Director Yoon Hong-seung (The Target) joins forces with Jackie Chan (as producer) for the Korean/Chinese production titled Reset(read our review), which is heading to Blu-ray & DVD from Well Go USA on February 6, 2018.
When her son is kidnapped, the inventor of a time machine (Yang Mi of The Bullet Vanishes) teams up with multiple versions of her future self to rescue him.
Reset also stars Wallace Huo (The Founding of an Army), Chin Shih-chieh (Brotherhood of Blades) and Liu Chang (A Journey Through Time With Anthony).
Director: Won Shin-yun Cast: Sul Kyung-gu, Kim Nam-gil, Kim Seol-hyun, Oh Dal-su, Shin Ki-joon, Hwang Seok-jeong, Gil Hae-yeon, Kim Han-joon, Kim Dong-hee, Kim Jung-young Running Time: 128 min.
By Paul Bramhall
There’s been many variations on the serial killer trope in Korea, often framed within a variety of genres. From the horror of Tell Me Something, to the mystery of Memories of Murder, to the visceral thrills of I Saw the Devil. Director Won Shin-yun’s latest delivers yet another variant on the serial killer theme, but this time with a decidedly unique twist. In Memoir of a Murderer (not to be confused with Memoirs of a Murderer, the Japanese remake of Confession of Murder) one of the most recognizable faces of the Korean wave, Sul Kyung-gu, looks virtually unrecognizable as an aged veterinarian suffering from the early stages of Alzheimer’s disease. However Kyung-gu hides a dark secret – 20 years ago he used to be a serial killer, killing based on the act of “obligatory murder”, an expression he coins for those who deserve to die, and he’s concerned that his fading memory may unravel his past misdemeanours.
It’s an intriguing premise, and one that Shin-yun adapts from a popular 2013 novel by Kim Young-ha. While Kyung-gu’s inconsistent memory forms the crux of the tale, the plot which is provided as a framework develops into a classic tale of cat and mouse (although which one of them has Alzheimer’s is constantly up for questioning). There’s been a pair of high-school girl murders in town recently, and the public are beginning to question if a serial killer is on the loose, in a plot device that strongly echoes Memories of Murder (there’s also a shot involving a tunnel which will invoke memories, no pun intended, of Bong Joon-ho’s 2003 classic). While driving down a fog covered road, Kyung-gu collides with a stationery vehicle, and when he gets out of his car, he finds the trunk of the other vehicle open, revealing a carcass wrapped in plastic, dripping blood onto the road.
The driver of the other vehicle is played by Kim Nam-gil, who insists the carcass is that of a dear. However as the pair exchange words, Kyung-gu’s instincts tell him otherwise – the man in front of him is also a serial killer, and he makes the decision to bring him to justice. A spanner is thrown in the works though when it turns out Nam-gil is actually a cop, and Kyung-gu is left to figure out how an old man with Alzheimer’s, can convince the authorities that one of their own is responsible for the recent murders. It’s a fascinating premise, and one that plays out as a kind of Memento meets Memories of Murder hybrid, as we’re pulled into a world where the reality of everything is questionable, and characters motives aren’t to be trusted.
As Memoir of a Murderer’s anchor, Kyung-gu is fantastic. An actor who’s been in some of the most highly regarded movies of the K-wave, leading roles in the likes of Peppermint Candy, Public Enemy, and Silmido cemented his reputation. The post 2010-era hasn’t been so kind, with duds like The Spy and My Dictator doing their best to stain his filmography. However in 2016 Kyung-gu seems to be back in business, with a strong role both here, and in the prison thriller The Merciless. Nam-gil on the other hand is very much an actor that relies on a strong director to draw a good performance out of him, and while he found one in the likes of Oh Seung-wook for The Shameless, here he’s not so lucky. Coming across as neither menacing nor particularly creepy, his performance unintentionally blurs what exactly we as an audience are supposed to believe.
In fairness though, the script is as much of an issue as Nam-gil’s performance. The tale is told from the perspective (and largely narrated by) of Kyung-gu, and the more the plot develops, the more it becomes clear that he’s not a reliable narrator. His Alzheimer’s is not only making him forget things, but it’s also distorting his memory of how events happened and who was involved. It takes a highly skilled hand to craft such a complex tale in which everything is questionable, however the weight of the narrative soon has both Shin-yun and his co-writer Hwang Jo-yoon (who notably co-wrote Oldboy with Park Chan-wook) becoming lost in their own tangled web.
The main issue is that the narrative doesn’t set any rules for us to follow, which quickly goes from intriguing to frustrating before the movie is even half way through. There are essentially two possible scenarios for the audience to decipher – is Kyung-gu’s Alzheimer’s leading him to believe that Nam-gil is the serial killer, when in fact it’s actually himself, he’s just unable to recall his own murders? Or is Nam-gil a serial killer, who sees Kyung-gu as a threat, and decides to try and get rid of him by going through his daughter? By taking Kyung-gu’s perspective there are certain revelations that deliver the intended shock moment, however the script on more than one occasion betrays itself, by doubling back on the revelation and hinting that the original version of events may be true after all.
The first time it happens it seems like smart scripting, but when it happens again it increasingly begins to feel like the story is confusing itself. This feeling is confounded when the narrative breaks away from Kyung-gu’s perspective, however still seems to portray characters personalities based on his perceptions. A movie like Memento works so well because, even though the rules of the narrative aren’t clear while watching it, by the time it finishes an explanation is provided that makes everything make sense in retrospect, and even encourages a re-watch. That same explanation isn’t provided in Memoir of a Murderer, and the frustrating part is that even a re-watch would do little to unravel the mystery, as with no clear rules as to what’s real and what’s not, it’s a fruitless exercise.
It’s a shame, as there’s obviously a lot of potential behind the premise, and while the production values and lensing are up to par as has come to be expected from a Korean production, the execution ultimately lacks. Shin-yun has had an interesting career, starting off as a stuntman, he made his directorial debut with the 2005 horror movie The Wig, which he also wrote, and has flitted in and out of genres since then. His movie prior to Memoir of a Murderer was also his most successful, the Gong Yoo starring 2013 actioner The Suspect, and while Memoir of a Murderer is an ambitious step up from his previous efforts A to B chase flick, at least The Suspect maintained its coherency.
With that being said, as a showboat for Kyung-gu’s acting skills it certainly delivers, and for fans of the actor it’ll likely be welcomed. Memoir of a Murderer also stars Seolhyun as his daughter, a member of the K-pop group AOA. She notably had a small role in Yoo Ha’s Gangnam Blues, and here again proves to have a decent pair of acting chops. Of course no Korean movie in recent years would seemingly be complete without an appearance from Oh Dal-soo, and sure enough he pops up in Memoir of a Murderer clocking in his third movie of 2016 (the others being Tunnel and Master), here as the local cop. At this point I almost feel like I should deduct a point for any Korean movie made in the last 5 years that doesn’t feature Oh Dal-soo.
In the end Memoir of a Murderer is one of those movies that you really want to love, but is let down by a muddled end product and a script that tangles itself up so much, it forgets that at some point, has to untangle itself. In the closing scene a character tells us that memory can’t be trusted, which is a running theme throughout, however its inclusion seems to indicate that Shin-yun considers the line to be a revelation to the audience, when really what we needed is an explanation. As a result, the end feels like more of an insult than the intended “a-ha!” moment. Kyung-gu may play a character slowly forgetting his life, but the saddest part is, Shin-yun is a director that’s forgotten to deliver on his own potential.
AKA: Star Wars: Episode VIII Director: Rian Johnson Cast: Mark Hamill, Carrie Fisher, Adam Driver Daisy Ridley, John Boyega, Oscar Isaac, Andy Serkis, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Laura Dern, Benicio del Toro, Veronica Ngo, Justin Theroux, Togo Igawa, Amanda Lawrence Running Time: 152 min.
By Kyle Warner
Right, so before we get started: I am going to talk about the new Star Wars movie. If you want to go into the film knowing as little as possible, not only should you not be reading my review but you shouldn’t read anybody’s reviews of the film. The trailers have done an admirable job of keeping secrets safe (secrets like “what’s the movie about?”), but I’m not on the marketing team and I am going to tell you more about the film. I will stay away from what I consider to be spoilers but you will learn more about the movie here than you did in the trailers and magazine previews. With that said, let’s begin.
Picking up right where The Force Awakens left off, Star Wars: The Last Jedi finds our Resistance heroes on the run from the First Order after the decimation of the Republic government planets. With the Republic no more, it’s a fight between Supreme Leader Snoke’s First Order and Leia Organa’s Resistance to decide who will control the galaxy. It is not an even fight. Not only does the First Order have more ships and more soldiers, but they have something of a new age Sith Lord in Snoke (Andy Serkis) and his apprentice, Kylo Ren (Adam Driver). Rey, the Force-sensitive hero from nowhere, is off trying to convince Luke Skywalker to return to the fight. Until Rey’s return, Leia’s list of capable allies is a short one.
After ace Resistance pilot Poe (Oscar Isaac) leads a successful but costly attack on a First Order dreadnought (an attack made possible by City on Fire favorite Veronica Ngo in a small but memorable role), the few remaining Resistance fighters jet off into lightspeed. But somehow, the First Order has tracked them, and their dreadnought has already been replaced by an even larger ship. Now, running out of fuel, fighters, and hope, the Resistance flies through dark space with their enemy close behind. All the First Order need do to crush their foe is remain patient and allow the Resistance ships to run out of fuel and drift powerlessly into firing range.
Elsewhere, on a secret island that was apparently one of the oldest Jedi temples, Rey (Daisy Ridley) attempts to convince Luke Skywalker (Mark Hamill) to train her in the ways of the Force and to return to his sister Leia’s side. But this is not the Luke Skywalker we remember. There is no hint of the wide-eyed farmboy here, nor is there any sign of the enlightened warrior we last saw in 1983’s Return of the Jedi. Luke is haunted, world-weary, self-loathing. He’s not on the island to become a better Jedi; he’s a sad dog that’s wandered into an unfindable place to die. In his vanity, he thinks that his passing will achieve the ending of the Jedi, something he now firmly believes to be a necessary turn of events. But this nobody girl interests Luke. She’s strong with the Force but she’s naïve about just what the Force is, so he decides that three simple lessons about the Force couldn’t hurt. In teaching her, he begins to understand just how powerful she is, and it troubles him. “I’ve seen this raw power only once before… It didn’t scare me enough then. It does now.” Luke Skywalker begins to fear Rey, thinking that her relentless pursuit of answers (Who are her parents? Why did Ben Solo turn to the Dark Side and become Kylo Ren?) will lead her down a dark path similar to his previous failed student, Kylo Ren.
The biggest thing I took away from The Last Jedi after my first viewing is how surprising and unpredictable the film was. It puts a couple opposing characters in a room and the moviegoer thinks this scene can go one of two ways. And then it goes a third way. That happens all throughout the film. Star Wars has rarely felt more daring and bold than in The Last Jedi.
And on that note: The Last Jedi is probably the strangest Star Wars film there is. (We forget that once upon a time theatregoers didn’t know what the heck a Jedi or a lightsaber was, so in the grand scheme of things A New Hope is a pretty wild movie. But we’re used to its ideas today.) The Last Jedi not only gives us weird alien creatures galore (there is a Zoidberg/walrus-looking thing that stares you in the eye as you milk it for its drinkable green alien milk), but it does things with its characters, both old and new, that we never could’ve seen coming. Already we are seeing that some fans are unwilling to accept these unexpected new directions and strange new visions. (To be fair, there is one move that the story takes that, as a fan, I also take some issue with. We’ll see if that changes upon repeat viewings. This is the one Star Wars film I not only want to see again, I feel I need to see it again in order to fully digest it.)
It’s a touchy thing, adapting something that’s lived so long in the pop culture subconscious. You run the risk of upsetting fans that’ve loved these characters for so long that they feel they know their stories better than the storytellers do. And I don’t mean to belittle a fan’s rights to a character—at some point, for better or worse, the art no longer belongs to the artist, which is something that George Lucas was never able to accept. Writer/director Rian Johnson (Looper) does his best to keep Star Wars true to its roots while also telling an intensely original Star Wars story in a very particular personal voice. Look at the RottenTomatoes critic score (currently 93%) and the audience score (currently 57%) and you get a little idea of how that ‘original’ and ‘personal’ Star Wars story is going over with some fans. It’s odd when you consider that the primary complaint about The Force Awakens was that it stuck too close to the blueprint of A New Hope and the complaint about The Last Jedi is that it feels too different.
I don’t mean to suggest that The Last Jedi is faultless because it certainly is not. It slips into The Fifth Element territory at one point when Finn (John Boyega) and Rose (newcomer Kelly Marie Tran) go to a high roller casino. Tracking tech is vague and is used as a primary plot point more than once, all in the service of making characters show up where and when the story needs them. Some complaints about The Force Awakens, like the refusal to flesh out certain character backstories, continue into The Last Jedi. And I still think Domnhall Gleeson is woefully miscast as General Hux.
The rest of the cast is excellent. Daisy Ridley continues to impress in the lead role of Rey. Adam Driver’s great performance makes Kylo Ren into an unexpectedly sympathetic villain. Kelly Marie Tran makes an instant impression on the audience as an engineer for whom the fight has suddenly become personal. You can’t take your eyes off Carrie Fisher, who passed away last December, as she gives the headstrong Leia a great farewell performance. And Mark Hamill gives what may be the performance of his career (in live-action, anyway) as the old Luke Skywalker. To say much more about the rest of the cast (which includes series newcomers like Laura Dern and Benicio Del Toro) would step into spoiler territory, I’m afraid. Suffice to say, they’re all pretty dang good.
I have a few complaints, sure, but in general I kind of loved this movie. It’s full of thrills, drama, heartache, humor, and twists. It’s an interesting film thematically as well, with prime themes being keeping hope alive and teaching the next generation of heroes to carry the flame. It is visually fantastic. There is a scene in which our characters are brought before Supreme Leader Snoke in his throne room. It’s like a shot out of Akira Kurosawa’s The Hidden Fortress (a well-known Star Wars influence), where Toshiro Mifune is brought before the general played by Susumu Fujita, with a clan flag set up behind him and flanked on all sides by loyal samurai. Here, the shot is in color and the flag is red, Snoke sits there in a golden kimono, and is flanked on all sides by heavily armored samurai-looking dudes in bright red. It is a beautiful set piece. A later battle scene takes place on a planet that has white salt atop red clay, so explosions and footprints leave crimson spots on the ground. Absolutely gorgeous. Also, there are the Porgs, which are cute and awesome and we must begin work to engineer them using chicken and pug DNA so that we may finally have world peace.
I love The Force Awakens but it can be accused of going on autopilot from time to time. I imagine you could complain about a lot of things in The Last Jedi, but definitely not that. The Last Jedi is so full of ideas, wit, and wonder. Some of those ideas won’t land for everyone, but if you ask me that’s how you know the movie was taking risks. The story is always one step ahead of the audience, the visuals dazzle, and the action is thrilling. It may not be the best Star Wars film – and after one viewing, I’m not sure where I rank it – but more than any Star Wars film, it left me thinking that anything was possible for future installments in the universe. It made Star Wars feel fresh and daring. How many film franchises that have been around for 40 years can say the same?
Blade of the Immortal | Blu-ray & DVD (Magnet Releasing)
If you look at this brutal dissection of the flop film Ghost in the Shell starring Scarlett Johansson, you can see that there were inherent problems with the thinking behind the movie. The movie managed to offend vast swathes of Asian cinema fans with its decision to whitewash the character list, and hinted, rather alarmingly, at the era of Asian-inspired films being popular coming to an end. Sure, the movie still made an estimated $167million at the worldwide box office, but it was critically ripped apart and the whole notion of reworking Japanese films seemed, for a while at least, to be a finished notion.
While this might all sound like a big lament at the state of cinema, what it has done is hopefully pull the rug to an extent from under the big movie-producing companies, instead allowing movies like Blade of the Immortal to shine through instead.
A Critical Success
With no huge box office hopes and no massive big blockbuster budget to spend on thrills that detract from the plot, this is a movie that has really concentrated on getting the plot and acting exactly right. This focus has had the desired effect and more, as this review shows, echoing the majority of positive critical reception. Despite only grossing around $7million at the box office, this movie helped to showcase the positive aspects of Japanese films, and gave a different twist on the world of samurai culture that movies like The Last Samurai and other big box office movies couldn’t quite achieve due to their need to sacrifice certain elements in order to please a wider audience.
As Samurai culture is still seen as having a mystical, even a mythical, status, creating serious intrigue for anybody interested in it, the ability of a movie to depict this world in a new and interesting way should always be welcomed. Indeed, the strength of this interest in Samurai culture clearly goes beyond just being a fad for the box office; it has almost fully permeated throughout the western world.
A Sub-culture of Interest or Hiding in Plain Sight?
Of course, many elements of Samurai culture are hidden in plain sight in Western culture, with one example being the Magnificent Seven movie and the way it is essentially a westernized retelling of Seven Samurai, but the interest in the culture has also played out in less obvious ways. It has resulted in Samurai-inspired videoslots that take inspiration from Japanese cultural icons and architecture to appeal to players, such as Samurai Split, while the Total War game series, which actually had two Shogun versions of the game, earned favorable reviews by not overplaying the westernized and less authentic version of Japanese culture.
On that same thread of authenticity, perhaps the most important lesson to take from the positive reviews of Blade of the Immortal is that the movie succeeds because it doesn’t try to please everyone and is true to its cinematic audience and therefore doesn’t allow itself to be diluted in a way that so many big box office hits can be. In this regard, if we are seeing a shift back to the days when Japanese films were cult hits, much like the original Ghost in the Shell movie, we might once again start seeing the best of Japanese and Asian-inspired cinema on our screens.
Director: Chang Il-ho Producer: Runme Shaw Cast: Chuen Yuen, Shih Szu, James Nam, Fang Mien, Tung Lam, Lee Ka Ting, Wong Chin Feng, Yukio Someno, Gam Kei Chu, Chan Feng Chen, Cheung Hei Running Time: 86 min.
By Paul Bramhall
In the history of kung fu cinema, 1972 was one of the most significant years. The Shaw Brothers studio had imported several experienced directors and martial artists from Korea, and in this particular year it proved to be a move that paid dividends, when Chung Chang-wha directed a little movie called King Boxer. Not only was it a runaway box office success locally in Hong Kong, but it would also become forever remembered as the movie that introduced western audiences to the world of kung fu (under the title Five Fingers of Death). Sensing that Chang-wha had formulated a recipe for success, understandably fellow Korean director Chang Il-ho was subsequently tasked with replicating it, and the end result came in the form of The Thunderbolt Fist.
Unlike Chang-wha, who by the time he made King Boxer had already been working at the Shaw Brothers studio for 3 years (during which time he churned out 6 movies), for Il-ho The Thunderbolt Fist was his debut for the studio. It was far from being his debut as a director though, with a filmography that already came close to almost 50 titles made in his native Korea since the early 60’s. Being tasked with imitating the success of another movie is arguably not the best way to start your career at a studio though, and perhaps as a result of this Il-ho would only make two other movies for the Shaw Brothers – The Deadly Knives which was made the same year, and Devil Bride from 1975.
The Thunderbolt Fist gives half Dutch half Taiwanese actor Chuen Yuen his first lead role at the studio. A popular actor in Taiwan, Yuen moved to Hong Kong and took a contract at the Shaw Brothers in 1968. After various roles playing an extra or supporting part (he can be spotted in the likes of Chang Cheh’s Vengeance! and The Duel), it was The Thunderbolt Fist that gave him headliner status. Here he’s teamed with Shaw Brothers starlet Shih Szu, who was heavily marketed by the studio as the next Cheng Pei-Pei, for a tale which (much like King Boxer) has the Chinese rise up to take on the oppressive Japanese forces, led by Korean actor James Nam (aka Nam Seok-hun). Like several of the actors who appear in The Thunderbolt Fist, Nam also has a role in Chang-wha’s earlier production.
So enough of tip toeing around it, let’s be clear from the start that The Thunderbolt Fist is completely derivative of King Boxer. The structure even follows the plot beats with remarkable familiarity. The hero tries to take on the Japanese, hero fails and ends up with one of his limbs partially crippled, hero trains to overcome his disability, hero takes on the evil Japanese and comes out victorious. In fairness, there are plenty of other movies out there that could also have that same plot description applied, however considering the timing and structure of The Thunderbolt Fist, I’d be willing to bet none do it quite so flagrantly as we see here.
With that being said, The Thunderbolt Fist shouldn’t be written off as just a second rate imitation of King Boxer. Despite the similarities, it’s also noticeable that Il-ho is trying to at least put as much of his own stamp on proceedings as the story will allow. By 1972 Chang Cheh has already developed a reputation for his excessive use of bloodshed, usually leaving the screen coated in liberal doses of the red stuff, but here Il-ho gives Cheh a solid run for his money. Stabbings, decapitations, and more projectile blood spitting than you can shake a stick are liberally sprinkled throughout, with the ground and walls of any given action scene usually caked in blood splatter by the end of any given scuffle.
What is immediately noticeable though is that Yuen isn’t a trained martial artist, or, as it would sometimes seem, much of a trained actor. To be fair, he’s not to blame for one major issue. We spend some time with the child versions of Yuen and Nam (played by kung fu cinema legends Austin Wai and Stephen Tung Wai respectively, here both making their screen debuts), and they look no older than 12 years old. When it skips 10 years forward and Yuen steps into the role, the fact that he should be no older than 22 just doesn’t match his appearance, which looks significantly older. The discrepancy between age and appearance also results in some cringe worthy moments. In one scene Yuen is resting in a field, recalling his time with a childhood sweetheart, shown in flashback. When it cuts back, he does a deep sigh while looking wistfully at the camera. I promise it’ll make you temporarily look away in embarrassment.
It’s the kind of scene that someone like David Chiang could have pulled off perfectly, but with Yuen it just comes across as slightly awkward. The same also applies to the choreography. While both Szu and Nam look sharp, with Nam in particular outshining everyone whenever he springs into action, Yuen only comes across as average in comparison. He visibly lacks that same sharpness, which is no more evident than when, in the middle of a group melee, he lands in a chair and performs an over the shoulder kick, with no one being there to receive it. The action itself is choreographed by Leung Siu-Chung (the father of Bruce Leung, who can be seen as an extra if you look closely), who never really found himself in that top tier of fight choreographers like his contemporaries Lau Kar Leung and Tong Gaai. Leung does deserve credit though for incorporating the likes of judo and karate into the choreography, but there’s no doubt that the action on display falls into the basher category.
What can’t be denied is that for fans of the genre, The Thunderbolt Fist offers a wealth of early glimpses at those who would become legends within a decade of its release. Apart from those already mentioned, it’s also possible to see the likes of Lam Ching Ying, Tony Leung Siu-Hung, Corey Yuen Kwai, and Alexander Fu Sheng in small parts. Throw in the likes of Kim Ki-ju, aka the guy who seems to appear in every Korean kung fu movie ever made (and of course, King Boxer), and there are plenty of familiar faces to keep the kung-fu cinema fan happy. Where The Thunderbolt Fist gets really interesting though, is in its application of what the title suggests, or rather, lack of.
Just as Il-ho’s effort is heavily influenced by King Boxer, so King Boxer was heavily influenced by Jimmy Wang Yu’s directorial debut The Chinese Boxer, from 1970. The Thunderbolt Fist in many ways is a kind of unintentional hybrid of the pair, with the aesthetics borrowing heavily from Chang-wha’s influential classic, while the element of Yuen’s arm being rendered crippled coming straight from Wang Yu’s earlier movie. However it’s due to this very point that The Thunderbolt Fist seems to lose its way in terms of narrative logic. With one arm rendered useless, Yuen trains his fist extensively from a secret manual explaining (guess what), the Thunderbolt Fist. However after an initial confrontation with Nam and his cronies, the villains are left to reflect on how deadly Yuen’s kicks are. If there was ever a “Huh?” moment in a movie, then this ranks as one of them.
At first I figured something had perhaps got lost in translation, but the more I thought about it, the more it became apparent to simply be a lack of coherency on the part of the filmmakers. We spend time watching Yuen train his fist, however in the last reel all the attention is diverted to his feet. I mean, if he had a powerful kick, why did we have to wait for him to become cripple before he kicked some Japanese posterior!? It doesn’t make sense, and coherency is thrown more and more out of the window as we head towards the finale. Nam sends a crony to injure Yuen’s leg before their penultimate battle in an outdoor ring (think the finale of Ip Man, it’s identical), however despite the crony being successful in his mission, during the match itself it doesn’t factor in whatsoever.
Despite this, such incoherency can be somewhat forgiven for delivering a finale that lays on both the creativity, and the bloodshed, in equally heavy doses. When Yuen is confronted by a group of Japanese attackers, it’s revealed they have concealed blades in their shoes, in a clear nod to the work Tong Gaai was doing with Chang Cheh at the time. Plus it’s not a spoiler to say that Yuen’s finishing move against Nam is worth the price of admission alone, providing one of those rare spit your coffee/beer/whatever it is you’re drinking out moments. As derivative as it may be, The Thunderbolt Fist does its best to compensate with ample bloodshed and over the top violence, and while it’s true to say they’re appealing to the lowest common denominator, sometimes that’s exactly what we need.
On January 30, 2018, Zeitgeist Films and Kino Lorber will be releasing the Blu-ray for Johnny Ma’s Old Stone, a critically acclaimed social-realist drama that slowly turns into blood-drenched noir.
Old Stone follows the repercussions of a car accident in a society where life is cheap and compassion is ruinously expensive. When a drunken passenger causes Lao Shi (Chen Gang) to swerve and hit a motorcyclist, the driver stops to help the injured man. When no police or ambulance arrive he drives the victim to the hospital, checks him in and finds himself liable for the man s medical bills. The repercussions of Shi s selfless act expose a society rife with bone-chilling callousness and bureaucratic indifference.
Well Go USA continues to kill the competition with their upcoming release of the highly-anticipated thriller, Memoir of a Murderer (not to be confused with Bong Jun-Ho’s similarly titled Memories of Murder) from director Won Shin-Yeon (The Suspect).
Byeong-soo, a retired serial killer, lives a quiet life with his daughter Eun-hee, who has cared for him ever since his Alzheimer’s diagnosis. When Eun-hee brings home her new boyfriend Tae-joo, Byeong-soo realizes Tae-joo is also a serial killer. To save his daughter, Byeong-sop must fight Tae-joo as well as his own mind.
The perfect weapon. The ultimate target. That’s the tagline for Kill Order(aka Meza), an upcoming martial arts actioner that marks the directorial debut of veteran stunt coordinator James Mark (Scott Pilgrim vs. The World). The film hits DVD on February 6, 2018.
In Kill Order (read our review), chaos erupts when a group of armed men break into a high school classroom. They target David (Chris Mark), a quiet kid who secretly suffers from unexplained memories of a horrifying past. Tapping into a previously unknown strength, David fights off his attackers and goes on the run. With his life and the lives of his loved ones in jeopardy, David must master the use of his new superhuman strength and fighting skills to find the people responsible and get his revenge.
Kill Order also stars Chris Mark, Denis Akiyama, Melee Hutton, Jessica Clement, Jason Gosbee, Reuben Langdon and Alain Moussi (Kickboxer: Vengeance).
Director: Lee Zoo-young Cast: Lee Byung-hun, Gong Hyo-jin, Ahn So-hee, Jack Campbell, Yang Yoo-jin, Annika Whiteley, Kei Ekland, Baek Soo-jang, Choi Joon-young Running Time: 97 min.
By Paul Bramhall
If there was ever an example of an under the radar movie, then you’d be hard pressed to come across a better one than A Single Rider. Headlined by Korea’s most well-known actor, Lee Byung-hun, the low key production was his fifth movie in 2016. From headlining the Korean blockbuster Master, to roles in the Hollywood flicks Misconduct and The Magnificent Seven, to a cameo in Kim Ji-woon’s The Age of Shadows. Perhaps understandably, A Single Rider was largely overlooked (despite it being Warners Brothers 2nd foray into Korean cinema, the first being Age of Shadows) . The same goes for his co-star Gong Hyo-jin, who received considerable praise as a mysterious Chinese babysitter in Missing, also released in the same year. As a result, the debut of writer and director Lee Zoo-young seemed to come and go as quietly as the movie itself.
For the curious, the question of how a debut director managed to secure such established names for their first feature is one that comes with rewarding answers. It’s been over a decade since Byung-hun headed a straight up drama, with the last time being Once in a Summer in 2006. His star has grown considerably in the subsequent years, from his collaborations with Kim Ji-woon (The Good, The Bad, The Weird, I Saw the Devil), to his forays into Hollywood (RED 2, Terminator: Genisys), to his recent roles in Korean period pieces (Masquerade, Memories of the Sword). Similarly, Gong Hyo-jin is one of those actresses who’s been in more movies than memory initially suggests. From early appearances in the likes of Guns and Talks and Volcano High, to roles in Lee Myung-se’s M and Ryoo Seung-wan’s Dachimawa Lee.
In A Single Rider Byung-hun plays a successful fund manager whose wife and son are living in Sydney, Australia. They’ve been there for the past 2 years, and are due to return to Korea soon, having originally left on Byung-hun’s insistence that their son should learn English there. However when the company he works for declares bankruptcy, combined with news from his wife that they want to delay their return home, he suddenly finds his world crashing down around him. After spending a night alone with a bottle of whisky in front of his computer, he makes the brash decision to book a flight to Australia. With nothing left to lose, he heads down under with nothing more than the clothes on his back, his passport, and his wife’s address scrawled on his hand.
Sure enough, Byung-hun locates the address in question, set in the leafy suburbia of Bondi Beach, however before he can knock on the door, he overhears the sounds of his wife’s voice and a male companion. Choosing to sneak around the back of the house, he observes his wife, played by Hyo-jin, giggling and acting affectionately with an Australian man, played by popular Australian TV actor Jack Campbell. Rather than confront them, he backs away in silent shock, and it’s this decision which really defines the movie that A Single Rider becomes. Developing into what can almost be described as an otherworldly hybrid of Alexander Payne’s The Descendants and Kim Ki-duk’s 3-Iron, Byung-hun spends all of his time in Sydney watching Hyo-jin and Campbell from a distance, as he attempts to establish if she’s really having an affair.
As a result, despite characters often making inconsequential chatter in the background, there are significant stretches of A Single Rider with no dialogue, instead relying on Byung-hun’s ability to convey a range of emotions with just his expressions, and a hauntingly minimalistic piano score. Bereft of the expected cathartic confrontation between husband and wife, instead Byung-hun’s fears and regrets slowly come to the surface through his interactions with a variety of other characters. He befriends a young female backpacker also from Korea, is viewed suspiciously by an elderly neighbour of his wife, and even interacts with members of Campbell’s family. Indeed the closest relationships he establishes are with the Korean backpacker, played by Ahn So-hee (the high school student in Train to Busan) and Hyo-jin’s dog, which decides to follow him around.
Byung-hun reluctantly ends up agreeing to help So-hee after she’s duped out of almost $20,000 by a trio of shady Korean youths, who offer to exchange her currency to Korean Won for a more favourable exchange rate than the banks. After initially observing her from a restaurant window driving off with the trio, when she suddenly reappears visibly dazed and unable to walk straight, he assists her to get back to the hostel she’s staying in, and eventually the pair attempt to track down those responsible for stealing her money. Notably this part of the story is inspired by the real life case of another Korean backpacker, who was murdered in Brisbane in 2013 following a similar scenario. Despite their differences, Byung-hun and So-hee form a bond through their shared feelings of being lost in a foreign land, and their dire circumstances.
For a first time director, Zoo-young shows a remarkable grasp of pacing and tone. Sydney is filmed lavishly, capturing the beauty of iconic landmarks like the Harbour Bridge and Opera House, however at the same time she imbues it with a sense of isolation and loneliness. The more Byung-hun comes to realise how integrated Hyo-jin and their son are to the overseas life he’s responsible for sending them too, the more he seems incapable of bringing himself to interact with her. In brief flashback scenes to their life together in Korea, we see Hyo-jin lose interest in her passions such as music, weighed down by the expectations of being a wife to a high flying fund manager. However in Sydney she’s been free to rediscover everything that she’d given up on. This is really what A Single Rider is about – the power of regret, and how we only have a limited time to do something about it.
The question of whether that distance can be bridged is one that keeps A Single Rider so engaging, even during its quietest moments, and the singular focus on viewing everything from Byung-hun’s perspective allows the narrative to flow in unexpected directions. Indeed we never really know if his decision to help So-hee is out of genuine intent, or if it’s more of a diversion to make himself feel better for the years he put his career ahead of everything else, including his own family. That same focus also allows for some of A Single Rider’s weaker moments to be forgiven. While the main characters are all well written and developed, those that lack any significant amount of screentime don’t fare so well.
The trio of Koreans that dupe So-hee out of her money seem only to be interested in what visa they can get to stay in Australia, and a scene in which the police take Hyo-jin’s concern that her dog has gone missing as a valid reason for investigation is mildly laughable. However these are minor grievances, and Byun-hun’s performance anchors A Single Rider so whole heartedly that it’s difficult to imagine its existence without him. While Zoo-young has used the flavour of the month depicting the corruption of those in power, this setup is quickly established to simply be a framework, one which unfolds into a tale that’s much more personal and smaller scale than recent blockbusters covering the same.
With an unusually lean runtime for a Korean movie of 95 mins, perhaps expectedly Byung-hun’s visit to find his wife and son comes with a twist. There’s no doubt that some hardened viewers of this genre will likely see it coming, however even for those that don’t (myself included), it’s delivered in such a beautifully poignant and melancholic way that it delivers the expected emotional punch. More than 10 years ago A Bittersweet Life ended with Byung-hun staring at his reflection in a window, A Single Rider contains a similar scene, one which encapsulates the essence of that movies title in a profoundly moving way. For those looking for something a little different from Korean cinema, then A Single Rider comes strongly recommended.
Won Jin, the legendary Sonny the Scorpion from the 1992 classic Operation Scorpio (read our interview here), has confirmed he’s recently completed action directing duties for the upcoming Korean crime thriller Brothers in Heaven. Jin has been applying his action directing skills in China as of late, so this marks the first time for him to return to his native Korea since choreographing the action in 2013’s The Suspect, in which he also has a small but memorable role.
Brothers in Heaven is the sophomore feature from director Park Hee-joon (Mandate), and stars K-drama actor Jung Hoo in his movie debut, and Jo Han-sun (A Better Tomorrow) as twin brothers that were separated at birth, and grow up on opposite sides of the law. When fate brings them together 20 years later, as expected, a healthy dose of gritty violence ensues.
Brothers in Heaven will also feature Hong Kong actor Simon Yam, in his third Korean movie after turns in The Thieves and Cold Eyes. Hitting domestic screens in January, we’ll keep you in the loop of the latest news. In the meantime, check out the trailer below:
“Always be yourself, express yourself, have faith in yourself, do not go out and look for a successful personality and duplicate it.” – (Bruce Lee, 1940 – 1973)
Bruce Lee is one of those rare actors who transcended the movies he appeared in to become an almost mythical figure. He is the embodiment of the martial artist, an accomplished actor and a positive role-model for Asian Americans. Lee was single-handedly responsible for a surge of interest in Asian martial arts in the late 60s and 70s, his fame extending far beyond the reach of the four movies that made his name. Today he is more icon than man, a representation of martial arts, of Asian masculinity and of what was a very new type of action hero in the America of the 1970s.
Born in San Francisco, the young Lee Jun-Fan was raised in Hong Kong until he was a teenager. His father was an actor and his mother came from a wealthy family, meaning that the young Lee grew up in relatively affluent surroundings. Despite that, his neighbourhood became a more dangerous place in later years, with various gangs operating in the area, and Lee was beaten up on a number of occasions. This prompted his father to send 16-year-old Lee to take martial art lessons, and it was not long before the young teen started to display startling quickness and agility. He also took up boxing in his new high school, and aged 17 won the Hong Kong schools boxing tournament. It was clear that this was a very special talent, and that he would soon become famous beyond the confines of Hong Kong.
As Lee continued to become embroiled in street violence, his parents decided that moving back to the States was the best way to protect their son. Lee continued his martial arts training in America, studying under a variety of different teachers. Feeling that many martial artists neglected the physical conditioning aspect of their sport, Lee devoted himself to maintaining peak physical condition. A martial arts exhibition at Long Beach in 1964 brought Lee to the attention of Hollywood. With his father being an actor, the young Lee had appeared in a number of Hong Kong films as a child actor, but had given up on the idea of making movies after moving to the US. However, with Lee gaining fame as a high-profile martial artist, he was selected to play the role of Kato for the TV show The Green Hornet which aired from 1966 to 1967. He also made guest appearances in the iconic Batman show as the same character at this time. While the TV show only lasted for one season, Lee had made enough of an impression to ensure that he was at the front of Hollywood casting agents’ minds when it came to looking for Asian martial artists.
Lee’s first Hollywood role came in the 1969 movie ‘Marlowe’, where he briefly made an appearance as a henchman hired to try and rough up the titular private eye character. This would be the type of role offered to the young Lee, but he was not destined to be a bit-part player in life. Dissatisfied with being type-cast as a supporting player, Lee moved back to Hong Kong to take on some leading roles: roles which would define him as the greatest martial arts actor of all time. Unbeknownst to Lee, The Green Hornet had been shown in Hong Kong, except that over there it was known as ‘The Kato Show’. This meant that Lee was a star by the time he set foot back in the place where he grew up, and as a result he had little difficulty in obtaining a contract to appear as the star of two movies. Due to the success of the early releases, two would become four, and these four movies which Lee starred in between the years of 1971 to 1973 would cement his reputation forever. These were, in chronological order, ‘The Big Boss’, ‘Fist of Fury’, ‘Way of the Dragon’ and ‘Enter the Dragon’; names that will be instantly familiar to anyone with even a slight knowledge of martial arts in cinema.
Upon the release of ‘Big Boss’, it quickly went on to smash box office records all across Asia, making Lee a star in the region in the process. Fresh from the success of ‘The Big Boss’, ‘Fist of Fury’ was released in 1972, and this movie would go on to smash the records set by the first one. The success of the two movies left Bruce in a very strong position to negotiate a deal for two more Hong Kong pictures, and for movie number three he was given control of choreography, writing, producing, and directing, as well as being the star. ‘Way of the Dragon’ was a critical and commercial success, and introduced the world to karate champion Chuck Norris, whom Lee had met year earlier in the Long Beach martial arts exhibition. The final movie that Bruce Lee would make was ‘Enter the Dragon’, in most people’s eyes the best of his collection. This movie became one of the year’s biggest box office successes, and to date it has earned more than $200 million; a staggering return for the $4 million (adjusted for inflation) that it cost to make in 1973. Unfortunately, Bruce Lee would not have the opportunity to make any more films, although the work he had done on the unfinished movie ‘Game of Death’ was used to release the movie, with a stand-in doubling for Lee in some scenes.
Over the years, Bruce Lee has become more than simply a man, and has instead morphed into an iconic brand. In fact, from our perspective in time it can be quite difficult to separate one from the other. Bruce Lee has adorned the bedroom walls of so many college student dorms that his image has become iconic: close your eyes and you can probably conjure up the picture of Lee standing in fight pose. Similarly, you can find countless Bruce Lee branded t-shirts, shoes, headphones, Lego models, playing cards, pens, jewellery, stamps and action figures. There are even Bruce Lee branded online slot games featuring the martial artist in various threatening poses, as well as video games with the Hong Kong master as the hero. Think of a collectable item, and you can be sure that there is a version of it featuring the king of martial arts. Even to this day, ask anybody to name a famous martial arts expert and chances are that Bruce Lee’s name will be one of the first to be mentioned. For that reason, the man and the brand have become intertwined, and the iconic figure of Bruce Lee – a man who came to global fame in the early 1970s – is still proving to be a hit well into the 21st century.
Sadly, Lee would die before his final ‘full’ movie, ‘Enter the Dragon’, could be released. The actor passed away due to complications from some medication he had taken, dying at the tender age of 32. However, his all-to-brief life spawned the legend of Bruce Lee, a legend which endures to this day. Bruce Lee passed away while still at the height of his powers, leaving behind the impression of a young man frozen in time, still invincible and powerful. As with any unexpected celebrity death, rumours and conspiracy theories have done the rounds regarding Lee’s untimely passing. These ranged from the mundane to the outlandish, such as claiming that there was a curse on the family, or that Chinese mafia had poisoned the action star. Despite these claims, medical and forensic experts determined that the cause of death was simply an unfortunate accident, and that no foul play was involved.
Bruce Lee has left an impressive legacy behind him, remaining an iconic figure to this day. Time Magazine named him as one of the 100 most influential people of the 20th century, which places him in very exalted company. June 8 was named ‘Bruce Lee Day’ in Los Angeles, and in the Chinatown of that city a seven-foot statue of 5 foot 8-inch Lee has stood since 2013. There are more statues of Lee in Hong Kong, China, and even Bosnia and Herzegovina, as well as a star on the Hollywood walk of fame. It seems that we will never grow tired of this martial arts superstar, and indeed he has inspired generations of martial artists who have followed in his wake. Indeed, even Dana White, the outspoken president of the incredibly popular UFC, has credited Bruce Lee as being the ‘father of mixed martial arts’. It is a rare person indeed who transcends their sport, not to mention the movies in which he or she appears, to become a global superstar and an inspirational figure to millions of people around the world. That is the true legacy of Bruce Lee.
Manga has become iconic in Japan, but that’s not the only place its influence has been felt. Although early Manga illustrations were seen as popular works sold to the masses in the 17th century, according to japantimes.co.jp, the style took off in the 19th century. From here, illustrators found a home in comics and that gave rise to the Manga styling that we know and love today.
While Manga comics have now become staple reading for people in Japan, this isn’t the only place where the artwork can be seen. Indeed, as you scan popular culture around the world, the funky characters and engaging storylines have been used to enliven everything from movies to art and even games. For instance, the 1973 movie Golgo 13 was based on Manga that started in 1968. Although the 1983 Anime version of Golgo 13 achieved greater success, the movie was released in the West and stands as a testament to the popularity of Manga around the world.
Fusing Style and Substance to Create a Manga Slot Game
Beyond the movies, the Japanese style has become popular with games developers. Final Fantasy by Square Enix is a game that clearly draws inspiration from the worlds of Manga and Anime, as do games such as Gantz: The Game and J-Stars Victory Vs. However, it’s not just the video game community that’s embraced Manga. In the last two years, software developer NetEnt has brought the theme to the online casino world. The brand is known for its themed slots such as Planet of the Apes and Emojiplanet. Through these games, the developer has developed a reputation for creating games that are as artistic as they are lucrative.
According to the reviewers at online-casinos-canada.ca/netent-casinos, NetEnt has not only won Mobile Slot Supplier of the Year three times in a row because of their jackpots but because of their gameplay. Describing the design and themes as “elite level”, the reviewers suggest that NetEnt is among the top software providers in the iGaming industry. In 2015, this reputation was solidified thanks to the release of Manga-styled slot called Koi Princess. Like the comics it’s inspired by, the lead character, Koi Princess, and her surroundings are drawn in an edgy cartoon style. On top of this, the numbers and card symbols have a Japanese look to them that complements the Manga theme.
However, and this is why reviewers such as Online Casinos Canada rate NetEnt so highly, it’s not just the drawings that stand out. In a bid to fuse style and substance, the developer has included animations and bonus features that fit in with the Manga style you’d see at manga.com. For example, as you spin the five reels, three fish (koi carp) will appear at random intervals and ask you to pick them. Much like a Manga character encounters certain people or beings who define their path in life, the fish each hold a unique bonus that can change your fate.
This ability to take a concept and bring it to life through gameplay as well as visuals is something NetEnt does extremely well. Of course, without the popularity of Manga, this would count for nothing. Indeed, despite its Japanese roots, it’s clear to see that this style has become a fantastic device for creative types in a variety of mediums.
Another popular Manga slot is Panda Manga. Taking a slightly more tongue-in-cheek look at the genre, this game features everything from geishas and waving pandas to sushi. However, as entertaining as this game is on the surface, it lacks the depth of a spinner such as Koi Princess. Where NetEnt’s creation has features that fit into the Manga narrative (i.e. choosing your destiny), Panda Manga is more straightforward. What we mean by this is that wilds and scatter symbols unlock simple free spin and multiplier bonuses.
Of course, there’s certainly nothing wrong with this. In fact, it’s all a matter of perspective. For players that simply like the look of a game and enjoy the artwork of Manga, a slot like Panda Manga is great. However, for those that want slightly more depth, Koi Princess from NetEnt is perfect. Whichever way you look at it, the one thing that’s clear is that Manga is a fantastic theme. Whether it’s in the slots world or another entertainment medium, the ability to offer stunning visuals and/or a clever storyline is the reason people around the world love Manga.
Director: Lee Doo-Yong Cast: Sam Jones, Linda Blair, Jun Chong, Phillip Rhee, Mako, Bill Erwin, Gustav Vintas, Rebecca Ferratti, Bill Wallace, Alexis Rhee, Simon Rhee, Joanna Chong Running Time: 91 min.
By Paul Bramhall
Let’s be clear, there are only two kinds of people who should be checking out Silent Assassins. The first is the demographic that feels inexplicably drawn to a movie which would team up Flash Gordon with Regan from The Exorcist. The second is the demographic that feel a kind of morbid fascination at witnessing a reunion of Bruce Lee Fights Back from the Grave director and star Lee Doo-yong and Jun Chong. If there’s someone out there that’s seen this movie and doesn’t fit into either of the above categories, then I strongly encourage you to make yourself known. As for myself, I fall into the latter.
Silent Assassins is one of the bi-products that came out of a small wave of Korean directors that immigrated to America in the 1980’s, much like many Hong Kong film industry talent would do a decade later. The recurring theme that appears to run through all of the directors output once they got stateside though, is that they seemed to lose the ability to string a coherent picture together, regardless of how good their output was on native soil. Directors like Park Woo-sang subjected us to The Miami Connection, Nam Gi-nam assaulted us with Ernie and Master Kim, and Richard H. Kim delivered the celluloid equivalent of being water boarded with Kill Line.
For Doo-yong and Chong though, this wasn’t their first time filming in the U.S. In 1976 Chong was already an established Taekwondo instructor in Hollywood, and when a Korean film crew came to the States to talent scout for a movie they planned to film there called Visitor of America, he scored the lead role. The director was Doo-yong, and the movie became a hit across Asia, however initially failed to score a release in the place it was filmed. That changed a couple of years later, when a still unknown source decided to turn it into a Bruceploitation flick, filmed a new opening which shows Bruce Lee jumping out of his grave, and renamed it Bruce Lee Fights Back from the Grave.
Doo-yong was so impressed with Chong’s skills that he urged him to return to Korea and make more movies there, and later in the same year he did just that. However Chong would only stay there for a few months, during which he did indeed make a couple of movies, before returning to Hollywood to resume his life as a Taekwondo instructor (although he does have a small part in the 1978 Chuck Norris movie Good Guys Wear Black). Doo-yong would remain directing in Korea until he made Silent Assassins, in which he maintained his reputation for being a reliable studio director. He’d go on to make the kung fu movie Secret Agents II later in the same year, and was also responsible for directing many of Han Yong-cheol’s most popular movies.
Chong remained absent from the film industry for almost a whole decade, until he re-surfaced in 1985 as the lead in Park Woo-sang’s American debut L.A. Streetfighters. It was perfect timing, so when Doo-yong secured the talents of Sam Jones (likely to be forever known for his iconic turn as Flash Gordon, in the 1980 movie of the same name) and Linda Blair (the possessed teenager from 1973’s The Exorcist) for Silent Assassins, the production provided a reunion for the director and star.
In Silent Assassins Jones plays an L.A. cop who, after his partners gets killed, decides to pursue a quiet life in Colorado with his wife, played by Linda Blair. However when the same criminal organization that killed his partner appear back on the radar, thanks to kidnapping an elderly biochemist with the key to a deadly bioweapon, he decides to stick around to take them down. It’s worth pointing out that he makes this decision literally as they’re about to drive off into the sunset in a removals truck, their belongings all packed and ready to go, but a peaceful life be damned, revenge comes first!
The villains, played by Gustav Vintas (Lethal Weapon) and Rebecca Ferratti (Gor and Gor II – look them up, preferably via an image search), also kidnap the young daughter of a family that gets caught in the crossfire. Thankfully, the daughter is the niece of Chong’s character, and that’s as good of a reason we get as to why he’s in the movie. Regardless of the questionable coherency, it does provide the excuse for an L.A. cop to partner up with a high kicking Korean, so we’ll take it. Also along for the ride is Philip Rhee, another local Taekwondo instructor. In 1988 Rhee was still a year away from starring in the classic Best of the Best, but he had worked with Chong before, in the previously mentioned L.A. Streetfighters, which they choreographed together. Here Rhee is a kind of dojo Casanova, playing the son of a businessman who has insider information on the kidnapping.
If Silent Assassins sounds like a typical 80’s action B-movie, it’s fair to say that it fits the bill pretty well. It might even be a C-movie. The sound quality is terrible, with everyone sounding like they’re talking through a sock, and in some scenes you can even see cameras that are filming the same scene from a different angle. High art this isn’t. However it does manage to entertain, mostly in the form of a clan of ruthless ninja assassins, which Vintas and Ferratti hire to kill anyone who attempts to rescue their kidnapped victims. While these ninjas (and I use the term ninja lightly, as technically they’re just guys wearing black balaclavas) do employ some traditional ninja weaponry, like the clawed hand and a spiked cudgel, their favorite weapons of choice are a selection of axes, sickles, and shovels, that look like they’ve just been bought from the local hardware store.
Whenever one of the ninjas kills someone, a group of them immediately surround the body, and they manically hack it to pieces while yelling at the top of their lungs, which leads me to believe that the title Silent Assassins is supposed to be ironic. Yelling while trying to make a discreet entry isn’t the only nonsensical aspect of Silent Assassins though. In another scene the biochemist explains to the villains that he can’t give them what they want, because the brand of computer they have contains a fatal flaw. He then turns the keyboard upside down, and the monitor blows up. If there was ever a legitimate reason for a product recall, the risk of turning your keyboard upside down making your whole computer explode is as good a one as any.
Silent Assassins is full of goofy moments like this, however it always remains watchable, and builds to a worthy action finale. Chong even shaves his head especially for it, in a scene that clearly inspired a similar one with Won Bin in The Man from Nowhere, over 20 years later. Actually who am I kidding, I’m sure it didn’t. Arming himself with a dagger and rope, together with an assault rifle-toting Jones and samurai sword wielding Rhee, the trio launch an attack on the enemy’s underground base. At this point, for those wondering why the poster has Linda Blair armed to the teeth and looking every bit on equal ground as Jones, it’s just promotional material. Her role in the movie is a thankless one of being the wife in distress, and she disappears from the finale all together.
Chong and Rhee are also on fight choreography here, and while their talents are sprinkled throughout, in the finale they really get a chance to shine. Both get to unleash their kicks on a seemingly regenerating stream of ninjas (played by their real life students), and Rhee gets involved in a nicely executed two-on-one fight in a bathroom involving his brother Simon. There’s even some decapitation thrown in for good measure, with some charming low budget practical effects on display. When Jones unloads a round at one particular villain, the recipient switches to an obvious mannequin which gets blown to pieces, its limbs flying off in different directions, resulting in a death scene equal parts cool and hilarious.
What I found most humorous though, is that the rope Chong has tied around his body, an obvious nod to Bruce Lee’s underground infiltration in Enter the Dragon, never actually gets used, he just runs around wearing it like a fashion accessory. Madness. Despite so much inconsistency, Silent Assassins still manages to be a lot of fun. Why does Jones at one point superglue someone to a wall, and why was he carrying superglue around with him anyway? Since when do rocket launchers never need to be reloaded? You’ll ask yourself all these questions, and many more. Doo-yong ends things with a twist involving the scene of a general, who we only hear the voice of, but is in-fact played by Bill ‘Superfoot’ Wallace (who was also in L.A. Streetfighters), indicating that a sequel was most likely planned. Who knows, with all of the main cast still active, perhaps one day we may still get it.
Ready for some female-centric organized crime? Get ready for Queen of Triads, an action-thriller written and produced by Wong Jing and directed by his protege Kam Kar-wai (who is currently shooting Big Brother with Donnie Yen).
When an innocent girl is raped again and again and betrayed by her loved ones, she decides to take control of her life by becoming a gangster leader.
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