult to like Togo in these early scenes. Maybe downright impossible. He’s an insufferable, spoiled brat who expects to get his way about everything. But when the world knocks him down a peg or two, he finally decides to make the most of his new home and become a (somewhat) respectable student. The audience’s appreciation for Togo grows as he settles down but still finds a way to remain true to himself. In this town of farmers, Togo’s interest in love, higher thinking, and art make him stand out like a sore thumb.
It’s not just the small town atmosphere that makes Togo stand out, it’s the culture of Japan at the time. The Taisho period was very conservative. You can sense the rising fascism of pre-WWII Japan. The school’s student-operated Public Morals Unit watches over all fellow students and harshly punishes those who it perceives to be in violation of the rules for good, upstanding Japanese youth. Of course Togo, with his love for foreign books, girls, and individualism, becomes the Public Morals Unit’s prime target. And though Togo never exactly rages against the system of Japan as a whole, his constant fights with the ultra-conservative Morals students makes him appear as a rebel against society.
The Suzuki film that The Incorrigible resembles most is the underrated Fighting Elegy, made just three years later. That film addressed the fascism and militarism in the student body even more directly than The Incorrigible, with an abundance of violence that made the movie more in tune for what Western audiences expect from Seijun Suzuki. The Incorrigible is more of a Barnes & Noble book club take on similar themes, as Togo struggles to find out what kind of man he is going to be while also falling for the girl of his dreams (Masako Izumi) in the last place he would’ve expected.
I have some issues with the editing of the film, which features some graceless cuts, but otherwise I can find very little fault with the movie as a whole. It’s smart, angry, and unusually literary for a Suzuki film. The director feels a tad restrained by the content of the film, as if he was trying to make a respectable youth drama and did not want his oddball tendencies to get in the way of that. There is one striking moment when it appears (?) as though the narrator himself reaches beyond the camera to open a book that’s been left on the floor. It’s a strange moment, but one I liked.
Ken Yamauchi delivers a fine performance as the incorrigible Togo. The actor is okay with letting the audience hate him and I appreciated that. It’s an interesting film in Suzuki’s filmography for all the strong women who make up the cast. While the men duke it out over their differences, it’s the women who set terms and command attention. I enjoyed Masako Izumi (Tattooed Life) as the girl who enters into a forbidden relationship with Togo. A moment of memory has Togo recall his first time with a woman, the geisha named Ponta (Chiharu Kuri). It’s a female student (Midori Tashiro) and her tough-as-nails mother (Emiko Azuma) who are among the only people to defend Togo from the Public Morals Unit. And of course it is Togo’s mother, played by Mieko Takamine (The Inugami Family), who first sets the entire story into motion by dumping her ungrateful son in the boonies.
One of the main things I will come away with after watching a helping of his ‘youth movies’ is that Seijun Suzuki was more of a chameleon as an artist than I’d originally thought. He really could make all kinds of movies, from the fierce to the sappy, from the dark to the joyous. The Incorrigible, like some of the best dramas, runs the gamut of emotions. But it remains true to its tone, and perhaps even more importantly, the film’s characters remain true to themselves. I may not always like Togo, but he’s a character worth remembering alongside some of Suzuki’s best anti-heroes.
Today’s Deal on Fire is the Blu-ray for Haofeng Xu’s highly-anticipated, award-winning martial arts film, The Master, re-titled as The Final Master(read our review) from Well Go USA Entertainment.
Xu made a name for himself by penning the screenplay for Wong Kar-Wai’s The Grandmaster. But it was 2011’s The Sword Identity, his directorial debut, which showed Xu’s true talent. Then came his acclaimed second film, 2012’s Judge Archer (aka Arrow Arbitration).
Xu’s trend in both films was presenting the martial arts in a less stylized and more realistic manner, perhaps not unlike the 2007 Japanese film Black Belt or David Mamet’s 2008 MA-themed Redbelt.
The Final Master stars Liao Fan (Black Coal, Thin Ice, Chinese Zodiac), Song Yang (The Sword Identity), Jia Song (On His Majesty’s Secret Service), Li Xia (The White Dragon), Huang Jue (Founding of the Party) and Chin Shih-Chieh (The Brotherhood of Blades).
Director: Jang Chang-Won Cast: Hyun-Bin, Yoo Ji-Tae, Bae Sung-Woo, Park Sung-Woong, Nana, An Se-Ha, Choi Duk-Moon, Choi Il-Hwa, Heo Sung-Tae, Kim Tae-Hoon, Jung Jin-Young Running Time: 117 min.
By Paul Bramhall
Coming just a year after Jo Eui-seok’s Master, The Swindlers leans on the same true life story of a CEO who defrauded victims out of their savings, thanks to an elaborate pyramid scheme. Unlike Master though, here the crime is used as a jumping off point, one which is used to frame a tale which feels more like a slice of The Thieves-lite. The events that Master takes a whole hour to cover are here breezed through in the first 10 minutes. The character that Lee Byung-hun played is switched to Heo Sung-tae, in a fleeting role which has him end up in Thailand rather than the Philippines, before a newscast reports that he’s believed to have died in a fire.
His escape from Korea is made possible by a master forger, in a welcome cameo by Jung Jin-young (Gangnam Blues), who provides him with a fake passport. However after making a late night exchange at a port, later on police find Jin-young hung in a nearby building, in what seems like an apparent suicide. What nobody counted on though was the fact that Jin-young’s son knew where his father was going, and doesn’t believe for a second that it was a suicide. Played by Hyun-bin, a swindler himself, he proceeds to spend the next 8 years attempting to get to the bottom of exactly what happened on the fateful night, which is where the story picks up from.
There can be no denying there’s a distinctive air of familiarity during the opening of The Swindlers. The scene of defrauded victims wailing on the floor of the office the scam was run out of could, at this point in Korean cinema, be stock footage. We’ve seen it countless time before in recent years, but the belief remains that nothing gets a Korean audience riled up more, than seeing those living on the breadline swindled out of whatever savings they have. It’s rather ironic then, that having established the devastating effect that these swindlers have on the innocent population, first time director Jang Chang-won then proceeds to make the characters we’re expected to relate to swindlers as well.
The Swindlers may be Chang-won’s directorial debut, notably also working from his own script, but he’s certainly not a stranger to directing. A protégé of Lee Joon-ik, the director behind the likes of The King and the Clown, Radio Star, and Battlefield Heroes, Chang-won frequently worked as assistant director on many of Joon-ik’s movies. However while Joon-ik’s productions are well known for their strong characters, in his debut Chang-won crafts a story which is frequently at odds with the audiences need to relate to the characters in it. This is mainly due to the fact that The Swindlers relies on a series of reveals which serve the purpose of showing a characters true intentions, but as a result, onscreen it translates to never really knowing exactly who it is we should be rooting for.
This issue is confounded further by the fact it’s never 100% clear exactly who the main character is. Sure, on paper it should be Hyun Bin, as the son seeking revenge for whoever was behind his father’s death, but as a swindler himself, often his actions and motivations are kept in the dark, to allow for a plot point to make sense later on. As a headlining follow-up to his confident co-starring turn in the previous years Confidential Assignment, The Swindlers falls short of convincing he can do more than strut around with a variety of different haircuts. Depending on which way you look at it, this may not necessarily be such a bad thing, as it means that, intentionally or not, the lion’s share of screentime goes to Yoo Ji-tae, as a prosecutor who wants to get his hands of Sung-tae.
Ji-tae hasn’t had a strong presence on the big screen in recent years, however in the late 90’s through to mid-00’s he was one of the most recognizable faces in Korean cinema. In 2003 alone he played Choi Min-sik’s captor in OldBoy, as well as taking the lead in the horror Into the Mirror, and sci-fi Natural City. His prosecutor character is one that will do anything to catch his target, and as such he’s been leveraging the services of a trio of swindlers, that he hopes will help secure him a promotion. The trio are played by the always reliable Bae Sung-woo (Office), Ahn Se-ha (One Line), and K-pop star Nana (who acted alongside Ji-tae in the K-drama The Good Wife). These guys even operate out of their own base, masterminding jewellery heists to pickpocketing, and when it’s revealed Sung-tae is back in Korea, they team up with Ji-tae and Bin to take him down.
Unfortunately nobody seems to have told Ji-tae he’ll be onscreen the most out of everyone, essentially becoming the proxy main character, and I have a feeling not even Chang-won realised that the final product would end up that way. As a result, many of his scenes are treated as if he’s a supporting character, playing out unremarkably with no sense of gravitas in relation to what’s actually at stake. When we witness exactly how far he’s willing to go in order to get promoted, it also becomes clear he’s not the most trustworthy character, an inescapable irony considering he plays a prosecutor working in the midst of swindlers and thieves.
The lack of focus on one central character could well be argued to be a side effect of cramming so many in. Sung-woo, Se-ha, and Nana as the trio of swindlers also get their moments in the spotlight, although as the only female in the story, it’s unfortunate that Nana’s role doesn’t go beyond looking sexy (which she admittedly does well). It’s also easy to speculate that a lot of footage likely ended up on the cutting room floor. We know Bin went to Thailand to hunt down Sung-tae, and it’s apparent that Chang-won and co. took a trip there to shoot on location, but the total time spent in Thailand onscreen amounts to about 30 seconds. Most likely a lot more was shot, but was considered superfluous once it went to the editing room. This would also explain the feeling of Bin’s reduced screentime.
The Swindlers does come with a couple of bright spots from its supporting cast. Choi Deok-moon (Assassination) plays a bumbling real estate conman, the type of which had it been a higher budgeted production, would no doubt have been played by Oh Dal-soo. His energetic performance brings the breezy caper like atmosphere Chang-won appears to have been aiming for with the rest of the production, but fails to realise for the most part. Likewise for Park Sung-woong (reuniting with Bae Sung-woo from Office), who plays an acquaintance of Sung-tae that visits from China to strike a business deal, and is lulled into falling for Nana’s charms. His smooth business man may see him on auto-pilot, but he does what he can with what little the role has to offer.
Ultimately The Swindlers finally comes off the rails in its final third, as Chang-won goes for a twist heavy conclusion that quickly begins to feel tiresome. At best his ambitions are admirable, however at worst some of the revelations are just plain illogical, and result in some severe head scratching (in particular, the introductory scene of the trio of swindlers makes no sense after one particular revelation). For all of Bin’s vengeful spouting of how he’s going to kill his father’s killer as soon as the opportunity arises, The Swindlers decides to bow out with a remarkably safe and uneventful finale. One of the criticisms I held against Master was how the finale attempts to turn it into an action movie, but if the alternative is what goes down here, then in retrospect I’m fully behind the sudden decision to go guns blazing.
With a closing scene that strongly hints at a sequel, one would hope that if a follow-up does somehow get made, it goes the Wolf Warrior route and blows its first instalment out of the water. As it stands though, while Chang-won’s first time going solo appears to have all the right ingredients for a rollicking adventure, the fact is they only come out half-baked, and don’t really go well together. In the end, just like the victims have been swindled out of their money, as an audience if feels like we’re swindled out of our time.
Director: Takahide Hori Writer: Takahide Hori Animator: Takahide Hori Running Time: 115 min.
By Martin Sandison
Dystopian Science Fiction has a prerequisite to be po-facedly serious in tone and downright depressing at times (see genre stalwarts Blade Runner and Brazil), and it’s about time a movie came along that alters this. Enter Takahide Hori’s Junk Head, a one-man show labour of love that manages to be an endlessly inventive, hilarious entrant in the genre that is refreshingly silly and purely entertaining. Hori has virtually every creative credit on the film, due to the fact it is a stop-motion animation; without doubt one of the best I have ever seen in this style. Sure, the narrative is an extension of a short Hori made in 2014, so it doesn’t hold up very well, but every other aspect of the film is so strong that this is an afterthought.
In the distant future, the human race can extend its lifespan, but at the cost of losing the ability to procreate. The creation of clones to boost the workforce has gone wrong, creating monsters and various other unsavoury creatures. They have rebelled, forcing their creators to banish them to the lower levels of the huge structures where the humans live. A single human is sent to these to find genetic material that will save the race. The film follows this human, in various forms, as he tries to fulfil this mission; encountering many different characters and situations along the way.
The characters, animation and set design are constantly imaginative. Characters range from myriad types of robots, some with human parts, to really creepy-looking monsters. The most interesting, in visual terms, are the females, who are huge and ripped, clad in red, with huge breasts. The various doctors and scientists play like Doctor Who crossed with Hellraiser. Sets such as the endless corridors of the first section of the movie, the lift from level to level and the gas compressor chamber are magnificently created, and take the breath away.
Interestingly, there are a few different languages used in Junk Head, all of them made up, but one sounding like Japanese. There is a Cronenberg/Lynch feel to the film, with body horror elements and surrealistic passages, such as the different forms the monsters morph in to. The cyperpunk genre is also in there, in aesthetic especially, with references to the Japanese style of this genre with movies like Shinya Tsukamoto’s unmatched Tetsuo. These come across especially in the chase scenes, with skewed angles and industrial music. The end action scene contains some nods to the likes of John Woo and Hong Kong action cinema, and is put together with so much love you can’t help but sit back and soak it in.
The movie has its tongue firmly lodged in its cheek. In fact it is one of the most amusing I have seen in the cinema in the past year or so. I was in stitches at the antics of our hero and the strange creatures that either help or hinder him. On reflection, the approach to humour reminded me of Nick Park’s work; especially his short The Wrong Trousers. While Park and his heroes Wallace and Gromit are fixed firmly in the British humour tradition, Hori appropriates this but transplants it in to a dystopian world, and does away with cultural specificity. I would bet that most of anyone (adults only) would find the laughs in Junk Head amusing, as they are so universal. This is also bolstered by a real feel for good characters, not just in design but construction. The first creatures to help our hero are so loveable, hilarious and deep that you can’t help feeling for them, especially in the climactic scene. The juxtaposition of this with lashings of gore and creepiness means the movie isn’t for everyone, but for those who love all of these aspects put together, you’re in for a treat.
The narrative plays as a series of vignettes, and the biggest fault with Junk Head is that it never really gels. Our hero goes from situation to situation, each one seemingly unrelated to the last. Those who prize narrative logic and meaningful payoffs will be disappointed; I, meanwhile, am not one of those types, so I loved the film. There is so much to rediscover in the invention of its construction that I can’t wait to see it again.
Martin Sandison’s Rating: 8.5/10
Watch the Trailer for the feature film below, followed by the 2014 original short for Junk Head 1:
Director: Jonathan Li Producer: Soi Cheang Pou Cast: Max Zhang Jin, Shawn Yu Man-Lok, Gordon Lam Ka-Tung, Janice Man Wing-San, Wu Yue, Yasuaki Kurata, Tai Bo, Cecilia So, Derek Tsang, Kumer So Running Time: 100 min.
ByPaul Bramhall
Martial artist Max Zhang may have been showing off his stuff since the early 00’s, however it’s only in recent years that he registered on the radar of many kung fu cinema fans. With scene stealing supporting turns as the villain of SPL II: A Time for Consequences in 2015, and the conflicted antihero of Ip Man 3 from the same year, it was only a matter of time before he was given leading man status. That time is upon us, with 2018 promising a barrage of Zhang goodness in the form of the Yuen Woo Ping helmed Ip Man spin-off Master Z: Ip Man Legacy, and Fruit Chan’s The Invincible Dragon, in which he’ll fight alongside UFC legend Anderson Silva.
Before either of those though, The Brink is first out the gates, giving Zhang his first legitimate starring role. Thrusting martial artists who are used to shining in supporting roles into leading star status is always a risky business, with the pressure of carrying a whole movie on your shoulders being considerable. Xing Yu failed miserably in 2013’s The Wrath of Vajra, displaying all the screen presence of a wet leaf, while Philip Ng’s ropey acting often made 2014’s Once Upon a Time in Shanghai a cringe inducing experience. As much as I tremendously enjoyed watching Zhang lay the beatdown on the likes of Wu Jing, Tony Jaa, and Donnie Yen, I kept my expectations firmly in check for his turn as a good guy in director Jonathan Li’s debut.
While The Brink may be Li’s debut, he’s certainly no stranger to the art, having worked as assistant director on several of Andrew Lau (Daisy), Soi Cheang (Dog Bite Dog), and Derek Kwok’s (Full Strike) productions over the last 15 years. Here Soi Cheang is on-board as producer, and likely provided a guiding hand. It’s a big relief then, that the combination of debut director and first time leading man proves to be a winning one. Zhang plays the angry cop with an attitude that Donnie Yen had all to himself through most of the 00’s, strutting around wearing shirts that look like they’re made out of curtains from the 1970’s, and beating the living daylights out of any criminal in his path. Even before the first scene is over, which has him rampaging through a dilapidated Hong Kong apartment full of junkies, it becomes pretty clear – this guy has it.
In terms of plot, The Brink feels a lot like an updated version of the 1979 Ho Chung Tao actioner The Gold Connection. Shawn Yue plays a Sea Goddess worshipping, pocket harpoon wielding skipper of a ramshackle ship, one being utilised by a smuggling operation to transport a stash of unmarked gold into Hong Kong, currently residing at the bottom of the sea. Yue is a relatively small fry on the ladder, answering to both the captain (played by a grizzled Tai Bo) and his son, who work for a Japanese gangster, played by the legendary Yasuaki Kurata (clocking in his 4th movie of 2017). However Yue has grander ambitions, and when he finds himself double crossed by his employers, he wages a warpath to seize the gold for himself.
On the right side of the law, Zhang gets pulled into Yue’s scheming when his partner, played by Wu Yue (the highlight of Paradox), is kidnapped by the smugglers and held for ransom. It’s a simple setup, but the setting of The Brink makes it stand out in a way that few Hong Kong movies of late have been able to achieve. Eschewing the usual HK Central locations and Kowloon backstreets, much of The Brink unfolds alongside the territories waterways, be it in bustling wet markets, or the moored boats docked in Aberdeen Harbour. The maritime feel provides The Brink with a unique atmosphere, with small touches, like the worship of the Sea Goddess, adding a layer of depth seen all too rarely in today’s Mainland-friendly filmmaking climate.
Zhang is given plenty of opportunities to let loose on the action front, and for the first third seems to spend almost every other scene he’s in running after the bad guys. A chase across the various moored boats will likely bring to mind a similar scene with Jackie Chan in The Protector, and the initial confrontation with Yue and his gang allows for both Zhang and Wu Yue to show off their action chops, fending off knife wielding attackers from all angles. The choreography is handled by Nicky Li, who is known for his fondness of wires, however here (as in Extraordinary Mission from the same year) he keeps them largely in check, keeping it grounded and efficient. It’s refreshing to witness this side of Li’s action directing, which I like to think we’re seeing since Wu Jing never called him back to choreograph Wolf Warrior 2, so perhaps he decided he needs to up his game.
One of the biggest pluses of The Brink is Yue’s character, tattooed and a man of few words, he recalls the more complex villains of Hong Kong’s yesteryear, even if his actual motives don’t stretch far beyond striking it rich. Yue himself is a distinctly Hong Kong actor, and has proven he’s more than capable of performing action several times before, with roles in the likes of Dragon Tiger Gate, Invisible Target, and Reign of Assassins. He’s joined here by what feels like one of a few remaining Hong Kong actresses in Janice Man, whose relationship to Yue is ambiguous, but they clearly have a history. Minor scenes like when he enlists the services of a prostitute, while Man cooks outside, do their part to provide a level of characterisation to the often overlooked villain character.
However Yue’s sadistic streak comes to the fore when he’s backed into the corner, and his unwillingness to let go of the gold is what ultimately sets him on a collision course with Zhang. Li doesn’t shy away from getting down and dirty in The Brink, with Yue at one point demanding one character gut another (which allows for some Chang Cheh style red filter usage), and in another he literally rubs salt, whole handfuls of it, into another characters open wound. All of this of course provides Zhang all the more reason to take him down, and events eventually build up to a confrontation on the boat in the middle of a fierce typhoon, as Yue tries to retrieve the gold in conditions he knows nobody else would dare sail into.
It’s a fantastic finale, with the two going at it in treacherous conditions which see them frequently thrown over by torrents of gushing water, and a boat which is being lurched around like a toy. From a technical standpoint, if two people were attempting to kill each other while on a boat in the middle of a typhoon, this is probably exactly what it would look like. Ok, so make that two people that know kung fu. Kudos is well deserved to all involved for pulling off such a scene while being completely saturated. Similarly, The Brink throws in a thrilling underwater action sequence which I believe may be a first for a Hong Kong movie, as Zhang and his superior (played by a scraggly haired Gordon Lam) tussle with Yue and his gang while they attempt to intercept the gold.
Being a directorial debut, it’s not all calm waters for Li. There’s a completely throw-away sub-plot involving Zhang being the legal guardian to the daughter of a criminal he may or may not have accidentally killed, which feels like filler. Especially when she reveals she’s pregnant, and Zhang doesn’t even both to ask her who the father is (I guess that would have stretched the scene out too long). Other details are so delightfully random they draw unintentional laughs, such as when Zhang avoids being charged for the death of the same criminal, after spending a few months in prison he comes out with dyed yellow hair. I guess he must have signed up to a hairdressing course while he was inside. Thankfully it wasn’t a vocation he chose to pursue.
These are small gripes though, and overall The Brink ticks all the boxes when it comes to being an exciting thriller with a healthy dose of action. Perhaps most significantly, for fans of Hong Kong cinema, it signals that we don’t just have Max Zhang’s upcoming movies to look forward to, but also that there’s a new director in town to keep an eye on. For every person that declares the Hong Kong action movie is dead, it’s good to know that movies like The Brink still come along to remind us there’s life in it yet.
According to Variety, Along with the Gods: The Two Worlds sees the story of a firefighter who is taken to the afterlife by three guardians. He has to complete seven trials before he can be reincarnated.
It’s the age of the comic book movie in Hollywood. And though you can argue that there is an oversaturation of such films at the theatres, I don’t really think there’s much debate that the filmmakers have gotten better at making these movies. Likewise, Japan is going through a bit of a manga adaptation period. The cause for both film trends is partly that special effects have caught up with comic book storytelling, but perhaps mostly because a comic/manga adaptation is a reliably easy sell for a shrinking theatre audience. If I am allowed to follow this line of thought further and make another comparison, then I would say that Gintama may be the Japanese equivalent of Deadpool, not because of any similar themes or visuals, but for its shared interest in genre self-deprecation, meta humor, and fourth wall-shattering antics.
I’m not oblivious to anime and have enjoyed a handful of good shows and movies over the years. But Gintama, which was a manga before becoming a long-running anime series in 2005, completely slipped past my radar. When I sat down to watch and review the live-action adaptation, I did so with only the most basic understanding of what I was getting myself into (honestly, I just read that it had samurai in it and said, Sure, I’ll watch that). Um, it quickly became apparent that Gintama is… kind of weird. And though it tries to make itself relatable to new audiences (there’s even a moment where the characters note that longtime fans will undoubtedly have complaints so appealing to general audiences is a must), it’s not the easiest nut to crack.
We get a rundown of the Gintama universe’s history before jumping into the plot. Aliens came to Japan during the samurai period when Tokyo was still known as Edo, forever changing the country and making it a bizarre mix of tradition and modern tech at a rapid pace. There was a resistance to the alien invaders (known as Sky People), but the aliens proved victorious and formed an allegiance with the Edo government, forcing freedom fighters to work in the shadows. Now aliens walk the streets amongst us. Jaguar people. Fish people. Weirdo horned people. The aliens are treated as an elevated social class. And it’s here that I thought maybe Gintama was a sci-fi take on the post-war American occupation, with the huge leaps in tech and culture a thinly veiled look at the nation’s westernization. But that thought quickly vanished when the heroes go on a beetle hunt, encounter the 90% naked police chief covered in honey, an expressionless alien bird thing named Elizabeth who talks by holding up signs, and a cigarette smoking guy slathering mayonnaise onto trees. Uh, okay. You have my attention, Gintama.
The movie begins by throwing everything at the viewer that they can handle and then some. Then it restarts itself. There’s a moment when irritating little cartoon representations of the stars stop the movie, give us a brief rundown of ‘it’s a long story,’ and then joke about Warner Bros. lawyers before the WB logo shows up for the second time and the movie begins anew. It’s… something else. It’s also the moment when I think some viewers may decide they’ve seen enough and check out. This would be a shame, as the movie does settle down (just a bit) after the scattershot opening and a crowded first act.
It’s not all fun and games in Gintama. There’s a serial killer stalking the streets with a robotic sword that’s like something out of Soul Calibur. After the killer, who is known as Nizo the Butcher (Hirofumi Arai, Blood & Bones), strikes down a hero resistance fighter on the streets, it’s up to a group of friends who specialize in heroic odd jobs to track down the killer and bring him to justice. Among them is the white-haired rogue Gintoki (Shun Oguri, Lupin the 3rd), the blue-eyed alien girl with an addiction to ramen, Kagura (Kanna Hashimoto, I Wish), and the shy wannabe tough guy Shimura (Masaki Suda, Assassination Classroom). Their investigation leads them to a ship in the harbor and a group of extremists who plot to attack the city and overthrow the government.
The plot, once it gets going, is actually fairly well constructed. There’s a good deal of drama and action to accompany all the very Japanese comedy. A final showdown between Nizo, who becomes more and more like a Testsuo: The Iron Man monster as the film goes along, and the wounded Gintoki is over the top but not totally unfamiliar to fans of samurai action cinema. And the ensemble cast, which includes that alien bird thing named Elizabeth (played by Takayuki Yamada, of all people), give the audience some memorable scenes as conflicts come to a head.
It’s the comedy that won me over, however. There are many in-jokes for fans of the series and fans of popular anime that went right over my head (one gag with a Miyazaki character gave me a laugh, though), but it’s done with such madcap energy that you just gotta hold on and go with it. There’s physical comedy, sight gags, and no shortage of good lines. The actors are so into it. In addition to the main cast, supporting actors like Kankuro Nakamura, Ken Yasuda, and Masami Nagasawa all put in great work. But it’s Kanna Hashimoto and Jiro Sato who are the MVPs of the cast, each putting on comedic master classes that delighted me to no end.
Some of the comedy doesn’t work quite as well. In anime, there are a few frequent sight gags that you’ll see in almost every mainstream show; the bloody nose in a moment of embarrassment or in the company of hotness, the shock falls where one or many people hit the floor in an instant, and the slow-mo punch in the face for comedic effect. When these appear in animation, I accept them, because I feel the medium supports them. But they’re beginning to appear in live-action with groan-inducing results. Gintama uses the slow-mo punch gag a lot. Too much. And I tired of it long before the end.
Gintama is something like the halfway point in Japanese cinema where mainstream comic book entertainment meets WTF comedy. Writer/director Yuichi Fukuda made his name by crafting some of the weirdest comedies of the past decade or more, most notably the Hentai Kamen: Forbidden Super Hero films which feature a chiseled young man wearing fishnet stockings, a string bikini, and a pair of panties for a mask. Gintama is more mainstream and less pervy than those films, but still perhaps too strange an introduction for Japan’s peculiar brand of comedy.
I find Gintama a difficult film to rate as well as a difficult film to offer a general recommendation for. I liked it. But I also didn’t totally get it. Bigger fans of anime than myself will get a whole lot more out of it, as the film was clearly made with them in mind. (Fans of Gintama, I have no idea how you’ll feel. Maybe it’s a masterful adaptation, maybe it’s a bastardization. You be the judge.) All I know is that I had fun. It’s big, dumb, and strange. I just read that Gintama Part 2 is supposed to be on its way later this year and I am excited about the prospect of revisiting this anything-goes world of samurai, idiots, and aliens.
Ninja III: The Domination: Collecrtor’s Edition | Blu-ray (Shout! Factory)
RELEASE DATE: June 12, 2018
On June 12th, Shout! Factory is re-releasing Ninja III: The Domination on Blu-ray – but this time around – they’re adding deadlier upgrades (see their previous edition here).
This 3rd sequel (by title and star, otherwise unrelated) to Enter the Ninja and Revenge of the Ninja teams Lucinda Dickey (Breakin’) with the legendary Sho Kosugi (9 Deaths of the Ninja). The film also stars David Chung (Missing in Action 2: The Beginning) and James Hong (Big Trouble in Little China).
Check out Shout’s comments below:
1984’s Ninja III: The Domination from Cannon Pictures is one of the most bonkers and WTF films we’ve ever put on Blu-ray. For those who haven’t seen it, it’s a wild concoction of police shootouts, martial arts, golfing, The Exorcist, sex, hot tubs, Flashdance and video games (even V-8 makes a memorable appearance). Although we knew the film had a vocal following when we released it in 2014, we didn’t quite know what to expect or how big it would be. The sales numbers surprised us and it over-performed.
What’s always bugged us though was that our release was a little on the “barebones” side, save for a commentary. Today, we correct that. We are re-releasing Ninja III again on June 12th as a “Collector’s Edition” Blu-ray with a serious upgrade in picture and extras.
Some confirmed details as follows:
The newly-commissioned artwork pictured comes to us from artist Joel Robinson (Silent Night Deadly Night, Misery, Tales from the Hood). This art will be front-facing and the reverse side of the wrap will be the original theatrical poster art.
Release will come with a slipcover (guaranteed for three months after its original release date).
We are doing a new 4K scan of the film from original film elements.
Red Shirt Pictures is handling the bonus features on this and have come up with some kick-ass new stuff:
NEW 4K Scan From The Original Film Elements
NEW interview with Actress Lucinda Dickey
NEW interview with Actor Jordan Bennett
NEW interview with Producer and Stuntman Alan Amiel
NEW audio Interviews with Production Designer Elliot Ellentuck and Co-Composer Misha Segal featuring isolated tracks from the Original Score
Theatrical Trailer (in HD) with optional Trailers From Hell commentary with Screenwriter Josh Olson
Audio Commentary by Director Sam Firstenberg and Stunt Coordinator Steve Lambert (ported over from the prior DVD & Blu-ray release)
A group of people realize they’ve been robbed of functioning cell phones, radio and electricity – they soon discover that their problem is from outer space!
Alien Uprising also stars Sean Brosnan (My Father Die) and Simon Phillips (The Rise & Fall of a White Collar Hooligan).
7 Guardians of the Tomb | Blu-ray & DVD (Gravitas Ventures)
RELEASE DATE: April 24, 2018
On April 24, 2018, Gravitas Ventures wants you to prepare yourself for the Blu-ray & DVD for 7 Guardians of the Tomb, a Chinese-Australian co-production directed by Stef Dawson (The Hunger Games: Mockingjay).
In 7 Guardians of the Tomb, an innocent discovery of a well-preserved mummified Emperor from 200 BC China unearths a 2000 year old nightmare – a secret that should have remained buried.
7 Guardians of the Tomb stars Li Bingbing (Zhong Kui: Snow Girl and the Dark Crystal), Kellan Lutz (The Legend of Hercules), Kelsey Grammer (The Expendables 3), Wu Zhun (14 Blades) and Shane Jacobson (The Bourne Legacy).
Director: Dante Lam Cast: Zhang Yi, Huang Jingyu, Hai Qing, Du Jiang, Zhang Hanyu, Henry Prince Mak, Michelle Bai, Wang Qiang, Simon Yam Tat-wah, Wang Ian, Guo Jiahao Running Time: 138 min.
By Paul Bramhall
A couple of years after the successful Operation Mekong, in 2018 Operation Red Sea finds Dante Lam, one of Hong Kong’s brightest directors, sticking to his action guns. He may be sticking with the Mainland heroic military genre to do so, but with a waning appetite for Hong Kong action, it’s understandable that Lam has decided to follow the money. Thanks to a certain Wu Jing’s Wolf Warrior franchise, Mainland China has found itself more than happy to throw buckets of money at anyone willing to replicate Jing’s love letters to Chinese military muscle. Unlike many Mainland blockbusters though, Lam is a director who knows what he’s doing, having debuted as a director with 1997’s Option Zero (which became a similar franchise).
So while Operation Mekong focused on the army, Operation Red Sea is all about the navy, essentially giving us a 2018 version of Chang Cheh’s 1977 opus The Naval Commandos. Unlike the Shaw Brothers productions of yesteryear though (and indeed, even Operation Mekong), Operation Red Sea doesn’t really have established names to anchor it, instead opting to focus on a group of rather bland and one dimensional stereotypes. The cocky sniper, the simple guy with a heart of gold, the guy who has the skills but hesitates in real combat… they’re all here, and to a large degree feel interchangeable.
Much like Operation Mekong, Lam’s latest initially appears to be aiming to break the record for how much text you can have pop up onscreen. In the first half hour it literally feels like text appears every few seconds. A barrage of characters are introduced showing their name and job title (sometimes even pointing out their gender – Jiang Luxia is a ‘Female Gunner’, in case you didn’t notice the first part), timeframes are constantly thrown at us stating how many days or hours have passed since the last scene, and we’re frequently told where we are despite it having little or no bearing. Frankly it’s tiresome, and feels like Lam is treading water as quickly as possible to start having things get blown up and shot at.
Also much like Operation Mekong, the events here are based on a recent real life incident, this time the rescue of a group of Chinese citizens from war-torn Yemen (here doubled by Morocco) in 2015. However the foundations in real life are all but superfluous, as it quickly becomes clear that Lam’s real mission here is to create as much onscreen mayhem as possible. Admittedly, some of it feels derivative of Wolf Warrior 2, especially with an opening sequence that features Somalian pirates attacking a container ship, just like Wu Jing’s sequel, and the extended finale containing a tank versus tank battle. However, by force of the sheer volume of action that Lam throws at the audience, these similarities gradually become forgivable.
For the first time since 2012’s Viral Factor Lam also takes on action director duties, this time going solo, and the guy is clearly having a ball. It almost feels like he resigned himself to the fact that, making a movie which is partly produced by the Chinese Navy, a certain level of blatant China flag waving has to be included by default. So, since there’s nothing he could do about it, why not just put those necessary scenes in the beginning and end, and treat the 2 hours in-between as an extended exercise in how much ridiculous action can be created on such a handsome budget? It’s a theory, and regardless of if it’s true or not, it hardly makes for respectable filmmaking. But damn, it makes for some rollickingly loud entertainment.
So yes, while most of the characters do little to register, when you have this many explosions, vehicular chaos, bullets flying through the air, and military hardware on display, at some point you simply get on and enjoy the ride. Lam’s action sequences aren’t as stylized as what’s found in Wolf Warrior 2, nor as gritty as in the likes of Extraordinary Mission, however if a comparison had to be made, I would likely go with Black Hawk Down on steroids. Once our heroes start their extraction mission (which we’re told even comes with a mission message – “Terrorists will never harm a Chinese citizen.” Yeah!), which naturally starts with some slow motion running towards the camera, the action rarely lets up. It’s fair to say that the final third of Operation Red Sea is basically one long set piece, as 8 soldiers face off against 150 rebels while trapped in a village.
What makes the action in Operation Red Sea particularly stand out is its decision to not shy away from the gore. Recalling a similar style used in Fire of Conscience, when explosions go off we also get to witness the aftermath, as charred bodied with various limbs strewn around them twitch on the ground. It’s a harrowing sight, and somehow doesn’t come across as exploitative, despite the macho hyper-reality the action scenes take place in. One particular scene would make Chang Cheh proud, as a soldier literally has a bullet shoot half his face off and his arm blown to bits, only for him to carry on pumping rounds into the bad guys. The frantic nature of the sustained finale is no doubt Operation Red Sea’s biggest strength, somewhat making it the 2018 equivalent of those old-school kung-fu movies, were you forgive everything that’s come before, because the final fight is so good.
Thankfully the lulls in the action are few and far between, however when they do come, they’re usually painful to watch. From cheesy speeches about what it means to be a soldier, to the bizarre decision to have all the evacuees carry mini Chinese flags while being rescued (where did they come from!?). The biggest weakness though is the inclusion of actress Christina Hai Qing as a ‘Chinese-French Journalist’. Ladened with some horrendous English dialogue about yellowcake (which I had to Google, shame on me, but even then it didn’t make the scene any less funny), and generally overacting in every scene she’s in, I was genuinely hoping at some point she’d become collateral damage. Alas it wasn’t to be. Her character also shares a scene with Simon Yam, in a strange 1 minute cameo as a scarf wearing, pipe smoking editor of a newspaper.
Amongst the interchangeable soldiers, there are thankfully some solid performances. Zhang Han-Yu, the lead from Operation Mekong, here returns in a supporting role as a ship based captain helping the crew on the ground complete their mission. He may not have much to work with, but as always having an actor of his calibre on-board always elevates a production. Perhaps the biggest surprise though is Jiang Luxia, once touted as the next Yukari Oshima with her 2009 debut Coweb, here she comes across more like a 2018 version of Vasquez from Aliens. With a close cropped haircut and a furious temper, seeing her running out from a cargo plane wielding an oversized missile launcher was one of the highlights, and I hope we’ll see her in more roles like this.
For all the good will that Operation Red Sea builds with its non-stop barrage of bullet riddled mayhem, ultimately it leaves a bad taste in the mouth, thanks to a completely left of field tagged on scene at the end. Having nothing to do with anything else in the movie, the final scene switches to the South China Sea, a source of much contention due to the various territorial disputes China is engaged in with the Philippines. Showing a fleet of Chinese Navy vessels, we hear a speaker announce and repeat, “You are about to enter Chinese waters, please turn around immediately!” Then the credits roll. Talk about politicizing a slice of cinematic entertainment in a matter of just a few seconds. Clearly the price of Lam’s latest being funded the way it was, if you can swallow the thinly veiled threat at those it’s targeted at, Operation Red Sea still delivers where it counts.
Listen kids, I know that your teenage years can be rough. Your body is um, changing. You have, uh, urges. And sometimes your emotions are out of control. But you’re a good kid. You know the difference between right and wrong. So when you see some punk in a fake mustache skip out on his restaurant check because the town knows he’s connected to the yakuza, it makes you mad. I won’t stand in your way if you want to teach the mustache man and his cowboy friend a lesson or two – it seems to be the town’s only form of entertainment – but you gotta understand that should you prove victorious, you cannot then go on and fill the punk’s shoes yourself. What I’m trying to say, kids, is this: don’t start an extortion racket in your free time. That was Jiro’s mistake.
Teenage Yakuza is the story of Jiro (Tamio Kawaji, Tokyo Drifter), a tough young man with his heart in the right place. He’s got a lot of friends and the town loves him because he’s the teenage vigilante hero that they need to keep the punks in line (the cops in this town suck). When Jiro and his best friend Yoshio take on the hoods, a girl admirer shouts, “fight!” and draws a crowd of onlookers to the spectacle. Kids cheer and laugh, adults watch with only the slightest hint of disapproval, and the boys vent their frustrations by beating each other to a pulp (for COF readers, I feel it must be said that the fights are pretty lame).
It’s all fun and games until Yoshio gets stabbed in the leg and his dad gets run over by a dump truck (complete with a freeze frame photo of the father with on-screen text about his death). Now Yoshio’s a cripple, his family is in a financial crisis, and it’s up to Jiro to make life easier for his friend. Jiro begins hitting up the folks who owed Yoshio’s family money while at the same time sorting out vengeance on the punks who crippled his friend. In doing so, the townsfolk begin to take notice. When Jiro kicks yakuza-linked hoodlums out of a business, that business owner then approaches Jiro for a job as a bodyguard. You want this stereo you had your eyes on? It’s yours. Oh, you want some groceries? I got fresh produce in today, they’re yours. Here. Take this. Payment for your services. And Jiro takes everything offered, naively accepting their smiles for their approval.
The most interesting moment in the film comes when Jiro (unknowingly) becomes the thing which he had fought against. He has forced the punks out of these businesses and personally filled the void they left behind. And it’s not long before those businesses stop smiling, begin seeing him as the same sort of man as the hoodlums, and now the whole town’s against him. Actually, I say it’s not long because… it’s an almost instant change. This town goes through some mood swings, man. First they love him, then they pay him, then they rat him out to the cops, then they act like he’s dead to them.
To be fair, the film is very short. A running time a little shy of 72 minutes doesn’t give you much time for subtlety. After Jiro realizes what he was doing was wrong, he attempts to make amends but his admirers have turned against him (the “fight!” girl now remarks that he is so “uncool!”), the businesses don’t trust him, and even his friend Yoshio has turned his back on him for reasons of his own. It’s rushed, not terribly interesting, and only occasionally feels sincere.
This is among my least favorite Seijun Suzuki films, not because it’s bad but because it’s so bland and inconsequential. It is the very definition of a minor film in the director’s filmography of badass action movies and weirdo art pictures. There is nary a hint of the same Suzuki we know from Branded to Kill or even the more straightforward Detective Bureau 2-3: Go to Hell Bastards. One assumes this was a quick, cheap studio B-movie for the youth crowd and Suzuki was working on autopilot to see it to its completion.
Teenage Yakuza is the third film in the new Arrow Video set exploring some of Suzuki’s Youth Movies. Whereas I think The Boy Who Came Back may appeal to a wide audience of Japanese film fans and that The Wind-of-Youth Group Crosses the Mountain Pass has enough color and charm to be worth a recommendation, I don’t think Teenage Yakuza will appeal to many beyond the Suzuki completists. Teenage Yakuza is competently made but lacking in anything special, insightful, or memorable.
As fans of kung fu cinema, we can certainly never be accused of having it easy when it comes to the movies we love. Deleted scenes that may or may not exist, alternate endings that are considered lost, and copious amounts of additional footage known to be destroyed are just some of the lamentable realities the genre comes with.
However at least with the scenarios described above, we can say they apply to movies that saw the light of day in some form of another. For this feature, we’ll be looking at 25 martial arts movies that remain incomplete. Ranging from Bruceploitation mysteries, through to proposed sequels to Van Damme classics, the series of unfortunate events that lead to a production grinding to a halt usually boil down to a handful of factors, but the variety of movies impacted is considerably broader.
As usual, we applied some simple criteria. Firstly, the movie in question needs to have not been completed. So for example, Charlie Nguyen’s Chinatown from 2013, doesn’t count. Sure it got banned by the Vietnamese government, so the original cut seems increasingly unlikely of surfacing anywhere, however it was completed. Likewise for Bruce Lee’s Game of Death, no doubt Robert Clouse’s version is about as far away from Lee’s original vision as one can get, however, it was technically completed. Secondly, for those movies that never even had a chance to start filming, it needs to be a title which was at least officially announced. This one is mainly so the list doesn’t become dedicated to the 100 titles Donnie Yen’s name has been attached to in the last decade, of which about 5% actually got made.
So, without further ado, listed by year the production was announced, starting from most recent, check out the list below –
“Kickboxer: City of Blood” Fan Poster
Kickboxer: City of Blood (2014) – There was a time when it looked like we’d be getting 2 new Kickboxer movies, but eventually only one emerged in the form of Kickboxer: Vengeance. The other, titled City of Blood, was due to star Sasha Mitchell reprising his role as David Sloan, and would reunite him with Kickboxer 2 and 4 director Albert Pyun. Originally planned to be a webseries, it was eventually announced that it would be a feature length movie, and would have Sloan fighting Al-Qaeda terrorists in Somalia (!?)
As pre-production progressed it was revealed that both Dennis Chan and Michel Qissi (Tong Po!) would be returning from the original series, and Hammer Girl herself, Julie Estelle (The Raid 2), was on-board as a secret agent. Unfortunately in mid-2015, Pyun announced that the production was on hold due to his ongoing battle with multiple sclerosis, which he was diagnosed with in 2012, and it seems to have disappeared from the radar since then.
“Garuda 7” Teaser Poster
Garuda 7 (2014) – When is a movie not a movie? Well, apparently when it’s only a trailer, but one created with the intent of making audiences believe it was a full feature.
Billed as an Indonesian Expendables, and starring such talents from yesteryear as Willy Dozan (aka Billy Chong), John Ladalski, and Barry Prima, it was eventually revealed that the production crew only had enough funding to film a trailer, so that’s what they did.
Ladalski was in the producer’s chair and also set to choreograph the action, however in 2015 he confirmed in an interview that they were still looking for an investor. Sadly in July 2016 he passed away, and with his passing so also disappeared any chance of Garuda 7 ever being completed.
“A Man will Rise” Promotional Poster
A Man will Rise (2013) – A 1950’s set Thai western that was due to be Tony Jaa’s first foray into the action comedy genre, A Man will Rise got plenty of attention thanks to Jaa approaching Dolph Lundgren to co-star as a villainous cowboy hitman. Lundgren agreed, on the basis that Jaa also co-star in one of his American movies, which became Skin Trade.
Filming had started, a press conference was held, and publicity shots were released featuring Jaa and Lundgren in costume, along with fellow co-stars Conan Stevens and David Ismalone. Unfortunately, Jaa’s long gestating feud with Sahamongkol Film came to a head during production, which resulted in whatever was filmed being shelved. With Sahamongkol maintaining ownership of the footage, and Jaa walking away from them, it’s unlikely that we’ll ever see A Man will Rise in any form.
“Dragon City” Fan Poster
Donnie Yen’s Super Hero Films production company:The Master and Dragon City (2013) – A failed business venture by Donnie Yen and Media Asia, initially announced at 2013’s Hong Kong Filmmart, by 2015 Super Hero Films had closed shop with nothing to show. Things weren’t always that way though, with Yen kicking off his new venture in style by announcing a pair of movies to be made under the banner.
The first was The Master, the tale of a HK immigrant who becomes a target for revenge after opening a kung fu school in 1970s America, and had Soi Cheang in the director’s chair. The second was Dragon City, to be helmed by Derek Kwok, which would focus on a group of gangsters operating in the infamous Kowloon Walled City in 1970s Hong Kong. Both projects would star Yen.
While Dragon City died a quiet death, The Master found itself inadvertently at the centre of an epic scam based out of Indonesia in 2016. A woman calling herself Li Duan Zhao had started contacting up and coming makeup artists in Europe, from an @huxia e-mail address, with job offers to work on the ‘upcoming Donnie Yen production, The Master’. Huxia is a state-owned distributor in China, so many believed the e-mail to be the real deal, including when they were told to buy their own ticket to Jakarta, and pay $1200 to the driver that would pick them up from the airport as a standard ‘ground tax’.
Despite The Master having been dead for a long time at this point, the fact that it still had an IMDB page gave the scammers the leverage they needed, and were able to convince a surprising amount of unsuspecting victims to travel to Indonesia and part with their cash.
“Chocolate 2” Promotional Ad
Thai Double Bill: Chocolate 2 and Formless (2011) – Tom Yum Goong 2 took over 3 years to eventually reach screens since it began development in 2010, surely some kind of record for a martial arts movie. Its constant hold-ups, due to the decision to film in 3D, Jija Yanin becoming pregnant mid-production, and late in the game cast additions like RZA, didn’t just damage the production’s own integrity, but resulted in 2 other planned titles being completely derailed.
The first was a sequel to Yanin’s 2008 breakout Chocolate, which (like the original and Tom Yum Goong 2) was to be helmed by Prachya Pinkaew. However after becoming a mother Yanin seemed happy to stick with supporting roles, her co-star status that was planned for Tom Yum Goong 2 being reduced to a supporting role, and the talk of Chocolate 2 soon disappeared altogether.
The other production was set to be a collaboration between Tom Yum Goong 2 heavy Marrese Crump, and Thai action legend Panna Rittikrai, titled Formless. Crump became a protégé of Rittikrai much like Jaa and Yanin, and Formless was set to be his Ong Bak. A rain soaked action concept video did the rounds in 2012, however with Crump tied down to Tom Yum Goong 2, production kept on getting pushed further and further out. Sadly with Rittikrai’s death in 2014, Formless was never meant to be. Crump last appeared in the 2016 Bollywood movie Sultan, which also featured Marko Zaror.
“Snowblade” Teaser Poster
Snowblade (2011) – Intended to be a Hong Kong infused remake of Lady Snowblood, what was to be the directorial debut of Bey Logan shut down production less than a year in, after a major financer backed out.
In 2017, the original lead actress Sable Yu came forward to accuse Logan of sexual harassment on the set of Snowblade, alleging that he exposed himself in front of her, and insisting on her performing various scenes nude (Logan defended this point in a later statement, stating that these scenes were always in the script).
What’s more disturbing is that Logan went on to audition various other aspiring actresses in the subsequent years for the lead role, despite having no funding, seemingly with the main motivation of having a legitimate reason to ask them to get naked in front of him.
“Rage of the Tiger”
Scott Adkins Double Bill: Blood Hostage (2010) and Rage of the Tiger (2011) – Back in 2010, hot on the heels of working with director Isaac Florentine on Ninja and Undisputed III: Redemption, it looked like the pair were set to collaborate again on Blood Hostage. Casting Adkins as a former operative who travels from Israel to Lebanon to rescue his ex-wife’s new husband (I guess he didn’t get closure), the hype for this one heavily leaned on the fact it would feature the Israeli martial art Krav Maga. However the fact that it was also an Israeli co-production could be what resulted in it never getting past the initial stages, with the brewing political tension likely not making it the most attractive location to film. While Blood Hostage wasn’t mean to be, both Adkins and Florentine would reunite in 2013 for the sequel Ninja: Shadow of a Tear.
The following year in 2011, it was announced that the highly regarded action cinematographer, Ross Clarkson, would be making his directorial debut with Rage of the Tiger, which was set to shoot in Thailand and star Adkins in the lead. Clarkson was the man behind the lens for the Florentine directed Undisputed sequels and Ninja (he’d also work on the sequel Shadow of a Tear), so the pairing seemed like a perfect fit. Clarkson described the production as coming “With the fights of Bloodsport and the heart of Rocky”, and it would feature Adkins as a father forced into the world of illegal street fighting, to protect his family from a blood thirsty Triad leader. However in 2015 Clarkson was still seeking an executive producer to secure funding, and while on the Rage of the Tiger front everything has gone quiet, he will make his directorial debut in 2018 with the thriller Captured, which stars the Kickboxer reboots Sara Malakul Lane.
“Song of the Knife” Promotional Poster
Mark Dacascos Double Bill:Song of the Knife and Man of Action (2010) – Fans of Mark Dacascos have spent over 20 years hoping he’d make another movie on the same level as 1997’s Drive, and in 2010 it looked like their hopes may be realized. Dacascos revealed that he was reuniting with Drive director Steve Wang, and Alpha Stunts founder Koichi Sakamoto, for a 3D martial arts movie titled Man of Action. The prospect of such a reunion almost seemed too good to be true, and apparently it was, as the project was unfortunately unable to get off the ground.
In the same year it looked like another Dacascos starring production, Song of the Knife, made more substantial progress, in which he was cast as a lonely assassin with a terminal illness, who has to rescue a cab driver that he’s fallen in love with (!?) after she’s kidnapped. Set to heavily feature Silat (no doubt thanks to 2009’s Merantau) and Kali, a promo reel was released and filming had started in February 2010, however (this will be a recurring theme) the financer pulled out not long after, grinding the production to a halt. When I interviewed Dacascos’ close friend Sonny Sison in July 2017, he’d hinted at the possibility of bringing the project back to the table as something which could be shot in the Philippines, but it’s safe to say that for now, Song of the Knife remains silent.
“Defender 3D” Promotional Ad
Defender 3D (2009) – After getting the attention of kung fu cinema enthusiasts with 2006’s Kiltro, Chilean martial artist Marko Zaror really made his mark a year later with Mirageman. A lo-fi tale of a guy who decides to become a superhero vigilante, for a while it looked like it was going to be the first Chilean fight flick to receive a Hollywood remake, when in 2009 it was announced that Defender 3D would be an English language vehicle for Zaror. Not only that, but it would be filmed in 3D.
However after months of silence, it was revealed that due to funding issues, the project was never able to get further than pre-production. While Defender 3D wasn’t meant to be, Zaror did get to star in an episode of the Marvel series The Defenders in 2017, and also scored roles in the Robert Rodriguez flicks Machete Kills and Alita: Battle Angel.
“Hands of the Dragon” Teaser Poster
Hands of the Dragon (2008) – Back in 2008 kung fu fans had already been clamouring for martial artist Philip Ng to land a read role, after supporting turns in the likes of Dragon Squad and Invisible Target, and it seemed that Hands of the Dragon was going to be it. The story centred around a HK cop that’s left for dead, only to return with a new identity and hunt those down that tried to kill him.
Shooting had actually begun in India, and there was even a promotional clip released (which has long since been removed from YouTube), however not long into production a major financer pulled out, leaving the project high and dry. Ng would have to wait another 6 years to land a lead role, which came in the form of Once Upon a Time in Shanghai, and more recently played Bruce Lee in 2016’s Birth of the Dragon. Not a bad comeback all things considered.
“Beat Down Boogie” Promotional
Beat Down Boogie (2008) – After making his first feature length production with Contour in 2006, a couple of years later Eric Jacobus teamed up with filmmaker Micah Moore to make a sequel titled Beat Down Boogie, which would see him return as dodgy San Francisco tour guide Law. Billed as a “hip-hop chase and fight caper”, despite a mouth wateringly good all-action 3-minute preview, sadly the full movie never came to fruition. Jacobus and Moore would eventually work together on Dogs of Chinatown, with Jacobus himself going on to direct and star in another full length feature with 2012’s Death Grip.
As for Beat Down Boogie, Moore started his own production outfit under the banner, which came to an end during a bitter falling out between partners in 2017. While it almost seems criminal for the footage that was shot to never be used, unfortunately it looks like Beat Down Boogie is a tragic case of what could have been.
Lau Kar-Leung
Heroes of Shaolin (2006) – After a long absence from the screen, the legendary Lau Kar-Leung re-appeared in the mid-2000’s, choreographing and featuring in both Drunken Monkey (which he also directed) in 2003, and Seven Swords in 2005.
In 2006, at the age of 69, he announced he was preparing to make “the best martial arts movie ever made”, titled Heroes of Shaolin. Filming was due to take place in Mainland China, and Kar-Leung had already secured the services of his long-time friends Gordon Liu (who would play Pai Mei), Hsiao Hou, and Johnny Wang Lung-Wei.
Heroes of Shaolin was, strangely, being produced out of New York by a production outfit called Burning Shaolin Production, run by partners Michael Parrella and Damien Caldwell. When the pair ran out of money, it effectively derailed any chance of Heroes of Shaolin being made. With Lau Kar-Leung’s passing in 2013, sadly the best martial arts movie ever made can now never be.
“Dead End” Fan Poster
Dead End (2006) – Initially planned to be a launching vehicle for Thai stuntman Mike B, Dead End was intended to bring a new action star to the fore, much like Ong Bak did for Tony Jaa. However shortly after shooting started the production ran into financial troubles, and filming stalled.
In the spirit of the Asso-Asia productions of old, the shot footage was eventually picked up and re-used for another Mike B starring vehicle, which became the 2009 released The Sanctuary. While reported cast members of Dead End, such as Korean actress Na Hyun-hee, were nowhere to be found in the new incarnation, The Sanctuary did bring onboard Romeo Must Die bad guy Russel Wong for some international flavour.
Despite Dead End being somewhat salvaged, neither The Sanctuary nor Brave, another Mike B vehicle, succeeded in creating a new action star, and he’s since faded into obscurity.
Ryoo Seung-wan
Yacha (2006) – After the success of City of Violence, director Ryoo Seung-wan planned another collaboration with Korea’s action director extraordinaire Jung Doo-hong and the Seoul Action School, which would take the form of an epic period battle flick against zombies. The timing would have been perfect, set for release in 2008, the same year that Red Cliff would kick off a trend of battlefield period pieces.
Yacha promised plentiful undead action, and would see Seung-wan directing a story that wasn’t his own for the first time, but with an estimated budget of US$10 million, securing the finances proved to be a tricker task. In 2010 he was still actively searching for an investor, but ultimately he’d still get a movie onscreen in 2008, with his homage to Korean action movies of old Dachimawa Lee.
“Sword” Fan Poster
Sword (2005) – Back when it seemed like Tony Jaa could do no wrong, it was announced that following successful collaborations with director Prachya Pinkaew on Ong Bak and Tom Yum Goong, the pair would be reuniting for a third time on the period piece Sword. Much like Ong Bak focused on Muay Thai, and Tom Yum Goong on Muay Boran, so Sword was set to showcase the style of Dab Thai, a form of double-handed sword fighting.
While the promotional material at the 2005 Cannes Film Festival promised a swordplay saga the likes of which had never been seen before (Dab Thai is unique from other Asian sword techniques in that it integrates attacks using fists, feet, and knees), Jaa fell out with Pinkaew, and so began his well-covered dispute with Sahamongkol Film. While Sword never did get off the ground, Jaa did maintain the planned period setting for what would become his own directorial debut, with 2008’s Ong Bak 2.
“Tiger Storm” Fan Poster
Tiger Storm (1996) – Gary Daniels was a busy man in the mid-90’s, and after working in Hong Kong with Jackie Chan on 1993’s City Hunter, a couple of years later he found himself back on the former British colony to film the action flick Tiger Storm. Filming had started, and even featured the debut of Charlene Houghton, legendary gweilo Mark Houghton’s daughter, playing the daughter of Daniels’ character. However the production soon ran into financial troubles, which halted filming.
Thankfully Keystone Pictures came in and purchased the footage with the intention of finishing the movie, however after reviewing what was filmed, they decided to scrap it and start over. With Daniels already on-board, the decision was made to re-locate proceedings Stateside (actually Canada), and re-name it TheWhite Tiger (which ironically, is Mark Houghton’s nickname), that pitted him against Cary-Hiroyuki Tagawa.
“Winners and Sinners 2” Promotional Poster
Winners and Sinners 2 (1984) – Sammo Hung’s 1983 comedy Winners and Sinners became the prototype for what would become the hugely popular My Lucky Stars series, which often featured Jackie Chan and Yuen Biao in extended cameos or supporting roles. A promotional poster from the Golden Harvest archives revealed that a direct sequel to Winners and Sinners had started shooting, complete with stills from the footage already filmed with Sammo, Sibelle Hu, and the crew.
While it’s difficult to ascertain exactly what happened with the sequel, when Mike Leeder showed Richard Ng the images in 2015, Ng believed that they were from the 1985 released Twinkle Twinkle Lucky Stars. This would suggest that, while we may never know exactly how much was filmed with the intention of it being Winners and Sinners 2, at some point the project eventually morphed into Twinkle Twinkle Lucky Stars.
Hwang Jang Lee and Philip Kwok at work.
Hwang Jang Lee Directed Shaw Brothers Movie (1983) – After starring in several independent kung fu flicks and local Korean productions, in 1982 Hwang Jang Lee signed a contract with the already dwindling Shaw Brothers studio, and featured in The Kid from Kwangtung and Ghosts Galore. What’s less well known is that he was also contracted to direct a movie, and that filming had even started, with a cast featuring himself, Philip Kwok, and Wong Yue.
However the production didn’t go smoothly, with Hwang recalling in a 2014 interview that Wong Yue “didn’t focus on making the film, he was out of control. He did whatever he wanted. I was upset and so I wanted to change the actor, but they didn’t let me. And so I didn’t want to carry on and cancelled the project…” This led to a massive argument with Mona Fong, one which led to him breaching his contract and head back to Korea. He eventually returned to Hong Kong in 1985 to feature in Where’s Officer Tuba?
Mark of the Eagle (1980) – After Ti Lung and Alexander Fu Sheng had success together working on productions such as Sun Chung’s The Avenging Eagle and The Deadly Breaking Sword, director Chor Yuen decided to pair them up for 1980’s Mark of the Eagle. Disaster struck though when Fu Sheng broke his right leg, after a harness holding him in the air broke during the shooting of Heroes Shed No Tears, which was in production at the same time. The injury put the star out of work for the best part of 6 months, and stalled production on Mark of the Eagle.
However based on the available stills and plot description, it seems clear that the Shaw Brothers studio decided to push ahead, and Mark of the Eagle appears to have ultimately morphed into the Ti Lung starring vehicle The Convict Killer. In all likelihood, the role that Lau Wing plays was probably the one that Fu Sheng had started filming.
Li Han-Hsiang
Gambling for Heads (1976) – Not to be confused with the 1975 movie Gambling for Head, this particular title was a Shaw Brothers production, with a plot focusing on Chinese drug dealers operating out of Amsterdam. Popular SB sleaze director Li Han-Hsiang was at the helm, and had been filming locations in the UK before travelling to Amsterdam, which was where things went awry. Li was approached in his hotel room by a group of local Chinese residents, led by a man known only as Lee, who had a reputation as one of Amsterdam’s Chinese Godfathers. Lee believed the movie was about him, and proceeded to pull a gun on Li, demanding HK$200,000 if they wished to continue filming.
In typical Chinese style, Li actually bargained the gangster down to half price, however when he contacted Run Run Shaw to let him know of the situation, the SB boss requested he and his crew return to Hong Kong for their own safety, and the production was cancelled.
Bruce Li in “Bruce Lee: Father of Jeet Kune Do”
Bruce Lee: Father of Jeet Kune Do (1976) – Somewhat of a Bruceploitation mystery, the existence of Bruce Lee: Father of Jeet Kune Do came to light in a discussion on the Kung Fu Fandom forums in 2010, when a member posted stills and a lobby card for the movie. Featuring Bruce Li (aka Ho Chung-Tao) the stills showed scenes of which, in part, were included in The Real Bruce Lee and Young Bruce Lee. However it became clear that some of the images in question showed scenes that don’t show up in any known Bruce Li production, which for many pointed to the conclusion that they’re from an incomplete Bruce Li flick.
Considering how common it was for many Hong Kong and Taiwan productions of the time to shut down after a few days, for any number of reasons, it could well have been the fate for Bruce Lee: Father of Jeet Kune Do. Hopefully the truth around this one will be revealed in Michael Worth’s upcoming Bruceploitation book and documentary.
The Killer is one of the most acclaimed and influential Hong Kong action films ever made. Dragon Dynasty’s release may not have the pristine Blu-ray quality you hoped for, but it’s still the best the film has ever looked. For $7.88, it’s a killer deal!
The Trailer for Netflix’ upcoming thriller The Outsider has landed. The film, which is set in post-World War II Japan, stars Jared Leto (Suicide Squad) as a former American G.I. who becomes part of the Japanese yakuza.
Originally, the The Outsider was intended to be Takashi Miike’s (Blade of the Immortal) English-language U.S. debut, but when Tom Hardy (Mad Max: Fury Road) backed out of the the project, Miike couldn’t stick around while producers searched for a new lead. The film ultimately ended up in the hands of Martin Zandvliet (Land of Mine), with Leto replacing Hardy.
The film also stars Tadanobu Asano (Zatoichi), Rory Cochrane (Black Mass), Shiori Kutsuna (The Life of Guskou Budori), Emile Hirsch (Speed Racer) and Kippei Shiina (Assassination Classroom).
The Outsider is based on an original idea by John Linson (Sons of Anarchy), who will also serve as producer, along with Joel Silver (Dragon Eyes), Andrew Rona (The Commuter) and Steve Richards (Ninja Assassin).
Catch The Outsider on Netflix on March 9th. Trailer below:
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As fans of kung fu cinema, we can certainly never be accused of having it easy when it comes to the movies we love. Deleted scenes that may or may not exist, alternate endings that are considered lost, and copious amounts of additional footage known to be destroyed are just some of the lamentable realities the genre comes with.
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