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.
I tend to approach a new Thai martial arts film with a mix of excitement and trepidation. Because while it’s unfair to generalize an entire film industry’s output, my experience with Thailand’s action cinema often seems to have similar highs and lows across multiple films. The fights are realistic and it’s always amazing that the stunt work didn’t kill anybody, but the films can tend to play as amateurish whenever the hero isn’t breaking bones due to poor writing, acting, and directing. So, having said that, Broken Sword Hero was pretty much exactly what I was expecting it to be.
Broken Sword Hero is a historical martial arts coming of age tale about a young man named Joi. As a child, Joi suffered relentless bullying at the hands of the governor’s son and his gang. Vowing not to live in fear of a beating, Joi self-teaches himself Muay Thai boxing. From there, we see him grow into a young man, fighting in the boxing pits for money while also evading the governor’s son who still holds a grudge (the relationship between Joi and the governor’s son is never fully explored beyond protagonist vs. antagonist. The governor’s kid is just a dick, I guess. He pops back into the story now and then to try to kill Joi because that’s what dicks do, but it’s never much more than that). Joi starts to make a name for himself as an undefeated boxer in the villages, until the day he faces off against a stranger who nearly takes his head off in a match. Joi loses his celebrity status in an instant. After a drunk homeless man convinces Joi that he has raw talent but lacks the basics, Joi leaves his hometown in search of martial arts masters to better hone his skills.
Joi takes on the name Thongdee at this point – Joi committed no crimes but he is still treated like a criminal because the governor’s son is a dick – and learns the basics of Muay Thai boxing from one master before learning speed and conditioning from the next master and then learning swordplay from a third master. During this time, Thongdee/Joi also learns about loyalty, humility, heroism, and friendship and becomes a better man because of the good people he surrounds himself with.
In addition to the governor’s son and the governor’s brother trying to kill Joi/Thongdee, there is an additional governor subplot in the story. It kind of pops up out of nowhere. And when this governor is first mentioned, I naturally thought he was related to the governor plot we’d already seen in the film. But nope, new governor. And this governor is apparently under threat from rebels whose objective we are never made to fully understand. This new governor plot just sort of enters the film and takes over. And then, just when you think it’s leading to something substantial with the governor’s army and large-scale battles… the movie ends.
I can’t believe Broken Sword Hero ends the way it does. So many threads are left unresolved, yes, but that’s not even my main gripe. It appears to be stepping into new territory as Thongdee’s life takes a dramatic change. And then it ends. Fade to black, roll credits. The flow of the final moments is bizarre upon reflection. It’s like we start Chapter 1 of Part 2 of Thongdee’s story and then boom, The End. If Broken Sword Hero is the origin story of Thongdee, that’s fine, but finish this story before starting another one.
Where the film is at its best is in the action and fights. Though director Bin Bunluerit shows an over-reliance on slow-motion to film his action, this does nonetheless allow us to see full contact being made between our fighters. Thongdee/Joi is played by real-life Muay Thai champion Buakaw Banchamek, who has featured in films before but never in a lead role. While the script doesn’t offer him much of a chance to show his dramatic chops, Buakaw Banchamek is likable and totally believable as the young hero of the film. I fully expect him to be called the next Tony Jaa once the movie starts getting around. Because, I mean, of course.
If swordplay is what you’re after, you’re going to find very little of it in Broken Sword Hero. What we get is decent, but Thongdee doesn’t pick up his first sword until we’re well past the half-way point of the film. And our first broken sword doesn’t come until the movie’s almost over. Despite the title, this is a Muay Thai boxing picture, not a swordplay film.
There is a childlike innocence to the movie. And I mean that in a good way. Mostly. Thongdee has a boy meets girl romance with an upper-class young lady. One of the film’s ‘laughs’ involves her stepping in horse crap. Then, in what may be the closest thing to a romantic gesture seen in the movie, Thongdee smiles and scrapes the crap off her shoe before putting it back on her foot. It’s stupid… but it’s sincere.
The action is exciting and thanks to the earnestness of the cast the film can be charming. But the story is frustrating. It lacks a strong narrative flow and/or purpose. I grew restless hopping from one martial arts master to another in search of a plot. Characters of apparent importance come and go as they please. And the movie’s ending is so flat that I actually got angry when the credits began to roll… But yes, there is some entertainment to be had if you’re in the mood for a few elbows to the cranium. Just don’t go in expecting something challenging or original. Broken Sword Hero is about as simple and straightforward as they come.
When it comes to fighting, the ancient martial arts of the East have a certain mystique that captures the imagination.
Although the end goal with any physical confrontation is to render your opponent helpless (or dead), the code by which traditional martial artists live by brings a certain reverence to proceedings. Naturally, this combination of control aggression and power has intrigued filmmakers over the years and led to some impressive cinematic spectacles. In fact, what’s interesting about Asian martial arts movies is that they sit in stark contrast to the battle-based offerings from the West.
Of course, the last few decades have seen the two styles merge, but it’s fair to say that there are two distinct styles when it comes to fighting on screen. Take the ever-popular Game of Thrones as an example. The average battle scene in the HBO show is a brutal, bloody affair that seems a million miles away from the refined, technique-based showdowns in a traditional martial arts flick such as Enter the Dragon. And, it’s not just on screen where this divide is apparent. Take, for example, the Game of Thrones slot.
Developed by Microgaming, this game is based on the show and features a plethora of images and animations fans will be familiar with. Indeed, as this Game of Thrones slot review notes, the “epic opening score” creates an intensity that captures the spirit of a bloody battle. Contrast this with another online casino game, Bruce Lee slots, where the use of chimes and xylophones creates a much more serene atmosphere.
East vs. West: It’s a Matter of Intent
In essence, whether it’s onscreen, in a game or via some other medium, the main difference between East and West when it comes to the depiction of fights is action. In the case of the former, everything is calm and attacks happen in short bursts. Everything around the battle is still and there’s a level of respect between combatants.
In the case of the latter, everything is more intense and chaotic. Fists are flying in every direction, and anything can happen in a given moment. This is something Game of Thrones captured fantastically well in the Battle of the Bastards (see video above) and, moreover, across the entire franchise. Why is the case? Well, it all stems back to the origin of martial arts. Although Asia isn’t the only place where martial arts evolved from, it is considered the spiritual home thanks to its use as a form of defense.
Martial Arts as a Form of Respect
From China’s Emperor Huang Di using martial arts as a way to defend the kingdom back in 2600 BC, this trend quickly spread across Asia. At the heart of the teachings was the idea that fighting was a way of protecting all that you deem to be sacred (i.e. your kingdom and country). As various arts developed, notions of respect and honor evolved to encompass all those that had devoted their lives to the art. From this, the idea of mastery and perfect technique came into play and that’s what typically separates martial arts from general fighting.
Even though the warriors seen in Game of Thrones had to learn certain skills, their battles could and would be won by any means possible. In contrast, a true warrior martial artist would never use dirty tactics to defeat an opponent. This, for us, is why there’s a clear difference between fights in classics such as 10 Brothers of Shaolin and Game of Thrones. So, would Bruce Lee survive in Game on Thrones? Yes, but only if he abandoned his martial arts training and fought like a Westeros warrior.
Director: Sin Dong-yeop Writer: Min Kyeong-geun Cast: Lee Joo-Seung, Oh Ji-Ho, Lee Jung-Jin, in Jung-Keun, Eun-Seo, Joo Suk-Tae, Kang Shin-Chul, Im Chang-Jung, Ahn Sol-Bin, Lee Se-rang, Cherrish Ramirez Running Time: 97 min.
By Paul Bramhall
There can be no denying that the classic kung fu movie trope of a martial arts master challenging fellow martial artists has been around for a long time. In the 70’s there was the black caped Kwan Fung in Five Superfighters, in the 80’s it was Frankie Chan in The Prodigal Son, and in the 90’s we had a masked Darren Shahlavi in Blood Moon. It’s a trope still being employed in the 21st century, from Yayan Ruhian’s Mad Dog character in The Raid, to Wang Bao Qiang’s psychopath in Kung Fu Jungle. Adding to the list of villains who get their kicks from proving their martial arts mastery is Oh Ji-ho, in Korea’s latest entry into the martial arts genre, Showdown.
What could best be defined as ‘pure’ martial arts movies are few and far between in Korea’s modern film industry. Sure, their gangster dramas and revenge thrillers usually have healthy doses of brawling and violence, but it’s rare in the countries post-2010 output to try and sell a move based purely on it being a fight flick. Movies made by the old-school members of the Korean action scene, such as Park Sang-hyeon’s Kwon Bob: Chinatown (which had the added benefit of starring super kicker Won Jin) and Cha Ryon’s The Final Fight, receive little to no attention and even lack a legitimate release.
To some degree Showdown seems to have navigated this issue by having Sin Dong-yeop in the director’s chair. By no means an A-list talent, he has established a reliable reputation as a journeyman director, and has shown a leaning towards action before with such productions as 2010’s Super Monkey Returns (a modern day comedic re-telling of Journey to the West), and 2013’s thriller Days of Wrath. Proving to be dependable with a mid-budget production, Dong-yeop has gathered together a cast which, for the most part, sees TV drama actors and supporting players from bigger budgeted productions take center stage.
The forever baby faced Lee Joo-seung plays an unemployed sibling to his older detective brother, both of whom have a penchant for getting into fights. The brother, played by Lee Jung-jin (the lead from Ki Ki-duk’s Pieta), is on the tail of Oh Ji-ho, a rich game designer who hides psychopathic tendencies. These tendencies manifest themselves in his desire to fight to the death with worthy opponents he finds online, usually in the form of illegal foreign workers. When Jung-jin and Ji-ho finally confront each other, the brother is no match for the others fighting skill, and finds himself beaten into a coma. Joo-seung has an inkling as to who’s behind his brother’s injuries, however his brash approach to seeking revenge quickly finds him arrested and given a community service order, which takes the form of visiting an elderly drunk that lives by himself. Thankfully for him though, the elderly man just happens to be the modern day incarnation of Sam Seed!
Indeed, Showdown could best be described as a completely poker faced modern day retelling of Drunken Master, with elements of Blood Moon thrown in for good measure. Ji-ho’s psychopathic game designer hides behind his suave exterior, however is most in his element when he dons his metallic mask, just like Darren Shahlavi did 20 years earlier. In what’s clearly a nod to the influence of Gareth Evan’s The Raid and its sequel, one of the fights we see Ji-ho involved in takes place in an abandoned empty pool against an illegal Indonesian worker. While the choreography is of course nowhere near the level of the Iko Uwais and co., the long haired fighter will likely remind many of Yayan Ruhian’s appearance in what have become modern classics of the genre.
Showdown is not without its moments of comedy though, and almost all come from Joo-seung’s time spent with the old master, effectively played by a permanently flushed Sin Jeong-geun, who most recently can be seen in supporting roles in the likes of Tunnel and A Hard Day. Jeong-geun pulls off a modern day take on the Sam Seed role perfectly, never seen without a bottle of soju or makkoli close by, and even gets a chance to show off some drunken kung fu against a gang of youths who team up on Joo-seung. In one of the movies funniest scenes, Jeong-geun applies acupuncture to an injured Joo-seung, however can’t remember the correct areas to apply the needles, resulting in him needing to consult a manual that he himself wrote many moons ago.
The old-school training techniques are also successfully transplanted to a modern day setting, from cracking walnuts bare handed, painful looking stances involving the splits, and of course, the obligatory post-Ip Man Wing Chun dummy training. But before Joo-seung can get to any of that, he first of all needs to strengthen his ability to handle drink. In many of the first training scenes that are teased, he’s ordered to down a bottle of whichever is the closest liquor to hand, however whenever Jeong-geun returns to start the training, he finds Joo-seung in an unconscious heap on the floor. These light comedic touches are a welcome addition to Showdown, and reflect Dong-yeop’s playful approach to the story being told. While proceedings never become tongue in cheek, it can also be felt that everyone involved knew that this wasn’t a tale to be taken too seriously.
So how does a master of the drunken arts get the attention of a psychopathic kung fu killer in the modern world of social media and tending videos? The answer comes in the form of Joo-seung strapping a GoPro camera onto his head, and visiting various martial arts school to challenge the masters to a duel. Once the duel is over, upload it onto the net and watch the hits go crazy, which of course is the perfect way to pique the interest of Ji-ho. The use of the GoPro, while definitely a novelty, is a unique update to one of the techniques found in many an old-school kung fu movie, in which the hero or villain strikes at the camera, representing the point of view of their opponent. While the old-school technique restricts the action to the one doing the attacking, with the recipient seemingly taking the blows with no comebacks, the GoPro allows for an interactive POV of the one on the attack, giving the viewer a first person perspective of drunken kung fu in action.
Fittingly, while most of the old-school movies involving drunken kung fu see the hero enter the finale armed with a bottle of Chinese wine, in Showdown Joo-seung eventually confronts Ji-ho in a private bar area of a nightclub he’s drinking in. The fight is a surprisingly successful combination of Korea’s typical leanings toward realistically bloody violence, and the traditional drunken kung fu moves one would expect from such a confrontation. At its most frantic, Ji-ho counters Joo-seung’s attacks by smashing his head through a whole shelf of glass liquor bottles, leaving him a bloodied whisky guzzling mess on the floor. The brutality of Ji-ho’s attacks add a welcome sense of immediacy to the fight, meaning that Joo-seung’s counters don’t just need to be effective, they have to be if he’s going to remain breathing at the end of it.
While purists will likely gripe at the occasional use of choppy editing during the fight scenes, it can easily be forgiven since the effort of everyone involved is so clearly on show. Sure enough while the end credits play, we also get to enjoy plenty of behind the scenes footage of the fight scene rehearsals, and the pain that’s an obligatory part of being involved in a martial arts movie. Transplanting the Drunken Master style setup of master and student to the modern world will no doubt be taken as a parody by many, so the fact that Showdown attempts to pull it off so sincerely is something to be admired. Considering how well it’s done is simply the icing on the cake. While it’s unlikely that either Dong-yeop or any of the cast will remain within the martial arts genre when they next appear onscreen, their commitment to delivering a worthy nod to the old-school classics makes for a refreshing slice of cinema, and for that alone it comes recommended.
Cheap Essay Papers: 4 Ways to Be Sure They Are NOT Going to Fool You
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Students looking for cheap custom dissertations should go through the reviews posted on the website before hitting the buy button. The client reviews indicate the level of customer satisfaction, and if the reviews are positive, then, that is a credible company. But if they are negative, you will be wasting your money if you decide to work with that company. Read through the reviews in detail to understand the working process of that company. Some of the things that students should be able to make out from the reviews include whether the company delivers assignments fast and whether the company handles revisions or not. A glance at the reviews posted on CheapEssay.net shows that clients are happy with the services offered by the company. Students who pick CheapEssay.net as their preferred essay writing company are assured of quality services and good prices for academic papers.
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Students can also consult their friends before deciding to work with a particular company. Your friends may have worked with that website, and they can help you decide whether to work with it or not.
Students should be careful when choosing writing services for their assignments, and the above tips will help them pick the best website to deal with.
If you’re a Jackie Chan fan who can’t wait to see him in action, his appearance in Han Jie’s upcoming fantasy, Namiya, probably won’t be on your must-watch list.
Based on Keigo Higashino’s novel Miracles of the Namiya General Store, the film follows three orphaned youths who stumble upon a letter slipped under the door as they hide out in a food store. They write a response thus beginning a correspondence with people from 30 years ago (via CD).
The film also stars Dilraba Dilmurat (Mr. Pride vs. Miss Prejudice), Karry Wang (Pound of Flesh) and Hao Lei (Kill Time).
Namiya opens domestically on December 29, 2017, followed by a U.S. release date on January 5, 2018. Watch the film’s Trailer below:
“Ghost Dog: The Way of the Samurai” Japanese Theatrical Poster
A sequel to Jim Jarmusch’s 1999 action film Ghost Dog: The Way of the Samurai is apparently in-the-works, at least according to musician / actor / director, RZA.
The original film starred Forest Whitaker (Bloodsport) as a modern day samurai employed by the mafia as a hit man. The movie is highly influenced by Jean-Pierre Melville’s Le Samouraï, and is known for its references to Seijun Suzuki’s Branded to Kill.
Here’s the scoop from RZA himself, according to BMD (via Telerama): “Jim Jarmusch, my good buddy, and Forest Whitaker, have both signed on with me and another writer named Dallas Jackson, to executive produce another Ghost Dog. And we already have something written. So maybe Ghost Dog will make its way back to the silver screen, or small screen.”
It should be noted that Ghost Dog: The Way of the Samurai was RZA’s first venture into the movie business, as it served both as his acting and composing debut (predating Kill Bill a few years later).
We’ll keep you updated on Ghost Dog II as more news arrives.
Director: Louis Leterrier
Cast: Jet Li, Morgan Freeman, Bob Hoskins, Kerry Condon, Andy Beckwith, Scott Adkins, Silvio Simac, Christian Gazio, Michael Ian Lambert, Kazu Patrick Tang
Running Time: 133 min.
By Z Ravas
Supposedly after shooting the particularly bloody Kiss of the Dragon, Jet Li wanted to reteam with French writer/producer Luc Besson for a film that would actually depict the consequences of violence. If that was the case, then they certainly succeeded with Unleashed: I can’t think of a Jet Li movie with more brutal fight scenes than this. Rather than glorify all the bloodshed – which is admittedly exciting to watch thanks to the efforts of Li and choreographer Yuen Woo-Ping – the film examines the damage incurred on the soul of Li’s character Danny “the Dog,” who is one deeply wounded individual.
Danny’s spent the better part of his life under the control of a small-time gangster/loan shark played by Bob Hoskins, who treats Danny quite literally like a dog. With his metal collar on, Danny is a blank slate – emotionless and mute. But take his collar off and sick him on a foe, and Danny becomes the most vicious fighter you’ve ever seen. Too bad Hoskins’ character is a bastard who keeps Danny locked in a cage and regularly abuses him.
Later in the film, circumstances intervene and Danny flees into real world. Thanks to the kind-hearted efforts of a blind piano tuner, played wonderfully by Morgan Freeman, and his step-daughter, Danny begins to feel human. He discovers a passion for music and starts to piece together the fragmented memories of his past. Of course, Bob Hoskins’ gangster isn’t going to take this lying down – Danny was responsible for bringing him in a lot of money – and everything builds to an inevitable confrontation.
Unleashed is what happens when you actually put a lot of thought and care into your action movie’s screenplay, and hire Academy Award-worthy actors like Morgan Freeman and Bob Hoskins. Sure, the fight scenes are spectacular – how could they not be, with Jet Li and Yuen Woo-Ping involved – but there’s nearly an hour stretch of dramatic material, without any fighting at all, and it’s just as absorbing to watch thanks to the acting talent involved. Jet Li really seemed to push himself as an actor and he conveys a lot with his eyes and animal-like mannerisms. Morgan Freeman brings his character to life with a deep sense of joy and humanity, and you can tell Freeman treats this role just as seriously as his more “prestigious” films.
Even if the story treads similar ground to his previous movies like Leon/The Professional, Luc Besson really did a wonderful job with the screenplay. You come to care for the makeshift family that Jet becomes a part of, such that I felt genuine regret when Bob Hoskins’ character reared his ugly mug again – even if it meant that “more action” was on its way.
Director Louis Leterrier was a Besson protege, working on this film and Transporter 2 before making his way into Hollywood blockbuster territory with Incredible Hulk and Clash of the Titans. Given the dismal success of those latter two films, it probably goes without saying that Leterrier’s forte is for smaller, less special effects-heavy films like this. I doubt anyone would ever accuse Leterrier of being a great director, per se, but Unleashed is by far his best work. He draws excellent performances from his cast and films the fight scenes in such a manner that you can see every move. The editing and camera angles are all top notch, and the infrequent use of wires is not terribly distracting. I’d love for Leterrier to take a break from the Hollywood game and do another film like this or even team back up with Jason Statham.
If you’re worried that Unleashed is all weepy drama and no action, don’t be. The ending fight scene between Jet Li and Michael Lambert is one of the best fights of Jet’s career. There’s a sequence where the two of them are trading blows in a cramped bathroom stall that is nothing short of breathtaking – I honestly don’t even know how Yuen Woo-Ping went about choreographing such a fight because the space they’re fighting in is so cramped. It seems like this close-quarters match must have been a personal challenge for Woo-Ping, perhaps a way to keep things interesting after all these years of choreographing fights. If anything, the man outdid himself; it’s really an exhilarating scene.
It’s worth noting that Jet Li’s opponent in this scene, Michael Lambert, is no slouch himself when it comes to combat; he’s one of the busiest stuntman in Hollywood, having worked on films as diverse as The Bourne Ultimatum, Batman Begins, and Gladiator. He also served as Chris Evans’ stunt double on this year’s Captain America and is assistant swordmaster on next year’s John Carter (I’m really good at using IMDB, guys). Needless to say, the guy’s resume speaks for itself and at 6’1″ he proves to be more than a formidable opponent for Jet Li.
Fearless is still probably my favorite film Jet has made since breaking into Hollywood, but Unleashed has to be his best English language picture. Sure, Kiss of the Dragon had some spectacular action but Unleashed goes the extra mile by adding a story with heart and characters worth caring about. An understated but memorable score from Massive Attack only strengthens the film. Luc Besson and Jet Li have proven to be a most formidable team.
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