Grab a shovel and start diggin’! ‘Exhuma’ starring ‘Old Boy’ star Choi Min-sik is now on 4K Ultra HD and Blu-ray

I, The Executioner | aka Veteran 2 (2024) Review

Back to the shadows! New Trailer for Netflix’ ‘Shadow Strays’ from ‘Night Comes for Us’ filmmaker Timo Tjahjanto

The other Jackie! Watch the Well Go USA’s Trailer (and an action clip) for Xu Haofeng’s ‘100 Yards’ also starring Andy On

Van Damme is the most ‘remade’ action star in the world!

Posted on August 12, 2015 by Jeff Bona

Love him or hate him, there’s no denying that Jean-Claude Van Damme is a trendsetter when it comes to action and martial arts movies. He’s also a name that helped build franchises that gave birth to endless money-making sequels and prequels. In the late ’80s/early ’90s, films like Bloodsport and Kickboxer rejuvenated a genre that was practically in limbo during the final stages of the Chuck Norris and Ninja-craze era.

Van Damme’s influence can only be compared to the Bruceploitation explosion of the ’70s.

Back then, it was Van Damme’s popularity that opened the Hollywood doors to names like Don “The Dragon” Wilson, Olivier Gruner, Dale ‘Apollo’ Cook and Loren Avedon. It was because of films like Bloodsport and Kickboxer that copycat titles (i.e. Bloodfist, King of the Kickboxers, American Kickboxer 1-2 and Raw Target) were profit makers on video rental shelves. Even the great Roger Corman will tell you he was riding the waves of Van Damme’s success when he developed the Bloodfist franchise for Wilson.

“Double Impact” most likely gave Jackie Chan the inspiration for “Twin Dragons”

Van Damme’s influence can only be compared to the Bruceploitation explosion of the ’70s (Bruceploitation is a term used to describe the Bruce Lee lookalike films that dominated grind house theaters; i.e. Bruce Li, Bruce Le, Dragon Lee, etc). Whereas, Bruce Lee knock-offs had the words “Fist,” “Fury,” “Enter,” “Dragon” and “Game” in their titles; Van Damme’s had the words “Blood,” “Kickboxer,” “Target” and “Impact” in them.

And let’s not forget about Double Impact (1991), a film that most likely gave Jackie Chan the inspiration for Twin Dragons (1992). Ironically, Twin Dragons was made during a time when Hollywood studios were getting ideas from Hong Kong action films, which proves that Van Damme’s impact (no pun intended) was not only game-changing, it was a world-wide phenomenon.

Van Damme was bringing in acclaimed-Hong Kong filmmakers years before most studios caught on.

Even towards the mid/tail-end of his successful film career, Van Damme was bringing in acclaimed-Hong Kong filmmakers years before most studios caught on. He brought in John Woo for 1993’s Hard Target, Ringo Lam for 1996’s Maximum Risk and Tsui Hark for 1997’s Double Team and 1998’s Knock Off. Ask yourself: What other western actor has worked with all 3 of these Hong Kong legends? (and this isn’t even counting Corey Yuen for 1986’s No Retreat, No Surrender). He even helped launch the career of future Blockbuster-maker Roland Emmerich (ID4, White House Down) with 1992’s Universal Soldier.

Jackie Chan visits the set of Tsui Hark’s “Double Team.”

Ever since the unorthodox, but highly acclaimed J.C.V.D. in 2008, Van Damme has been walking on a comeback trail. Although he never hit that “John Travolta/Pulp Fiction” peak, his career has definitely been well-balanced for the last 5 years.

2012’s The Expendables 2 gave him a co-starring role in a major Hollywood theatrical release alongside legendary names like Stallone and Schwarzenegger; he’s also been in a string memorable commercials for Coors Light, Go Daddy and most recently, Volvo. Sure, he’s still pumping out straight-to-DVD movies, but heck, so is Bruce Willis and Robert De Niro. For the most part, Van Damme’s current output of films maintain a certain quality and entertainment value that fans are proud of (let’s pretend Derailed doesn’t exist).

Whether they’re new or old, Van Damme movies are both marketable and iconic. It’s no wonder why many of his films spawned endless Van Damme-less sequels (Timecop 2, Timecop TV series, Kickboxer 2-6, Bloodsport 2-3, Universal Soldier II: Brothers in Arms and Universal Soldier III: Unfinished Business) relying solely on the film’s titles to make a quick buck.

Today, many of his movies are currently being developed for remakes and/or reboots, as well as sequels. After much thought and a good chunk of research, it has come to my attention that Van Damme is currently the most ‘remade’ action star in the world.

Let’s examine the Van Damme films that are/were in the process of being remade:

Corey Yuen’s “No Retreat, No Surrender” helped launched the career of Van Damme.

No Retreat, No Surrender (1986): This cult favorite was Van Damme’s debut martial arts film. Under the direction of Corey Yuen (Transporter), it introduced Hong Kong-style choreography to U.S. audiences. Not only did it jump-start Van Damme’s career, it also sparked a newfound interest in martial arts films.

Even though Van Damme was only in the film for a total of 20 minutes, the public took notice. Keith W. Strandberg (read our interview with him), producer of the No Retreat, No Surrender series, expressed interest in remaking the original No Retreat, No Surrender. If the remake happens, it’ll be interesting to see how they pull off portraying Bruce Lee as a ghost without receiving a lawsuit from the Bruce Lee Estate. Regardless, we’re crossing our fingers for this one.

The original “Bloodsport” was followed by a pack of cheapie sequels starring Daniel Bernhardt.

Bloodsport (1988): Newt Arnold’s Bloodsport is the movie put an expiration date on the two N-words: Ninjas and Norris. At the time, it was a groundbreaking, brutal and lived up to its title. To put it simply, it was my generation’s answer to 1973’s Enter the Dragon. The fact that it was supposedly based on true events (that’s another story) made it even better. Bloodsport also reintroduced the world to the legendary Bolo Yueng (Enter the Dragon) and co-starred future Academy Award-winner Forest Whitaker. The original was followed by 1996’s Bloodsport 2, 1997’s Bloodsport 3 and 1999’s Bloodsport 4: The Dark Kumite – all cheapie sequels starring Daniel Bernhardt (The Matrix Reloaded).

In 2013, it was announced that Phillip Noyce (Salt) was attached to helm a Bloodsport remake, but somewhere along the way, James McTeigue (Ninja Assassin) stepped in. According to sources, the remake will explore the life of 21st century mercenaries as they collide with the underground world of Brazilian Vale Tudo fighting. The remake is currently stuck in development hell.

Angelina Jolie had to start somewhere, right?

Cyborg (1989): Along with 1982’s The Sword and the Sorcerer and 1992’s Nemesis, Cyborg is considered to cult director Albert Pyun’s finest movies. It made enough money to spawn a 1993 Van Damme-less sequel starring Elias Koteas, Jack Palance, Billy Drago, Karen Sheperd and a then-unknown Angelina Jolie. Then came 1995’s Cyborg 3: The Recycler, with Khrystyne Haje, Zach Galligan, Richard Lynch and Malcolm McDowell.

In 2011, it was announced that Pyun was developing a Cyborg remake. For whatever reason, the remake morphed into a prequel called Cyborg Nemesis (aka Cyborg: Rise of the Slingers). The movie, which is currently stranded in post-production phase, stars Kevin Sorbo, Joei Fulco, Dina Meyer, Michael Paré and Sasha Mitchell. Due to Pyun’s health issues and retirement, the release date of Cyborg Nemesis is unknown.

Following “Kickboxer” was a slew of Van Damme-less sequels starring Sasha Mitchell (one starred Mark Dacascos).

Kickboxer (1989): Mark DiSalle and David Worth’s Kickboxer holds a special place place in my childhood. After all, it was the first Van Damme movie I ever saw on the big screen. I can vividly remember me and my friends “kickboxing” each other while leaving the theater. It was a moment of excitement that can only be compared to kids pretending to have lightsabers in their hands after just having watched Star Wars in 1977. Following Kickboxer was a slew of Van Damme-less sequels starring Sasha Mitchell (one starred Mark Dacascos).

Currently, a Kickboxer remake, titled Kickboxer: Vengeance, is wrapping up with newcomer Alain Moussi (read our interview with him) in the lead. In addition, WWE star Dave Bautista, UFC welterweight champion Georges St. Pierre, former MMA star Gina Carano and the late Darren Shahlavi are also part of the cast, with filmmaker/actor John Stockwell (In the Blood) at the helm.

Additionally, Albert Pyun will be directing Kickboxer: City of Blood, which will serve as a follow-up to Sasha Mitchell’s Kickboxer saga. Indonesian actress Julie Estelle (Macabre), who’s mostly known for playing Hammer Girl in The Raid 2, is attached as the film’s leading lady. As with Cyborg Nemesis, Pyun’s health condition may have brought the project to a temporary halt.

“Lionheart” wins the trophy for having the most aliases: A.W.O.L., Wrong Bet, Full Contact and Leon.

Lionheart (1990): It doesn’t stop there with Albert Pyun. Back in 2014, the filmmaker had this to say about a potential Lionheart remake: “I’ve been approached about directing a remake of Lionheart with Van Damme by the rights holding distributor. Not sure if I will do this as it doesn’t seem to be a film needing a remake. I guess I’d changed the Los Angeles setting to Hong Kong, but I am not sure it fits in with what I do. But I told the rights holder I will consider it depending on how excited JCVD is about it. And if I can make it with my vision of it.” The remake was never brought up again and probably for good reason. As it stands, Sheldon Lettich’s Lionheart – also known as A.W.O.L. or Wrong Bet – is considered, by many, Van Damme’s best movie.

A couple of a years later, Robert Clouse (Enter the Dragon) capitalized on Lionheart’s success by bringing in Bolo Yeung (Bloodsport) and Richard Norton (Future Hunters) aboard for the similarly-titled production, Ironheart. One can only imagine how many times some kid’s parent brought home the latter instead of the Van Damme movie, which is exactly what the producers wanted.

We’re pretty sure “Universal Soldier: The Return” is worse than all of these put together.

Universal Soldier (1992): Directed by Roland Emmerich (ID4) and written by Dean Devlin (Godzilla), this 1992 sci fi/action flick was Van Damme’s answer to 1984’s The Terminator. It also featured fellow action star Dolph Lundgren (Skin Trade). Because of its popularity, Universal Soldier spawned 1999’s Universal Soldier: The Return (with Bill Goldberg and Michael Jai White), 2009’s Universal Soldier: Regeneration (with Lundgren and Andrei Arlovski) and 2012’s Universal Soldier: Day of Reckoning (with Lundgren, Scott Adkins and Andrei Arlovski). Dare I mention the Van Damme-less, made-for-TV sequels: 1998’s Universal Soldier II: Brothers in Arms and 1999’s Universal Soldier III: Unfinished Business; or The Asylum’s 2007 Universal Soldiers.

In 2011, there were talks of rebooting Universal Soldier into a TV series (a la Terminator: The Sarah Connor Chronicles) by Allen Shapiro and Craig Baumgarten, who produced the original. Obviously, the TV series never came to fruition, but there’s always the future.

“Timecop” was definitely Van Damme’s most ambitious project.

Timecop (1994): Unlike his ’90s rival, Steven Seagal, Van Damme toyed with different genres and characters, hence, Peter Hyams’ Timecop, the peak of his career. This live-action adaptation of the Dark Horse comic book was the perfect mix of sci-fi and action. It’s best describe as H. G. Wells meets Back to the Future with martial arts. Branching out of the film’s popularity was the 1997 Timecop TV series and 2003’s Timecop: The Berlin Decision, starring Jason Scott Lee (Dragon: The Bruce Lee Story).

The original Timecop still holds up to this day and is considered Van Damme’s most polished film. With that said, a remake is currently in development. No director or star is attached, but the latest news is producers of the remake have hired Mark and Brian Gunn (Journey 2: The Mysterious Island) to write the script.

Since Van Damme’s “Street Fighter,” there have been numerous video game-to-movie adaptations.

Street Fighter (1994): I know this is pushing it, but I’d be lying if I told you that Van Damme wasn’t the first action star to appear in a live-action adaptation of Capcom’s Street Fighter series (he was also the main inspiration behind Midway Games’ Mortal Kombat). Sure, it was Wong Jing and Jackie Chan that first spoofed Street Fighter in 1992’s City Hunter, but Van Damme’s was an official, full length feature. Despite being written directed by the talented Steven E. de Souza (screenwriter of films like 48 Hrs, Commando and Die Hard), the film was panned by critics and fans alike. But that didn’t stop it from being one of Van Damme’s highest grossing films of all time.

In 2003, there were talks of a Street Fighter sequel with Van Damme (Guile) returning along with Damian Chapa (Ken) and Byron Mann (Ryu). Both Dolph Lundgren and Holly Valance (replacing Kylie Minogue as Cammy) were also attached. Unfortunately, the sequel never saw the light of day.

Instead, 2009’s Street Fighter: The Legend of Chun-Li was born. It starred Kristin Kreuk, Chris Klein, Robin Shou, Michael Clarke Duncan and Hong Kong legend, Cheng Pei-pei (Come Drink with Me). Another live-action reimagining came in the form of 2014’s Street Fighter: Assassin’s Fist, a web series that was later edited both as a TV series and feature film. With the new Street Fighter V video game just around the corner, we’re bound to see more live-action Street Fighter projects.

Van Damme’s 30+ year career is still going strong.

So there you have it. Cityonfire.com officially declares Van Damme as the most ‘remade’ action star. We’re obviously jumping the gun since there hasn’t been a single Van Damme remake that has even been released, but I’ll delete this article if someone can give me the name of another action star who’s been the subject of so many remakes, reboots, sequels and copycat titles.

Until then, keep logging on to Cityonfire.com for all the latest news and developments regarding all of the titles discussed in this article.

AND HERE’S AN UPDATE FOR YOU: Since this article was originally published back in August of 2015, there have been two more titles that further prove the legitimacy of this article: A Hard Target “sequel“, which was more of a standalone remake than anything; as well as Kickboxer: Retaliation, the sequel to Kickboxer: Vengeance. Also, Micheal Jai White has his own version of Sudden Death coming out.

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Posted in Features, News |

There’s been an awakening in the ‘Young and Dangerous’ saga

Posted on August 10, 2015 by JJ Bona

“Young and Dangerous” Chinese Theatrical Poster

Back before Infernal Affairs became a global success and spawned an award-winning Hollywood remake, the Young and Dangerous series was arguably the most popular franchise to come out of post-1997 handover Hong Kong. Based on the popular comic book series Teddy Boy, the movies followed the exploits of several young Triad members and were frequently criticized for glamorizing the gangster lifestyle.

But box office does the talking and Young and Dangerous raked in the dough, launching actors like Ekin Cheng and Jordon Chan to stardom. The series saw four sequels between 1996 and 2000, not to mention a spin-off franchise with Francis Ng and a 1998 prequel starring then-up-and-comers like Nicholas Tse, Daniel Wu, and Shu Qi.

In 2013, producer Wong Jing resurrected the franchise in the form of Young and Dangerous: Reloaded, which was directed by Daniel Yee Heng Chan and starred Law Chung Him, Oscar Leung, Lam Chi-Sing, Paul Huang and Sammy Sum.

Now, Malaysian producer Jack Lee (When Geek Meets Serial Killer) has plans to bring the series to life once again. According to HKSAR, the new movie, which will take place in 2015, will be a continuation of the saga, not a remake. “I am not only happy, but also a little troubled, because too many friends want to invest. Now the investment has exceeded quota. No matter what the key is to make the script good before the next step of casting and other tasks,” said Lee.

So far, the only cast members attached to film are JC Chee (When Geek Meets Serial Killer) and Emily Kong Ching Ling. The comic book’s creator, Ngau Lo, has been approached to direct the project. Production on the new Young and Dangerous is expected to begin at the end of the year. Stay tuned!

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Posted in News |

Well Go USA acquires ‘SPL 2: A Time for Consequences’!

Posted on August 10, 2015 by JJ Bona

"SPL 2: A Time For Consequences" Teaser Poster

Well Go USA Entertainment has announced the acquisition of US and Canadian distribution rights to SPL 2: A Time for Consequences, directed by Pou-Soi Cheang, multiple award-winning director of Motorway and The Monkey King.

SPL 2: A Time for Consequences (read our review) stars Tony Jaa (Skin Trade), and Louis Koo (Flashpoint), as well as Wu Jing (Wolf Warrior) and Simon Yam (Cross), marking their return to the series, but in entirely new roles.

In SPL 2, a drug-abusing undercover cop (Wu Jing) is on the verge of exposing the dying kingpin of an organ trafficking ring (Louis Koo). But an unexpected bust blows his cover and lands him in a Thai prison, caught between life, death, and a prison guard with unprecedented martial arts skills (Tony Jaa).

“We can’t wait to bring the next chapter of the SPL story to the fans who made it a cult classic,” said Doris Pfardrescher, President and CEO of Well Go USA Entertainment. “Combining Tony Jaa with a cast of stars from our best-selling martial arts and action movies was beyond our expectations,” she said. “It’s been worth the wait.”

The deal was negotiated between Doris Pfardrescher at Well Go USA Entertainment and Chiu-Yi Leung of Bravos Pictures on behalf of the filmmaker.

SPL 2: A Time for Consequences will make its debut and premiere in a series of North American film festivals through the fall, with a theatrical release to follow in early 2016.

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Posted in News |

Police Story 2013 | aka Police Story: Lockdown (2013) Review

Posted on August 10, 2015 by Kelly Warner

“Police Story: Lockdown” Theatrical Poster

AKA: Police Story 6
Director: Ding Sheng
Cast: Jackie Chan, Lau Yip, Sally Jing Tian, Huang Bo, Yu Rong-Guang, Wang Zhi Fei, Wu Yue, Andy Long Nguyen, Zhang Xiaoning, Ding Sheng, Bruce Law
Running Time: 108 min.

By Kelly Warner

Jackie Chan’s changed. Off-screen his fervent nationalism has had the effect of alienating and upsetting some fans both at home and abroad. On-screen, the actor has had to come to terms with the fact that, since hitting middle age, he cannot do the same sort of movies and stunts that made him such a unique film star. As Jackie’s changed, so have his films. It used to be that a film like 1993’s Crime Story would be considered this gritty oddball entry in Jackie’s filmography that largely consisted of action-comedies. In the past decade, though, dramatic films are popping up with more regularity in Jackie’s output. What’s more, when Jackie returns to the usual comedic actioners that he’s known for in films like Chinese Zodiac, the fun and laughs don’t seem to come as naturally as they did before. Jackie’s made it no secret that he’s trying to reinvent himself as a serious dramatic actor. I might’ve found it funny when he said that he wanted to be thought of as Asia’s Robert De Niro, but perhaps it was wrong of me to doubt his ambitions — because while I might miss the Jackie of old, the new Jackie Chan is still an interesting performer capable of surprising you.

After a brief period in the early 2000s where his starring roles were primarily Hollywood films, Jackie Chan returned home and made New Police Story in 2004, and the film carried a darker, more cynical worldview than any of the previous films in the Police Story series. In New Police Story, Jackie plays Chan Kwok-Wing, a drunken, self-loathing fallen hero instead of the unlucky goof Chan Ka Kui of the first four films. However, despite the edgier tone, the film did have some of the trademarks that reminded you of the series. There was the big action, some colorful set pieces, plenty of collateral damage, and a few instances of slapstick humor along the way. It was different but you could still recognize the Police Story spirit.

That spirit is completely absent from Police Story: Lockdown (originally titled Police Story 2013, but since it’s making its US debut in 2015 a name change was in order). In Lockdown, Jackie plays grizzled police officer Zhong Wei, a failed family man who’s seeking to make things right with his daughter. She invites him to the popular Wu Bar because she has something to tell him: she’s dating the bar’s owner, Wu Jiang (Liu Ye). Zhong tells his daughter that he doesn’t have a good feeling about Wu and is worried about her. Before he knows it, Wu’s bashed Zhong over the head and the other patrons of the bar are getting taken hostage by musclebound thugs. Zhong quickly learns that this was all a trap to lure him there. But who is he to Wu? Zhong sorts through his personal history, trying to pick out a case where he might’ve wronged somebody, while Wu puts his plan into action.

Instead of the Police Story films, what Lockdown most resembles is the original Die Hard, what with the hostage situation and a well-organized villain that’s thought of all the angles. It goes for a claustrophobic atmosphere by giving us an environment of industrial interior design and moody shadows, and wisely denies us a chance to see all that’s happening outside of the bar until later on in the film.

Jackie Chan is good as the haunted cop that’s past his prime trying to prove that he’s still a hero. It’s not the sort of performance that one normally expects from the actor, so some fans will be disappointed, but I thought that he was believable in the dramatic role. In the action scenes, of which there are only a few, Jackie still performs at a high level, even if it’s clear that the editing helps him out on occasion. At the end, in the film’s final shot of Jackie, I’ve never seen the man look so tired. The rest of the cast is pretty good, too, in particular the villain played by Liu Ye. Yu Rong-Guang also makes an appearance as a cop on the outside looking in and the actor makes the best of his limited screen time.

The director of Police Story: Lockdown is Ding Sheng, whom Jackie had worked previously with on Little Big Soldier. I enjoyed that film – actually, I consider it to be one of Jackie Chan’s best from the last decade or more – and they do good work together again here. Ding Sheng also serves as the film’s writer and editor. His shooting and editing style is fast, chopped up action, which gives the film a good pulse, even if it robs some oomph from the punches.

As the film’s writer, Ding Sheng does a good job of setting the table and keeping the audience in the moment, but he loses steam before the finale. In the final act, we get a series of revelations done in a semi-Rashomon-style of storytelling, but these moments are rather limp compared to the rest of the film. At the moment when the film should’ve been kicking into overdrive, the gears grind to a halt to give us some exposition about supporting characters and poorly constructed sub-plots. Things get better right before the end, though, saving the film from ending with a whimper.

I liked this one more than I had expected to. However, I personally think it would’ve been better off dropping the Police Story title altogether. Yes, Jackie Chan plays a policeman, but that’s where the similarities end. The film deserves to stand on its own, and some fans may not take kindly to the dramatic shift in tone and execution.

Police Story: Lockdown arrives on Blu-ray from Well Go USA. The picture quality and surround sound are rather excellent. The special features include 5 minutes of fly-on-the-wall BTS footage and 20 minutes worth of interviews with Ding Sheng, Jackie Chan, and other members of the cast.

Now at age 61, Jackie Chan’s forced to do different kinds of movies. It would’ve made sense for him to gravitate towards pure comedic roles, but he continues to push himself as a dramatic actor. Police Story: Lockdown gives him his meatiest dramatic role since Shinjuku Incident and I thought he really delivered. Jackie has changed. Most attempts to return to the ‘way things were’ have been unsuccessful, but perhaps this late stage of the actor’s career still holds some unique promise. Police Story: Lockdown is not a perfect film, but it’s an interesting one as Jackie Chan continues down this road of reinventing his onscreen image in a darker, more cynical time.

Kelly Warner’s Rating: 7/10

4 Comments

Posted in Chinese, News, Reviews | Tagged Andy Long Nguyen, Ding Sheng, Jackie Chan, Sally Jing Tian, Yu Rong-Guang |

Dragon Dynasty 5-Movie Collection | DVD (Anchor Bay)

Posted on August 9, 2015 by JJ Bona

Dragon Dynasty 5 Movie Collection | DVD (Anchor Bay)

RELEASE DATE: October 6, 2015

Anchor Bay presents the Dragon Dynasty 5 Movie Collection. In 2006, The Weinstein Company launched Dragon Dynasty in order to showcase classic and contemporary Asian Cinema, particularly films in the action/martial arts genre. Now, they’re back and once again bringing home the goods!

This 3-Disc DVD set includes the following titles: Born to Defense, The Legend II: Fong Sai Yuk, The Defender, Once Upon a Time in China and America and From Beijing with Love. Please note that this collection may contain the English-dubbed versions only.

Pre-order the Dragon Dynasty Movie Collection today!

10 Comments

Posted in Asian Titles, DVD/Blu-ray New Releases, Martial Arts Titles |

Chow Yun-Fat returns to the underworld in ‘The Bund’

Posted on August 7, 2015 by JJ Bona

"A Better Tomorrow" Japanese DVD Cover

In addition to From Vegas To Macau III and potentially, The Invincible 12, Chow Yun-Fat is teaming up with Wong Jing (From Vegas to Macau II) once again for a gangster-drama titled The Bund, which will be a “movie remake” of the 80s TVB series of the same name that also starred Chow.

According to JS, Chow is reprising his iconic role as Hui Man Keung, a driven man who goes from rags to riches as he rises up the ranks to become the leader of a powerful gang. The 1980 series starred Ray Lui (Firestorm), Lau Dan (All Men Are Brothers), Angie Chiu (Heroes Shed No Tears) and Au-Yeung Pooi San (Crime Story).

We’ll keep you updated as we hear more. For now, here’s the trailer to the original series, which hints some good ol’ heroic bloodshed!

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Posted in News |

Zhong Kui: Snow Girl and the Dark Crystal (2015) Review

Posted on August 6, 2015 by Kelly Warner

“Snow Girl and the Dark Crystal” Theatrical Poster

Director: Peter Pau
Co-director: Zhao Tianyu
Cast: Chen Kun, Li Bing Bing, Winston Chao, Bao Bei Er, Jike Junyi, Yang Zishan, Huan Huang, Wenbo Luo, Yidi Hou, Madina Memet, Zhiyi Ren, Peter Pau, Yam Giu
Running Time: 118 min.

By Kelly Warner

There was a time, not long ago, when people would flock to the theatre to see a movie because of its special effects. CGI has forever changed our movies, no doubt about it. But it’s not the shiny new thing anymore. Now CGI, when used properly, is just another filmmaking tool used to bring a story to life. CGI may be considered somewhat commonplace in today’s movies but audiences hold their special effects to a certain standard. Bad CGI, perhaps more than any other special effects technique, really hurts a movie. In Snow Girl and the Dark Crystal, there is no shortage of bad CGI and after a while it sinks the otherwise bright and energetic production.

Snow Girl and the Dark Crystal (aka Zhongkui) is the story of the legendary demon slayer from Chinese mythology, Zhong Kui. Typically depicted as a scruffy looking big guy, Zhong Kui is here played by the considerably less scruffy looking Chen Kun (Painted Skin: The Resurrection). Once every millennium there is a day when the demons in Hell can seek reincarnation with the use of the Dark Crystal. The heroic Zhong Kui is tasked with defending the Dark Crystal in the city of Hu, where the demons will most certainly attempt to steal it away. Sure enough, a group of demons disguised as beautiful female entertainers arrive in the days before the reincarnation event. The group is led by the enchanting Snow Girl (Li Bingbing), who resembles a woman from Zhong Kui’s past. Distracted by memories of a lost love, Zhong Kui’s defenses weaken at the most inopportune moment.

The film’s worldbuilding somehow feels both dense and underdeveloped. I didn’t always understand what was happening or why, though it’s possible that Chinese audiences — or those more versed in the mythology — would follow it with less difficulty. In the end, I decided to just sit back and go with it. While I found the film’s fantasy elements to be a bit muddled, the romance at the center of the film works rather well thanks to two likable leads in Chen Kun and Li Bingbing. Their love becomes a Romeo and Juliet sort of thing, as the demon slayer is expected to kill demons without exception, but Zhong Kui cannot deny the love he feels for the snow demon. It’s well played when the actors are on screen. However, too often the film drops the actors entirely, opting for CGI created characters in both action and drama sequences, with lackluster results.

Zhong Kui is given a magical fan that allows him to unleash his inner demon: a ten foot tall warrior made out of rock and lava. For much of the film’s action sequences, it’s this giant hulking version of Zhong Kui that’s fighting off the villains, not the actor Chen Kun. I would not normally be against this – I enjoy a good superhero movie – but the CGI used to create the characters in the film leaves much to be desired. While backgrounds and environmental special effects stand up well to Hollywood productions, CGI character movements are choppy and stiff, reminding me of cutscenes from videogames made in the late 90s.

Snow Girl and the Dark Crystal is co-directed by Peter Pau and Zhao Tianyu. Peter Pau is a cinematographer of some esteem, having shot a wide range of films including The Killer, Dracula 2000, The Forbidden Kingdom, and Crouching Tiger, Hidden Dragon (for which Pau won an Academy Award for Best Cinematography). As a director, Pau’s credits are limited. Pau’s previous directorial effort was the Michelle Yeoh misfire The Touch back in 2002. Pau also serves as Snow Girl and the Dark Crystal’s cinematographer and the film is better for it, nicely showing off the impressive set pieces, costumes, and cast. Though Snow Girl and the Dark Crystal boasts some decent production values, the film’s script has its problems, resulting in an occasionally bumpy ride. Pau and Zhao seem to turn to special effects as a storytelling crutch, even though it’s clear that the special effects were the area of the film that needed help the most. The result is a film that’s very rough around the edges and sometimes feels strangely unfinished.

The film arrives on Blu-ray thanks to the good folks at Well Go USA. The picture presentation looks good, even if some of the special effects look almost twenty years old. For sound we get a 5.1 and 2.0 original Mandarin audio. The Blu-ray’s special features include a 5 minute featurette on the film’s impressive score by composer Javier Navarrete (Pan’s Labyrinth) and a 10 minute featurette on the film’s special effects.

Co-directors Pau and Zhao give Snow Girl and the Dark Crystal plenty of chaotic energy, however they fall short of making it connect as a memorable piece of entertainment. A better script would’ve helped matters, but the real problem here is the heavy reliance on substandard CGI to tell the story. The special effects don’t work, so neither does the movie.

Kelly Warner’s Rating: 5/10

1 Comment

Posted in All, Chinese, News, Reviews | Tagged Chen Kun, Li Bing Bing, Peter Pau, Winston Chao |

Black Coal, Thin Ice | Blu-ray & DVD (Well Go USA)

Posted on August 6, 2015 by JJ Bona

Black Coal, Thin Ice | Blu-ray & DVD (Well Go USA)

RELEASE DATE: September 29, 2015

Well Go USA presents the Blu-ray & DVD for Diao Yinan’s riveting thriller, Black Coal, Thin Ice.

In Black Coal, Thin Ice (read our review), an ex cop and his ex partner decide to follow up on investigation of a series of murders that ended their careers and shamed them, when identical murders begin again.

Black Coal, Thin Ice also stars Liao Fan (Armour of God 3: Chinese Zodiac) and Gwei Lun-Mei (Flying Swords of Dragon Gate). | Watch the trailer.

Pre-order Black Coal, Thin Ice from Amazon.com today!

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Posted in Asian Titles, DVD/Blu-ray New Releases |

Hand of Death | aka Countdown in Kung Fu (1976) Review

Posted on August 5, 2015 by Zach Nix

“Hand of Death” Chinese Theatrical Poster

AKA: Shaolin Men
Director: John Woo
Cast: Dorian Tan, James Tien, Jackie Chan, Yeung Wai, Sammo Hung, Gam Kei Chu, John Woo, Ko Keung, Polly Shang-Kwan, Chu Ching, Wilson Tong, Yuen Wah, Chan Feng Chen, Chiu Chun, Lin Ke Ming, Yuen Biao
Running Time: 92 min.

By Zach Nix

The Hand of Death (aka Countdown in Kung Fu) is an early John Woo film from his formative years as a filmmaker. Woo wouldn’t become an acclaimed or recognizable filmmaker until his breakout hit, A Better Tomorrow, was released upon the world in 1986. While one might expect The Hand of Death to be a decent or throw away entry in Woo’s filmography, viewers will be pleasantly surprised to discover that film contains a well-paced story, likable characters, and solid action sequences. The Hand of Death is worth checking out by Woo fans for his incredible action mastery and trademark themes of honor, loyalty, brotherhood, and self-sacrifice. Action fans will also want to seek out The Hand of Death for two early appearances by action legends Sammo Hung and Jackie Chan.

The Hand of Death opens during the Qing Dynasty as a Shaolin traitor, Shih Shao-Feng (James Tien), leads an attack on the Shaolin Temple by Manchu rulers. Various Shaolin teachers and students retreat from the temple in order to preserve their teachings and to fight another day. As Shih and his right hand man, Officer Tu Ching (Sammo Hung), take over the land, one of the temple’s best students, Yun Fei (Tao-Liang Tan), trains in secret in order to avenge the death of his Shaolin master and to kill Shih. Yun Fei eventually aligns with two men, Tan Feng (Jackie Chan) and a wandering swordsman (Wei Yang), who wish to avenge their fallen loved ones at Shih’s hands and to restore their honor.

Woo holds one of his earliest action pictures together with traditional martial arts themes. The film is ultimately a story of revenge amongst strangers become brothers in the process. Tao-Liang Tan does fine work as the film’s lead, a determined martial arts expert who must learn how to combat Shih’s own powerful methods. Tao is given most of the film’s action sequences and showcases superb martial arts mastery against several henchmen, bodyguards, and James Tien himself. Supporting performances by Jackie Chan and Wei Yang are especially enjoyable. Chan is charming and likable in this early performance of his that allows him to show his stuff in two awesome fight sequences. Wei Yang also plays a memorable drifter who joins up with Yun Fei. The Hand of Death’s trio of lead characters feel like a formative step in Woo’s career leading up to the unforgettable trio of leads in Woo’s own A Better Tomorrow.

James Tien and Sammo Hung play two despicable villains, one a vile and cruel murderer and the other a dopey but loyal martial artist. Tien, a main stay in the genre, plays one of his earliest villain roles here. Poor Hung is forced to wear a ridiculous set of fake teeth throughout the film as well. However, his impressive moves, especially his final fight against Tao-Liang Tan, off set his ridiculous pair of chompers.

The Hand of Death is never boring because Woo graces the viewer with an action scene every few minutes. The film opens and closes with action for goodness sakes. Every action sequence is a solid display of Woo’s mastery of photography, editing, and direction. The Hand of Death really comes to life in its final act when Yun Fei, Tan Feng, and The Wanderer guide a scholar (John Woo himself) through the country-side while fighting off Shih’s various bodyguards and loyal servants. Characters sacrifice themselves and put their lives in danger, an important theme in Woo’s filmography, in order to stop Shihs’ evil reign.

Unfortunately, The Hand of Death is not immune to problems, as some cheesy wigs and a rushed opening hamper the film from being one of Woo’s top tier pieces of entertainment. Fans of classic martial arts cinema are typically used to the cheesy wigs atop the actors’ heads. However, the wigs in this film seem particularly cheap and fake, especially the one atop Jackie Chan’s head. The film is also burdened by a rushed opening that hurls as much exposition at the viewer as possible. The Hand of Death could have benefited from a more organic and natural opening that relied less on narration. The introductory action sequence would have been made more dramatic if the audience were slightly familiar with the characters and their plight, especially Yun Fei.

Woo’s The Hand of Death is a solid martial arts film made all the more enjoyable thanks to the inclusion of martial arts mainstays Tien, Hung, and Chan. The film is never boring, as Woo provides the audience with an action scene nearly ever few minutes. And the characters, while far from complex or original, are all likable and developed enough so that their motives are understandable. The story that surrounds all of these characters and the action sequences is enjoyable too, as the film contains actual stakes to its proceedings. All in all, The Hand of Death comes highly recommended to die hard John Woo fans curious to see his early work. Woo’s future mastery of character, action, and story is all evident in this early film of his. Fans of Jackie Chan and Sammo Hung will also want to seek the film out to see some solid fist and spear play by the two.

Zach Nix’s Rating: 8/10

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Posted in All, Chinese, Golden Harvest, News, Reviews | Tagged Chiang Sheng, Dorian Tan Tao Liang, Jackie Chan, James Tien, John Woo, Ko Keung, Lu Feng (Centipede), Polly Shang-Kwan, Sammo Hung, To Wai Wo, Wilson Tong Wai-Shing, Yeung Wai, Yuen Biao, Yuen Wah |

Electric Boogaloo: Cannon Films Collection | DVD (Warner)

Posted on August 5, 2015 by JJ Bona

"Cannon Films 10-Pack" DVD Collection

RELEASE DATE: September 29, 2015

Stallone, Norris, Van Damme and Lundgren are back together for Warner’s The Bombs, Babes and Blockbusters of Cannon Films 10-Pack DVD Collection, which releases this September 29th!

The upcoming set includes Missing in Action (1984), Cobra (1986), Delta Force (1986), Over the Top (1987), Masters of the Universe (1987), Invasion USA (1987), Bloodsport (1988), The Hitman (1991) and Hellbound (1994).

And here’s the best part: Also included is Mark Hartley’s (Not Quite Hollywood) highly-anticipated Electric Boogaloo: The Wild, Untold Story of Cannon Films (read Paul Bramhall’s review), a documentary that focuses on the film creations of Menahem Golan and Yoram Globus, the two head honchos of The Cannon Film Group. | Watch the trailer.

Pre-order The Bombs, Babes and Blockbusters of Cannon Films from Amazon.com today!

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Posted in DVD/Blu-ray New Releases, Martial Arts Titles, Other Notable Titles |

All hell breaks loose in the Malaysian actioner ‘Polis Evo’

Posted on August 5, 2015 by JJ Bona

"Polis Evo" Theatrical Poster

According to Paul Bramhall, Malaysian cinema is inevitably on its way to putting a dent in the action world, especially with films like Bunohan: Return to Murder, Lari, Apokalips X, Balistik, One on One and the upcoming Full Throttl e making their rounds on the internet.

The latest to come out of the Southeast Asian country is Ghaz Abu Bakar’s Polis Evo, an upcoming “buddy cop” flick with the whole package: martial arts, gun battles and car stunts. Sure, it’s a description that fits the mold to practically every thriller of its kind, so you’ll have to scope out the film’s trailer (via twitch) to see its point of difference.

Polis Evo hits Malaysian screens in September. Hopefully, a U.S. distributer is taking notice.

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‘Snow Girl and the Dark Crystal’ Blu-ray Replacement Program

Posted on August 5, 2015 by JJ Bona

Snow Girl and the Dark Crystal | Blu-ray & DVD (Well Go USA)

Well Go USA has confirmed that certain Blu-ray discs created at a manufacturing facility for multiple theatrical and home media titles were pressed in error, and Well Go USA’s August 4th release of Snow Girl and the Dark Crystal contains a documentary feature, and not the feature film.

To their knowledge, this issue has only affected Wal-Mart retail store customers.

Well Go USA is working with their manufacturing facility and with their retailers to replace these Blu-ray discs. New shipments will be delivered within in the next week.

If you discover that your Blu-ray copy of Snow Girl and the Dark Crystal does not contain the intended feature film, please send Well Go USA an email at service@wellgousa.com. They will provide you with a postage-paid shipping label, so that you can send the Blu-ray disc only (no packaging, please) to their facility, and they will ship out a new replacement disc immediately.

Should the error be discovered through any other retail or online outlet, they will replace those discs accordingly. Well Go USA thanks their loyal fans and customers for their patience and understanding in this matter.

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Posted in News |

Asia-Pol | aka Asiapol Secret Service (1967) Review

Posted on August 4, 2015 by Matthew Le-feuvre

"Asia-Pol" Chinese Theatrical Poster

AKA: Asiapol
Director: Ma Chi Ho
Writer: Gan Yamazaki
Producer: Kenzo Asada, Run Run Shaw
Cast: Jimmy Wang Yu, Ryoriko Asaoka, Wong Hap, Cheung Pooi Saan, Yuen Sam, Jo Shishido, Takashina Kaku, Chan Sing, Gam Tin Chue
Running Time: 97 min.

By Matthew Le-feuvre

When Sean Connery announced of his unexpected departure from the James Bond franchise in early ’67, and that You Only Live Twice would be his final entry, disbelief shook the film world. Financiers, investors and fans of Ian Fleming’s popular literary creation fretted, pondered, and even obsessed what direction Britain’s superspy was to recommence from. Understandable, Connery – at this point – had become totally disenchanted with not only the legalities of his contract, but furthermore his artistic constrictions as an actor; despite the fact (away from Bond) he’d sucessfully garnered lead roles in Hitchcock’s psychological thriller Marnie (1964) and the brutal stockade drama The Hill (1965).

Although former model/TV advert star, George Lazenby, had been furtively engaged too replace, even supersede, Connery before eventually sucumbing to the igmony of Albert Broccoli and Harry Saltzman’s alleged “black listing” tactics, numerous powerful studios – including the Shaw Brothers – regarded Connery’s temporary absence (he subsequently returned to the role in 1971 for Diamonds Are Forever and unofficially in 1983 for Never Say Never Again) as as an opportunity to muscle in on the proceedings with their own variations, interpretations and debatable cash-ins: The Man From Uncle (1964-68) and Our Man Flint/In Like Flint (1965/67). Surprisingly, even Connery’s own younger sibling, Neil, starred in Operation Kid Brother (1968), a forgettable slice of hokum, which included the exploitation of the original Bond-essemble (Lois Maxwell, Bernard Lee, etc.) to audaciously re-casting Anthony Dawson and Adolpho Celi in similar antagonist roles as presented under Terence Young’s direction for Dr No (1962) and Thunderball (1965) respectively.

While George Lazenby was being conditioned, groomed and moulded into 007, albeit one-time only; fresh from his groundbreaking performance as the mono-limbed Feng, Jimmy Wang Yu briefly traded in his half-sword for gadgetry of an alternative kind as the modern world of espionage is transported from the gritty industrialism of Japan to the obstreperous back streets, and costal ports of both Hong Kong and Macao. However budget-wise Asiapol fails dramatically from the outset to capture or take advantage of the exotic splendors on offer, unlike its international counterpart You Only Live Twice (also ’67).

Clocking in at just 92 minutes, Asiapol explosively begins with top agent, Chen Ming Xuan (Wang Yu) trailing a gold smuggling organization – headed by a shady character singularly known as ‘George’ – who he suspects are concealing their loads in transport trucks. In a dizzy sequence virtually lifted from the finale of From Russia With Love (1963), a helicopter aerial attack leaves Ming Xuan’s partner, Chen Loong-Seng, fatally wounded while Ming himself narrowly escapes a falling barrage of hand grenades. From there on the potentiality of much eye-brow raising is sadly dampened by obvious femme-fatales, protracted foot pursuits, as well as an obligatory-wining air hostess with a secret – all await Ming as he meanders from one encounter to another avoiding incendiary golf balls (of all things!), a novelty in-car bomb made all too apparent by a “tick-tock” acoustics and an enigmatic assassin named Lai Yu-Tien (Wang Hsia), whose actions appear contradictory on both sides.

It goes without saying that despite these standard plot elements or budgetary reasons for downplaying travelogue landscapes/production values. Rough fistfights are few and far between Ming’s less-than-tense confrontation with nemesis ‘George’ – revealing a trite, almost immature confessional; and a strained ‘would-be’ relationship with Monneypenny-type contact, Miss Sachiko (Ryoriko Asaoka), is repeatedly marred by stale dialogue in addition too tiresome interactions devised in (either) a telephone box, melancholic bars or claustrophobic hotel rooms: yet, all are favourable for expeditious departures.

Verdict: Not in the usual Wang Yu cannon, having begun his career mostly in traditional features. However, over the years Asiapol has been critically deemed as one of the Shaws’ more obscure co-productions (in association with Nikkatsu Films, Japan), eventhough genre-wise, they’d previously bank rolled independent spy thrillers: Operation Macao (1966) and the rather libel James Bond Chinese Style (1967) with varying degrees of commerciality. As for this picture, structurally, Asiapol is (A): disappointingly episodic; (B): convoluted script-wise to being (C): utterly banal. Indeed a little humour would’ve sufficed! Nevertheless, whether or not (?) Wang Yu was conciously aware of these shortcomings, unarguably he returned on better form – not just in physical terms – for Golden Harvest’s vastly superior The Man From Hong Kong (1974).

Matthew Le-feuvre’s Rating: 5/10

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Posted in All, Chinese, Japanese, News, Reviews, Shaw Brothers | Tagged Chan Sing, Cheung Pooi Saan, Jimmy Wang Yu, Jo Shishido, Matsuo Akinori (Ma Chi Ho), Wong Hap |

Cityonfire.com’s ‘Z Storm’ Blu-ray Giveaway! – WINNERS ANNOUNCED!

Posted on August 4, 2015 by JJ Bona

Z Storm | Blu-ray & DVD (Well Go USA)

Cityonfire.com and Well Go USA are giving away 3 Blu-ray copies of Z Storm to three lucky Cityonfire visitors. To enter, simply add a comment to this post and describe, in your own words, this clip.

We will be selecting a winner at random. Be sure to include your email address in the appropriate field so we can contact you for your home address. Additionally, you must ‘Like Us‘ on cityonfire.com’s Facebook by clicking here.

The Blu-ray & DVD for Z Storm will be officially released on August 18, 2015. We will announce the 3 winners on August 19, 2015 and ship out the prizes immediately.

CONTEST DISCLAIMER: You must enter by August 19, 2015 to qualify. U.S. residents only please. We sincerely apologize to our non-U.S. visitors. Winners must respond with their mailing address within 48 hours, otherwise you will automatically be disqualified. No exceptions. Contest is subject to change without notice.

WINNERS: Alan T., Frankie C., and Anthony C.

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Posted in News | Tagged Contests & Giveaways |

SPL II: A Time for Consequences | aka Kill Zone 2 (2015) Review

Posted on August 1, 2015 by Paul Bramhall

“SPL II: A Time for Consequences” Chinese Theatrical Poster

AKA: Sha Po Lang 2, Kill Zone 2
Director: Soi Cheang Pou Soi
Cast: Tony Jaa, Wu Jing, Louis Koo Tin-lok, Simon Yam Tat Wah, Max Zhang Jin, Ken Lo Hui Kwong, Dominic Lam Ka-wah, Baby John Choi Hon Yik, Ai Wai
Running Time: 120 min.

By Paul Bramhall

It’s been 10 years since the original Sha Po Lang was released in 2005. Released at a time when many of Hong Kong’s established action stars and directors had migrated to Hollywood, the HK action movie scene was going through an extended dry period, and didn’t appear to have an end in sight. Thankfully for action fans, just a couple of years earlier a man called Tony Jaa had burst onto our screens, in a movie which temporarily gave the action movie crown to Thailand. The movie of course was Ong Bak, and it remains one of the few Asian titles to have truly crossed over into the mainstream. In an interview prior to Sha Po Lang’s release, Donnie Yen, the star and fight choreographer, said he decided to get involved with the production to show the world that Hong Kong action still had what it takes. Essentially, he was saying that Sha Po Lang was Hong Kong’s answer to Ong Bak.

Sha Po Lang did indeed succeed in its mission, with Yen putting in his best acting performance yet under the direction of Wilson Yip, and more importantly, creating an action aesthetic which was completely new and fresh. While Sha Po Lang really only had 2 fight scenes, both of which take place back to back, the principal of quality over quantity was the right one. Everything you’d expect from Yen’s choreography was there – the rapid fire punches and kicks – but he also did the seemingly impossible, and incorporated MMA style grappling into the fights, seamlessly blending the techniques into the back and forth exchanges.

For the next few years, the rumors of a sequel were often bandied about. First there was going to be a prequel called Army Breaker, which eventually transformed into Yip and Yen’s third collaboration together, an unconnected tale which became Flash Point in 2007. Then there were mentions of another prequel which would bring back Sammo Hung, Wu Jing, and Simon Yam to their original characters. Again, this eventually became an unrelated movie, and was released as Dennis Law’s Fatal Move in 2008.

In 2015 though, a sequel has finally arrived. Perhaps the biggest irony of all is that, the very reason Yen had stated for coming onboard with the original – Tony Jaa – has become the headlining star of the follow-up, with Yen nowhere in sight. S.P.L.2 does succeed in bringing back a couple of the originals stars, although playing completely different roles. Wu Jing returns, this time as headlining co-star, as is Simon Yam, here again playing a Hong Kong cop. The sequel also offers a substantially larger cast of fleshed out characters than the original, with Louis Koo (who, at the time of writing, is on his 5th movie of 2015), Max Zhang, and Ken Lo all taking on significant roles.

Perhaps the best news for S.P.L.2 though, is that the director of the original, Wilson Yip, has stepped back into a producer role, and handed over directorial reigns to Soi Cheang. Cheang is one of the most exciting and distinctive directors working in Hong Kong today, often giving his movies a dark and grimy look, that sets them apart from the glossy productions we’ve come used to. While he’s also the man behind The Monkey King, which was undeniably an epic misstep, it’s certainly not enough to taint a resume that features such titles as Motorway, Accident, Shamo, and Dog Bite Dog. The news of Cheang being on board for a sequel to what was itself, thematically, a very dark movie, was a good sign.

S.P.L.2 is a thematic follow-up, and centers on a couple of plot lines that ultimately converge on each other. Jaa plays a prison guard in Thailand who’s trying to save money for a bone marrow transplant that his daughter needs, who is suffering from leukemia. Wu Jing plays a Hong Kong undercover cop who’s gone so deep he’s basically become a drug addict. Jing happens to be one of the few donors in the world who matches the bone marrow that Jaa’s daughter needs, and circumstances out of both characters control see Jing eventually jailed in the prison Jaa works at. At the same time, Louis Koo plays a ruthless gangster suffering from a weak heart, the same gangster Jing has been tracking. The only donor that can provide Koo with a compatible heart transplant is his own brother, and he’s so ruthless that he arranges for him to be captured and taken to Thailand, where the transplant can be completed on the black market. Tying all these characters together is the head prison warden, played by Max Zhang.

It’s easy to forget the original meaning of Sha Po Lang, thanks in part to its awful U.S. re-title of Kill Zone. The title refers to three stars, which in Chinese astrology represent destruction, conflict, and greed. It’s said that when the three stars come together, the only outcome will be that of regret. In the original, the three stars were represented by Sammo Hung, Donnie Yen, and Simon Yam. In the sequel, they’re taken on by Wu Jing, Tony Jaa, and Max Zhang. One of the most enjoyable things about S.P.L.2, is that it’s apparent from the get go that Cheang has a story to tell. While it may rely on coincidence and some contrived circumstances, it’s a credit to his talent that the way it’s told is never anything less than engaging.

Both Wu Jing and Tony Jaa have had their share of disasters prior to the release of S.P.L.2, with Jing directing and starring in the lackluster Wolf Warrior, and Jaa featuring in the almost unwatchable Tom Yum Goong 2. However, here they turn in what could well be career defining roles. Jaa finally gets to show that he can act, really act. From the moment he’s onscreen, his performance is completely convincing as that of a low paid prison guard, desperately trying to save his daughter. Likewise for Jing, who ends up with no identity in a Thai jail and has to go cold turkey from his drug addiction, which he portrays in such a way that it pulls us right in there with him. In good martial arts movies, you don’t really care about the story, as long as the fights deliver. In the best martial arts movies, you shouldn’t spend a moment wondering when the next fight is, as you’ll be too engaged by the story. S.P.L.2 achieves this, as just like in the original, and perhaps I daresay even more so, you’re just as invested in the plot as you are the action.

The action scenes themselves are plentiful, with choreography duties being split between frequent Wu Jing collaborator Nicky Li, and co-star Ken Lo. Wu Jing and Tony Jaa face off against each other not once but twice, the second in the midst of an epic prison brawl. The scene will likely draw comparisons to a similar scenario in The Raid 2, but it has enough of its own distinctive flavor to stand on its own. Both fights may be brief, but they’re fluid and deliver plenty of high impact blows. Li has an irritating tendency to always put Wu Jing on wires, and that’s also the case here, but it’s dialed well back from the ridiculous gravity defying antics of Legendary Assassin. There are plenty of wire-free kicks and fist to elbow exchanges amongst the fights, and thankfully, with a couple of small exceptions, the wire work compliments the choreography rather than detracting from it.

Jaa in particular really gets to shine. For many years fans thought Jaa appearing in a Hong Kong movie would be the ultimate action flick. It’s not, but then again, Cheang isn’t trying to make the ultimate action flick. He still gets plenty of chances to let loose, with his trademark moves being incorporated into a Hong Kong action style which is a joy to watch. Plus the guy does a flying knee through the windscreen of a moving bus, what more do you want? Special mention has to also go to Zhang Chi, who delivers a couple of brutal fight sequences as a knife wielding assassin. But the person who nearly steals the show from everyone is Max Zhang as the corrupt warden, delivering an action performance which is both slick and ferocious. The finale, which sees Jaa and Jing team up to take on Zhang (and his posse of, bizarrely, Korean bodyguards), provides an intense showdown which lasts for several satisfyingly long minutes. Painful falls, heads being smashed through glass, and countless kicks to the face are all included.

Setting the whole fight to a classical score by Vivaldi was also a noteworthy stroke of genius, giving it a unique feel that I’ve never come across before in a Hong Kong action flick. Speaking of the score, fans of the original will no doubt be happy when the same theme from Sha Po Lang is used as Wu Jing prepares to go into battle. Another worthy nod is given to the original with Jing brandishing a bag and police baton (which he gets to use) before facing off against Zhang, which nicely recalls Yen’s own walk to meet the enemy in the previous installments finale, which of course came in the form of Jing himself.

The same way events converge on each other in the movie, the team behind S.P.L.2 have also converged on each other at just the right time. Cheang was clearly eager to get back into dark and gritty storytelling, Jaa was looking to prove himself as still being a worthy action star with his Hong Kong debut, and Jing finally, after so many failures, proves that he is capable of being a leading man. S.P.L.2 delivers on all counts – story, characters, and action. In 2015, there are not too many opportunities to say that about a Hong Kong movie, so get out there and enjoy it.

Paul Bramhall’s Rating: 8.5/10

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Posted in All, Chinese, News, Reviews | Tagged Ken Lo, Louis Koo, Max Zhang Jin, Patrick Keung Hiu Man, Simon Yam, Soi Cheang Pou Soi, Tony Jaa, Wu Jing (Jacky Wu) |

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