Eight Diagram Pole Fighter | aka Invincible Pole Fighter (1983) Review

Posted on March 1, 2011 by JJ Hatfield
"Eight Diagram Pole Fighter" Hong Kong Theatrical Poster

“Eight Diagram Pole Fighter” Hong Kong Theatrical Poster

Director: Liu Chia-Liang
Writer: Liu Chia-Liang
Cast: Gordon Liu Chia Hui, Alexander Fu Sheng, Kara Hui Ying Hung, Lily Li Li Li, Philip Ko Fei, Lin Ke Ming, Johnny Wang Lung Wei, Chu Tiet Wo
Running Time: 99 min.

By JJ Hatfield

Eight Diagram Pole Fighter is truly a magnificent film! The cast and crew performed wonderfully in this most heartbreaking, disturbing, vicious and bloody film Lau Kar Leung and company ever made.

The period piece begins with action encompassing the massive ambush of the Yang family men, father and seven sons. They are savagely attacked, heavily outnumbered, betrayed by Pan Mei using Mongols and even had Manchu troops develop and practice with weapons that seriously hinder the Yang family style of spear fighting. All of this happens in one swift move before and during the opening credits! Pan Mei’s family and combined forces still required careful planning. The slaughter of the Yang family is particularly horrific. The brothers and father are stabbed, eviscerated, hacked, cut, impaled, slashed, skewered and stomped into the ground once they could no longer stand.

Miraculously two of the brothers survive but not without physical and psychological injuries. The fifth brother (Gordon Liu) wanders in the wilderness desperately seeking safety and then revenge, while the other surviving brother, the sixth (Alexander Fu Sheng) manages to find his way back home but has been driven insane by the horrible tragedy.

Lau tried to use real stories about real people in his films, and this is certainly no exception The Yang family was held in high esteem by the Sung Dynasty Emperor and is under orders to keep the peace, especially with the Mongols. However after the betrayal the honored family name was forever destroyed and Pan Mei accuses them of being the real betrayers of the land. His fiendish plan not only ridded him of anyone to stand in his way it was also revenge for the death of his oldest son who was killed by a Yang during a martial arts tournament.

Lily Li-Li is excellent as the matriarch of the family. Even with the terrible loss she is still capable of managing important efforts. To find out all of her sons but one and her husband are dead is a tremendous blow but she tends to 6th brother and tries to help his injured soul. I can’t argue that Fu Sheng is a bit over the top but honestly it works perfectly and does not feel at all silly. He really seemed to be trying hard to be sincere but at the same time out of his mind at the horror he has been through. He goes through different stages. At times he tries to fight with what’s left of his family. Sometimes he just sits with his fists clenched. Other times he is back at the ambush. His mother knows he will never be the same no matter how much love she has for him. He will always need someone to help keep him somewhat balanced and connected to reality.

This movie started shooting in 1981 and during production Fu Sheng was seriously injured (on the set I believe) breaking both legs and incurring a head injury. The film stopped cold. Lau was credited with helping Fu Sheng believe he could recover soon and go on with his career doing fighting and some slapstick comedy which could require a lot of physical demands. When Fu Sheng was well enough they started shooting again. By this time Shaw Brothers were being challenged by Ray Chow and Golden Harvest. Still the Shaws had their golden boy, Fu Sheng and it wasn’t over yet. He was considered not only an actor but learned to fight and do acrobatic stunts which he learned much of in the Shaw Brothers school.

Fu Sheng came from a family that expected him to pursue academics and rebelled by going into movies which seriously displeased his kin. But he loved everything about performing and though he was often hamming it up big time he had a loyal following. He had experience working with both Chang Cheh and Lau Kar Leung.

Everything indicated he had a bright future. But it was not to be. Production had resumed when on July 7, 1983 Fu Sheng was returning to his home after dinner out. He was a passenger in a car driven by his brother. Apparently his brother took one of the winding curves on Clearwater Road too fast and hit a cement barrier. Fu Sheng was rushed to the nearest hospital where he died a few hours later.

Some people believed he inherited Bruce Lee’s bad luck because he bought the house Bruce Lee owned when he died and had been felled by the same curse.

It is said Fu Sheng’s ghost would walk around the Shaw studios. At his makeup booth they set up a shrine, hoping it would please him.

Once again the production was shut down. Lau spent months – some say six, some say years contemplating what the next step should be. His final decision was to use all the finished scenes with Fu Sheng and turn it into a memorial of sorts. To everyone’s credit they used their pain and sorrow in their acting and fighting. It is very effective. It doesn’t feel as if anyone is acting. The anger and misery seems real because everyone truly felt those emotions.

Fu Sheng was originally supposed to be the one to go to Shaolin. Major script re-writes were required that now put Fifth Brother (Gordon Liu) in Fu Sheng’s role.

The 5th brother happens upon a small house. When he doesn’t see anyone there he goes inside the house. He is justifiably paranoid and constantly looks out for the enemy. As so many thoughts and feelings run through him and his adrenaline fueled rage suddenly the door opens (Lau Kar Leung in a cameo) and he attacks! The trapper gets the upper hand and tries to tell 5th brother there is really no way to win a war without killing a part of yourself too.

Suddenly Pan Mei’s soldiers and Mongols arrive and want to search for him but the selfless trapper refuses and takes on the soldiers so fifth brother can escape. Pan Mei needs to destroy any evidence of the betrayal. The trapper ends up sacrificing himself to allow 5th brother to escape. When he realizes the trapper has given his life to defend him he decides the only way to ease his tortured soul is to go to Shaolin and leave the pain of the outside world behind him.

While evading Pan Mei’s forces fifth brother makes it to the Shaolin Temple and wants to become a monk. Of course the news of the ambush and betrayal of the Yang family has reached the temple. 5th brother is told he is much too violent and focused on revenge to become a monk. He begs and pleads, desperate to find some peace, but he is still refused. Desperate and unable to live with such rage and fury he decides he will become a member of Shaolin whether or not they acknowledge him. He insists someone shave his head and when they refuse he does it himself, not caring how painful or bloody it might be. This is a very significant act. He also burns the familiar pattern on his head.

Although no one will officially accept him he does everything they do – he eats and sleeps there and practices the pole style. It being similar to using a fighting spear he advances quickly but the monks do not feel comfortable with his intensity and rage. They believe every life is precious and try to teach him to fight and disarm their opponent instead of killing them outright. He practices hard but cannot completely rid himself of the rage and anguish of his family being in ruin and their name in ruin as well.

One day one of the monks decides to show 5th brother the correct technique using amazing wooden jointed wolves. (I have never seen such a training device!) 5th brother immediately tries to smash it into pieces and destroy it but the monk (Phillip Ko) demonstrates in one of the most original fight scenes in film. This is such an alien concept to 5th brother it is difficult for him to believe. On one hand he wants nothing more than revenge and resurrection of his family’s good name. But on the other he desperately needs peace and an end to the raging burn inside him.

One compassionate monk travels to the Yang home to let them know their son is alive and at Shaolin. He delivers the message but is captured quickly by Pan Mei’s men. He kills himself rather than divulge any information. Once the family know 5th brother is alive 8th sister disguises herself as a man and rides off to find her brother. The trip is long and filled with dangers of all kinds. 5th brother continues to train fanatically. The risk is even greater because Pan Mei will not rest until he destroys the entire family. The same despicable men that set up the Yangs attack and capture 8th sister. As soon as 5th brother learns this he loads up a big cart load of poles and heads off to save his sister.

Despite all of the time he has spent in Shaolin temple his blood comes to a boil very quickly. The betrayal, the memories pushed aside come flooding back. Seeing his brothers and father, their eyes, the screams, the blood, their dead faces. Those memories; the sights, the sound stay with him as he continues on his way to rescue his sister. By the time he arrives with the numerous poles he is just on the edge of rationality. He rescues his sister but they are trapped. The two of them fighting at least thirty people if not more!

Oddly enough though this film was made in several stages months apart it doesn’t feel disjointed. The pace is constant from the bloody slaughter of the Yangs, to the incredible explosive finale! This is not a typical Lau Kar Leung film. There is no humor and family is nearly the only thing that matters. In that context respect, honesty, loyalty, and righteousness are simply part of the that family. The film maintains a quick pace throughout. But it is nearly always dark deeds that drive the film.

The production is quite beautiful in scenery and the sets. The music works well and is not intrusive but an enhancement. It’s obvious great care was taken by all to make this a quality film all the way around. Everyone put in a great effort but I have to say Gordon Liu was the saving grace. The fighting is above extraordinary. This is definitely Lau’s darkest film, full of fury, rage, bloody fights and horrific events. It’s also one of the very best!

JJ Hatfield’s Rating: 9.5/10

By Numskull

Classic shit from Lau Kar Leung and the Shaw brothers, worthy of note beyond the fact that Alexander Fu Sheng died during filming. The straightforward story about two of seven warrior brothers surviving an ambush and coping in very different ways (one invites himself into a Shaolin temple for additional martial arts training, the other goes nuts and attacks anything that moves) delivers unto us some very fine kung fu cinema. The final battle, about eight minutes in length, is one of the most praiseworthy fight scenes you’re likely to see on film; it’s fast, vicious, and bloody, and man oh man is that pole-in-the-mouth shit nasty.

Yeah, this is a short review, but there’s little else that needs to be said. Just watch the damn thing even if you’re only a casual fan of the genre, and be thankful that Celestial, while not possessing a flawless track record, have done this movie good. (From the English dub, I miss the abbott bursting in on the climactic battle and shouting “KILL!” after an hour’s worth of pushing tranquility and pacifism on Gordon Liu’s character, but that’s it; a more than equitable tradeoff.)

Numskull’s Rating: 8/10

Posted in Chinese, Reviews, Shaw Brothers | Tagged , , , , , , , , , , |

Goemon Blu-ray/DVD (Funimation)

Posted on March 1, 2011 by JJ Bona
Goemon Blu-ray/DVD (Funimation)

Goemon Blu-ray/DVD (Funimation)

RELEASE DATE: April 19, 2011

From the director of Cassher (Kazuaki Kiriya) comes Goemon, a 2009 Japanese historical fantasy film directed and written by Kazuaki Kiriya. It is loosely based on the story of Ishikawa Goemon, a legendary ninja bandit hero who stole valuables from the rich and gave them to the poor. Crafted with over 2500 visual effects, the director of Casshern, Kazuaki Kiriya, weaves action with Japanese history and folklore into a film evocative of the classic Robin Hood tale.

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

True Game of Death (1981) Review

Posted on March 1, 2011 by Jeff Bona
"True Game of Death" US Theatrical Poster

“True Game of Death” US Theatrical Poster

Director: Steve Harries
Co-director: Chen Ten Tai
Cast: Bruce Hsao Lung (aka Lung Tien-Hsiang), Alice Meyer, George Stephens (George Steve), Kim Sing, Michiyama Ichiro, Bruce Lee (stock footage)
Running Time: 90 min.

By Jeff Bona

True Game of Death is a blatant rip-off of Robert Clouse’s 1978 Game of Death. Both movies revolve around martial arts superstars (substitute Tai Chung Kim’s Billy Lo for Shou Lung) who get hassled by international gangsters wanting a piece of their lavish income. Throw in the white girlfriend (substitute Colleen Camp’s Ann Morris for Alice Meyer), the big boss (substitute Dean Jagger’s Dr. Land for Michiyama Ichiro) and his right hand man (substitute Hugh O’Brian’s Steiner for George Stephens). Let’s not forget about the star’s fake death (in this case he’s poisoned, instead of shot), as well as tracksuit-wearing motorcycle gangs.

Since it’s titled The True Game of Death, we get another cheap variation of the multi-level, Pagoda fight extravaganza:

1st floor: Shou Lung vs. Danny Inosanto wannabe. Complete with the black outfit, red headband and matching nunchucks. The wannabe even ends up getting killed the exact same way.

2nd floor: Shou Lung vs. Two Sumo Wrestlers. No explanation needed. Use your imagination.

3rd floor: Shou Lung vs. Black Guy. I would say “Kareem Abdul-Jabbar wannabe,” but that’s not really the case. He’s basically a sweaty-looking boxer who wears stupid looking 1980′s shorts and a cape.

Essentially, True Game of Death is a rip-off of a knock-off. You have to give credit to those other Game of Deaths clones. As lame as New Game of Death and Enter the Game of Death were, at least they did their own thing; With True Game of Death, no effort or thought was put into anything. It boggles my mind that the filmmakers copied 99% of Clouse’s Game of Death, instead of trying (even just a tad) to follow Bruce Lee’s vision (his basic outline, even at the time, was well known).

True Game of Death was supposedly made in 1981, but it’s so low budget and produced so awfully, that it looks and feels a lot older. Don’t get me wrong, I realize that the majority of Bruceploitation films are cheap, but trust me, this one is worse. It drags, the main music sucks (they play it way too much and insert it in the most out-of-place areas) and the fight scenes are dull as hell.

As far as Bruce Lee clones go, Bruce Hsao Lung (aka Lung Tien-Hsiang) didn’t do a bad job. He’s no Bruce Li, but he does lie somewhere between Dragon Lee and Bruce Le (that’s not necessarily a compliment). Let’s put it this way, I’ve seen worse.

Kung fu film aficionados will recognize Bruce Hsao Lung from Shaw Brothers’ classics Five Element Ninjas, Legend of the Fox and Flag of Iron.

The real Bruce Lee does appear, but he appears via stock footage, clips from his movies and actual funeral footage (including his corpse). Bruce’s Kowloon Tong house is even spliced in to make it look like the main characters live there.

As a kid, I remember renting True Game of Death on VHS (Master Arts Video). The DVD version I recently watched (Fortune 5 DVD) has a lot more footage, which includes: Excessive nudity (bush and all), an extended nightclub sequence, and a slightly different opening shot. The VHS version had the same Bruce Lee stock footage, only in different areas.

You know what? Who cares about the different versions. They all suck. True Game of Death is not one of the worst Bruceploitation movies ever made, it IS the worst.

Thanks to Ian Whittle for the tip about Lung Tien-Hsiang.

Jeff Bona‘s Rating: 0/10

Posted in Bruceploitation, Chinese, Reviews | Tagged , |

Bruce Lee My Brother | aka Young Bruce Lee (2010) Review

Posted on March 1, 2011 by JJ Bona
"Bruce Lee My Brother" Hong Kong Theatrical Poster

“Bruce Lee My Brother” Hong Kong Theatrical Poster

Director: Raymond Yip
Co-director: Manfred Wong
Cast: Aarif Lee, Tony Leung Ka-fai, Christy Chung, Jennifer Tse, Michelle Ye, Jin Au-yeung, Angela Gong Mi, Wilfred Lau, Lawrence Cheng, Candice Yu, Chin Kar-lok, Frankie Ng, Andrew Nelson, Ken Lo, Kristy Yang, Charles Ying
Running Time: 130 min.

By Mighty Peking Man

Directed by Raymond Yip (The Warlords) and Manfred Wong (prolific writer/producer of hundreds of popular titles), Bruce Lee, My Brother is a biographical film about Bruce Lee’s teenage life. It begins in 1940 and ends in 1959, when he’s off to America with a $100 bucks in his pocket.

The film opens with a warm introduction from Bruce Lee’s real siblings: Robert Lee, his younger brother; and Phoebe Lee, his older sister. Robert not only serves as producer, but also provides much of what the movie is based on, hence, the film’s title.

Bruce Lee, My Brother is a decent film. At times, you get the feeling that there wasn’t enough content (made up or not) to warrant an interesting story about Bruce’s teenage life, but for the most part, it glides at a steady pace.

It’s a very lavish looking production. The sets, the clothing, the soundtrack, and the hues applied to the film, bring the 40’s and 50’s alive.

Aarif Lee, who portrays Bruce Lee, plays the part to a T. There’s no doubt in my mind that this is the best Bruce Lee respresentation ever (although, there is a huge drop after this film). The way Aarif walks, smiles, talks, dances, moves – you totally see “Bruce.” It’s worth to watch this movie for Aarif’s epic performance alone.

The film also stars Tony Leung Ka-fai (Bruce’s father) and Christy Chung (Bruce’s mother); as well as many cameo appearances, including ones by Anders Nelson (Way of the Dragon), Kristy Yang (The Stormriders) and even Chin Kar Lok (also action director), who pays a young Shek Kin.

The film ends with interesting closing credits, which compare production photo shoots to actual photos from the Lee Family album. It really shows how much time, effort, and quality was put in to trying to get the images as close to the originals as possible.

I have read that Bruce Lee, My Brother is supposedly the first in a series of movies to be based on Bruce Lee’s life. If this does happen, my guess is that the 2nd one would revolve around his Seattle Years (1959) and end with his with early, ill-fated Hollywood career (“The Green Hornet, etc.” 1966-1969). The 3rd would most likely take place in the early 1970’s, with Bruce returning to Hong Kong to negotiate deals with Shaw Brothers and Golden Harvest, his rise to stardom, and end with his untimely death.

As long as you’re not expecting a whole lot of action, or anything during Bruce’s stardom era, you shouldn’t be disappointed. I respect the entire Bruce Lee, My Brother crew – they kept it as real as they could for this kind of film.

Mighty Peking Man’s Rating: 7/10

Posted in Bruceploitation, Chinese, Reviews | Tagged , , , , , , , , , , |

Man Called Tiger, The (1973) Review

Posted on March 1, 2011 by Jeff Bona
Man Called Tiger Poster

“The Man Called Tiger” Hong Kong Theatrical Poster

Director: Lo Wei
Producer: Raymond Chow
Cast: Jimmy Wang Yu, Okada Kawai, Maria Yi, James Tien, Han Ying Chieh, Lee Kwan, Tien Feng, Lo Wei, Lam Ching Ying, Shikamura Yasuyoshi
Running Time: 76 min.

By Jeff Bona

The Man Called Tiger is the story of a no-nonsense tough guy (Jimmy Wang Yu) who infiltrates the local Yakuza to investigate the truth behind his father’s death. Teaming up with a fellow Chinaman (James Tien) and a couple of beauties (Okada Kawai and Maria Yi), he tackles the Japanese evildoers with a foot of fury!

Rumor has it that Bruce Lee was originally cast to play the lead in The Man Called Tiger, but due to his falling out with director Lo Wei (who made Bruce’s first two movies, The Big Boss and Fist of Fury), the two went separate ways. Bruce, who formed his own company, “Concord Productions,” went on to star, write and direct Way of the Dragon.

Meanwhile, Lo Wei continued the production of The Man Called Tiger with Jimmy Wang Yu (One-Armed Swordsman) taking over for Bruce.

It all makes sense: Lo Wei’s The Man Called Tiger starred Han Ying Chieh, Maria Yi, James Tien, Lee Kwan, Tien Feng and Lo Wei himself; on the other hand, Bruce Lee’s Way of the Dragon starred whoever was left of the Bruce Lee/Lo Wei camp: Nora Miao, Paul Wei Ping Ao, Unicorn Chan, Lau Wing and Wong Chung Shun.

The rest is history…

The film opens with Japanese actress Okada Kawai singing a catchy, bittersweet song over the cast and credits. During this classy intro, I was lead to believe that I was about to watch something Lo Wei put his heart and soul into.

Boy, was I wrong.

The Man Called Tiger is rushed filmmaking at its finest. Together with its jumpy camera work, scenes that don’t match up, and a confusing plot, you get the feeling that nobody, not even Lo Wei, gave a shit. You would think they’d put some effort, especially since they flew to Japan to film this one, but that’s not the case.

I’m a Jimmy Wang Yu fan, and I’ve seen a lot of his movies, but this is the first time he comes across looking like an idiot. I’m not going into details, because I really can’t find the words to describe some of the goofy movements this guy makes during some of the action sequences.

The Man Called Tiger is a terrible movie, but it has enough good things going for it that it’s actually worth watching:

Action sequences: It’s basically your standard Wang Yu basher, but the majority of the action is surprisingly well done. I’m not saying the action is great, but for a movie like this, it was decent enough.

The bloody climax: Wearing all white, Wang Yu takes on a gambling hall full of axe-wielding bad guys. In the process, he gets a lot of red paint all over him. Who doesn’t love a bloody battle?

Early 70’s fashion: Wang Yu has never looked sharper. Seriously, the multi-colored suits look gangster. The same can be said about Maria Yi in her yellow outfit. Yummy.

James Tien dies: What’s interesting is he dies the same exact way he did in The Big Boss. Before you accuse me of spoiling it for you, ask yourself, what movie does James Tien’s character actually survive?

Takes place in Japan: In the kung fu movie world, almost everything is filmed within the same city and landscapes, so it’s refreshing to see one filmed in Japan. Many of the supporting cast members are also local Japanese actors and actresses.

Cable car fight: Definitely not as cool as the one done years later in Moonraker (1979), but Wang Yu does one-up Bond by actually jumping off the cable car.

To sum it up, The Man Called Tiger is definitely worth watching if you’re a Jimmy Wang Yu fan, a 70’s-era Golden Harvest completist, or if you want some unintentionally funny entertainment. If you’re looking for an all-round good movie, look elsewhere.

Jeff Bona‘s Rating: 4/10 (8/10 for historical value)

Posted in Chinese, Golden Harvest, Reviews | Tagged , , , , , , , |

Green Hornet, The (2011) Review

Posted on March 1, 2011 by JJ Bona
"The Green Hornet" US Theatrical Poster

“The Green Hornet” US Theatrical Poster

Director: Michel Gondry
Cast: Seth Rogen, Jay Chou, Christoph Waltz, Cameron Diaz, Edward James Olmos, Tom Wilkinson, Edward Furlong, Jill Remez, Joe O’Connor, Morgan Rusler
Running Time: 110 min.

By Ningen

Britt Reid’s a goof-off son of a media mogul-played by Seth Rogen-whose dad passes away unexpectedly. After becoming newly acquainted with his dad’s ex-servant, Kato-played by Jay Chou-Britt discovers that Kato’s not just good with making coffee, but also tinkering with machines, as well as fighting using martial arts. Together, they decide to use their resources to fight crime-partly by posing as criminals who destroy gangs from the inside, and mostly by tracking down their hang-outs and using their “wonderful toys” to take down thugs. They also vie for the affections of Britt’s secretary Lenore, played by Cameron Diaz.

To be honest, I never really watched the original Hornet show w/ Van Williams and Bruce Lee. And I’m obviously too young to have heard the radio version. I saw clips of the tv series here and there, including the cross-over episode where they try to fight against the Adam West/Burt Ward Batman and Robin, but it ends in a “Mexican stand-off”. [Allegedly, the reason it went that route was that the Hornet fans didn’t believe that Bruce could lose to West and/or Ward in a fight, while Batman and Robin fans didn’t like the idea of seeing their heroes lose any fight. And for those wondering, Bruce makes a “cameo” in this new version, too, btw.] And I haven’t seen Jay Chou’s non-Initial D stuff, other than a rap video for Fearless. So all I really cared about was whether the concept would have some fun to it as a movie version, not whether it was entirely faithful to the original material. For example, Zhang Ziyi as Kato and Kevin Smith as a director would’ve at least been interesting, maybe even exciting. And Stephen Chow as director and co-star would’ve at least been memorable.

But, no, the studio had to kick out Chow and pick the guy whose last mainstream movie was about re-enacting scenes from movies off destroyed videotapes. And the other guy whose only real hits are from forgettable sex comedies got picked as the lead and co-writer. Now I don’t hate Seth Rogen. He seems like a fun guy, even if he does basically play a party animal in every film he headlines. But pairing him with a director whose only hit movie I did hate, because of how pretentious and lazy it came off, gave me some serious warning signs that this adaptation was going to be a mess. Jay Chou’s alright, but he doesn’t really stand out enough in his roles. He did alright as Takumi in Initial D, because the main character there is supposed to be somewhat apathetic. In Hornet, though, his back-story comes off more like an after-thought, even though he goes beyond being just a wing-man.

And while Green Hornet is not a disaster, it’s a misfire. It wants to be the next TDK, but it morphs into a PG-13 Kick-Ass. Not that I liked K-A much, either, but at least the writers and directors on it did not drag out the story with unnecessary sub-plots. For example, this movie should be about how Reid and Kato become heroes, and learn how to get used to any slip-ups on the job. But instead, this movie is about Reid’s father and his shaky political relationships, and how they relate to the increased crime in the area. And the supposed culprit behind this criminal activity, Chudnofsky, played by Christoph Waltz, is not even the ring-leader. He runs the operations, but he’s working with someone else behind the scenes. Plus, anyone hoping they’ll get more Col. Landa from Basterds will have to wait another time, as all he really does is fire his weapon at random people and get into verbal cat-fights with other gangsters over how he’s dressed.

Furthermore, you rarely even see that much crime-fighting, because the pair are either sparring over a secretary who’s not interested in either of them, at least in that way; or they’re dealing with office work at a newspaper company. Or, they just play with stupid gadgets. In fact, it feels like the movie just appropriated the whole superhero parody sub-plot in Orgazmo and tried to give it an actual budget, but axed the fight scenes, and emphasized talking scenes in their place. You do get car chases and shoot-outs in Green Hornet, but the camera’s too close, and the scenes subsequently morph into a become a boring, convoluted mess, where you don’t know who’s firing, and what. Oh, and don’t bother with the 3-d version of the film, as it consists of the usual floating objects gimmick which is being used as an excuse to charge everyone an extra $5.

So in short, Green Hornet’s an ok rental, but only something hardcore fans really need to see. Otherwise, anyone else expecting this film to be more than just another bad Rogen comedy will be severely disappointed.

Ningen’s Rating: 5.5/10

Posted in Asian Related, Reviews | Tagged |

2011 Hardest Men in Town: Yakuza Chronicles of Sin, Sex & Violence, March 9-19

Posted on February 28, 2011 by JJ Bona
Sydney Pollack's "The Yakuza"

Sydney Pollack's "The Yakuza"

This season, Japan Society is proud to present the new Globus Film Series, Hardest Men in Town: Yakuza Chronicles of Sin, Sex & Violence. From March 9 to 19, Japan Society will be screening a series of 15 yakuza films, from 1960s productions featuring chivalrous kimono-clad, sword-wielding gangsters to today’s ruthless gun-toting villains dealing in debt, dark trades and deeds. Featuring films by internationally acclaimed directors such as Takeshi Kitano, Seijin Suzuki, and Kenji Fukasaku (among many others), the series includes a large number of premieres and titles never-before shown in the U.S. Also introducing some of these screenings will be a few very special guests, including writer/director Paul Schrader, author Jake Adelstein, and director Takashi Miike.

Featured Films:

The Yakuza – Directed by Sydney Pollack
Onibi: The Fire Within – Rokuro Mochizuki
The Wolves – Hideo Gosha
The Walls of Abashiri Prison (pt. 3): Longing for Home – Teruo Ishii
Brutal Tales of Chivalry – Kiyoshi Saeki
Theater of Life: Hishakaku – Tadashi Sawashima
Blood of Revenge – Tai Kato
Cops Vs. Thugs – Kenji Fukasaku
Battles Without Honor and Humanity A.K.A. The Yakuza Papers (pt. 3): Proxy War – Kenji Fukasaku
Youth of the Beast – Seijin Suzuki
Dead or Alive – Takashi Miike
A Yakuza in Love A.K.A. Villainous Love – Rokuro Mochizuki
Ryuji – Toru Kawashima
Yakuza Wives – Hideo Gosha
Outrage: The Way of the Modern Yakuza – Takeshi Kitano

Source: http://www.japansociety.org/film

Posted in News |

Edge of Fury (1978) Review

Posted on February 24, 2011 by Jeff Bona
"Edge of Fury" US Theatrical Poster

“Edge of Fury” US Theatrical Poster

Director: Lee Tso Nam
Writer: Ding Sin Saai
Cast: Bruce Li (Ho Chung Tao), Dana Tsen (Danna), Tommy Lee, Yasuaki Kurata, Michelle Mai Suet, Wai Lit, Kao Yuan, Pak Man Biu, David Cheng Dai Wai
Running Time: 84 min.

By Jeff Bona 

A wealthy business man is arrested and sentenced to death for drug smuggling, and it’s up to his trustworthy chauffer, Fang Pao (Bruce Li), to unravel the mystery behind his boss’s downfall. Was he really smuggling drugs? Was he set up? Does his boss’s sleazy girlfriend (Dana Tsen) have something to do with it? The closer Fang Pao gets to the facts, the more dangerous his life becomes.

“Edge of Fury” is a tale of gangsters, drugs, annoying little kids and money-hungry whores. Just like “Iron Dragon Strikes Back” (aka Gold Connection), “Edge of Fury” was made without “Bruce Lee” in mind, meaning Bruce Li is playing an original character, and not imitating Bruce Lee in any way, shape, or form.

I’ve seen the gist of every Bruce Li movie ever made. Some are great (Iron Dragon Strikes Back, Gold Connection), some are good (Bruce Lee: The Man, The Myth), some are average (The Dragon Lives), some are bad (Deadly Strike) and some are so bad, they’re entertaining (Bruce Lee: A Dragon Story). “Edge of Fury” falls somewhere between good and average.

What I do like about “Edge of Fury” is the assortment of goodies it has to offer:

Babes: When you’re watching a Bruce Li movie and you see the name “Dana” pop in the credit sequence, you know you’re in for a slutty treat. Dana slightly resembles porn starlet Nautica Thorn (fellas, don’t act like you don’t know who she is), only much more cuter. Dana also appeared with Bruce Li in “Image of Bruce Lee” and “Bruce Lee in New Guinea.”

As a bonus, we also get the foxy Michelle Mai Suet (aka Michelle Lai), who plays Bruce Li’s girlfriend. Michelle and Dana look so much alike that I didn’t realize they were two different characters until the film’s third act. True story.

Music: Typically, most kung fu films of the 70’s recycle music from popular movies; I’ve heard and recognized it all: James Bond themes, Italian Westerns, disco tunes, etc; As far as I know, “Edge of Fury” has its own unique soundtrack. It’s screechy, rough, and hardcore; Which is very suitable for a movie titled “Edge of Fury.”

Annoying Little Kid: I swear, I’ve seen this little turd before (he looks like the ice cream cone kid in “Way of the Dragon”). You’re going to love to hate him, thanks to his retarded english dubbing. Is it me, or does he and Bruce Li like each other a little too much?

Yasuaki Kurata: You’ve seen this Japanese cat in movies like “The Angry Guest,” “Twinkle, Twinkle Lucky Stars” and “Fist of Legend.” In “Edge of Fury” it’s him vs. Bruce Li, baby.

There’s definitely enough action to go around, which was choreographed by Tommy Lee, who also has a major role as a baddie. I haven’t seen enough of Tommy Lee’s work (as a star or choreographer), but from what I have seen, I don’t see what the big deal is. I remember having a copy of “Chinese Connection II” on VHS, and one of the selling points was “Action Choreographer Tommy Lee,” yet, after viewing it, I was like “and?”.

Carl Jones’ Bruceploitation book “Here Come the Kung Fu Clones,” states the film’s dubbing as “bad, flat and uninteresting…” — I TOTALLY disagree. For a Bruce Li flick, I found the dubbing to be witty, pleasant and sophisticated (minus the little kid’s dubbing of course).

“Edge of Fury” is far from a must see, but for what it is, it’s a passable.

Jeff Bona’s Rating: 6.5/10

Posted in Bruceploitation, Chinese, Reviews | Tagged , , , , , |

Longest Nite, The (1998) Review

Posted on February 24, 2011 by JJ Bona
"The Longest Nite" Theatrical Poster

“The Longest Nite” Theatrical Poster

AKA: The Longest Night
Director: Patrick Yau Tat-Chi
Cast: Tony Leung Chiu-Wai, Lau Ching-Wan, Maggie Siu Mei-Kei, Lung Fong, Mark Cheng
Running Time: 84 min.

By Joe909

I’ve read several articles and interviews where HK actors who have come to Hollywood say that they look forward to working over here, because they’ll be able to do more complex movies. Each of them have said that HK audiences are sometimes not as intelligent as those in the US, and so in HK, movies must be simple and action-packed, whereas in Hollywood (or so these actors, Michelle Yeoh chief among them, claim), films can be a little more complicated. But in all honesty I have no idea what these people are talking about, because normally HK movies are the most complicated, obfuscated films around. The Longest Nite is no exception.

Two bosses with nearly-identical names are about to end a long war, under the order of an older boss, higher up in the chain. But rumor has it that one of these bosses plans to murder the other, regardless, and Tony Leung, bad cop and employee of one of the bosses, must keep this murder from happening. Sounds simple, but the way in which the film unfolds is anything but. Lau Ching-Wan shows up as a tough-looking bald bastard, but he’s sadly underused throughout the film. Instead we mostly see Tony Leung, driving around while Giorgio Moroder-style synths boom on the soundtrack, beating up and torturing whoever he comes across in order to figure out what’s going on.

So, once you let go of trying to follow the story, you can enjoy the scenes of graphic violence. Such as people getting beheaded, getting their fingernails sliced out, or (best yet) getting run over by cars. Tony Leung is savage in this movie, and throughout its first half you hate him. But then suddenly he discovers that he’s being set up, and as he tries to escape the pit he’s been thrown into, we find that we’re actually on his side now, and want to see him get away. A character arc is one of the most powerful tools in storytelling, and it works nicely in the Longest Nite.

Two things that distract from the movie: one, that the warehouse in which Lau Ching Wan and Tony Leung have their final confrontation just happens to be littered with large mirrors, each of them arranged in rows, a la “Enter the Dragon.” And two, it’s never quite satisfactorily revealed why Tony Leung has been tabbed as the fall guy, other than a limp remark that he always thought the main boss was worthless, or something to that effect.

Overall, a very dark film ? it’s “Hong Kong noir” to the max ? and, mostly, a good film, but not the best thing I’ve seen from Milkway. That would still be “A Hero Never Dies.”

Joe909’s Rating: 7/10

By Alexander

I’m not going to pretend, even for a second, that I understood what was going on in the twisted, excessively violent “Longest Nite”. There MIGHT be something in this film resembling a story sandwiched between gratuitous scenes of torture, vomiting, and beheadings but I’m not about to endure the torment of deciphering yet another convoluted, unnecessarily confusing plot featuring a myriad of characters with similar sounding names. Instead, I ignored (as you should) most of the irrelevant dialogue and meaningless subplots and focused entirely on how cool Lau Ching Wan looks as the silent drifter/killer-type and the unexpected brutality of Tony Leung’s corrupt cop.

Lau Ching Wan is the true star of this film despite speaking only a few minutes worth of dialogue. (But as all HK cinema fans know, dialogue [re: inane banter] is often an annoyance serving only to punctuate, comma-like, scenes of violence and mayhem.) In “Longest Nite”, Lau Ching Wan personifies cool much like his forebears Chow Yun Fat (“The Killer”); Michael Madsen (“Reservoir Dogs”); and Bruce Willis (“Last Man Standing”). All are strong, conflicted silent types with hip, timeless wardrobes. Lau is gangsta bald (MENACING!); retro-garbed from head to toe in denim (CASUAL!); totes around a worn Addidas bag as an accessory (SPORTY!) and has a creepy tattoo crawling up the back of his head (so THUG-like!). All the aforementioned add up to a whole lot of C-O-O-L.

Tony Leung is also brilliant as a sadistic policeman who relishes pounding the hell out of hoodlum’s hands with bottles of ketchup and other condiments. When he’s not smashing fingers with blunt objects he’s using other vicious means (think screwdriver) to extract respect from his victims. Leung effectively alternates between Torturer Cop, Corrupt Cop, Deranged Cop and ultimately Desperate, Greedy, Fleeing Cop. His less than savory role as sadist is a refreshing change of pace from his gentler roles as romantic hero.

Of course, with most HK films, there are a bevy of Things That Cannot Be Explained. For example, a woman projectile vomits on a triad boss and gets punched in the nose repeatedly (and realistically) for no apparent reason. There is also a scene where Tony Leung appears with a shaved head in attempt to emulate Lau Ching Wan just minutes, no SECONDS, after a violent shoot-out and a FULL HEAD OF HAIR!

However, despite the mess of a plot, a near mute Lau Ching Wan, and a host of Things That Cannot Be Explained, “Longest Nite” is highly recommended.

NOTE: Don’t miss the outtakes on the DVD version of “Longest Nite”. There are a couple of humorous bungled takes including Lau Ching Wan repeatedly slamming his face into a windshield; Tony Leung repeatedly missing his cue during the rolling head scene; and the vomiting female…well…repeatedly vomiting which is notable not because of the gallons of faux vomit, but for the priceless looks on her face during each mangled attempt to spew the lumpy matter on her co-stars.

Alexander’s Rating: 8/10

By Numskull

Those who revel in the grit of hard-assed HK cinema, especially the crime/cops & robbers genre, will most likely enjoy this harrowing tale of greed and corruption. Those who don’t will probably dismiss it as worthless, needlessly violent trash. Hey, their loss.

Tony Leung stars as Sam, one of the most crooked big screen cops since Harvey Keitel in Bad Lieutenant. He doesn’t wave his penis around, but he does beat up and torture people rather casually, and he seems to be on more than one payroll. The Longest Nite has a convoluted plot by HK standards, and the fact that the three string-pulling masterminds, Mr. K, Mr. Lung, and Mr. Hung (why the hell did they have to have two of the names be so similar?) almost never appear onscreen doesn’t help matters. Mysterious goings-on and pieces of background history are spoken of fleetingly in the dialogue, and then get promptly forgotten or tucked away somewhere, only to come back and haunt us later on. It’s almost as if The Longest Nite is the reedited latter two-thirds of a longer movie.

Lau Ching Wan co-stars as Tony, a shady drifter with a stupid-looking tattoo on the back of his shaven head. Normally, LCW is a considerably skilled actor, but this particular role isn’t a very good showcase for his talents. He doesn’t do much besides repeat himself and walk around with an “I know something you don’t” look on his face. He pulls it off fine (the role, not the face), but I remain to be convinced that any number of other actors couldn’t have done it just as well.

Certain aspects of the film, such as the flinch-inducing “fingernail” scene, really hammer home the fact that the world in which it all takes place is an infernal cesspool and the people you find there easily thrive in such an environment. I would say that that makes this movie admirably realistic, but, alas, there are stupid plot twists and unbelievable coincidences sprinkled throughout its duration that seriously harm its credibility, such as Tony’s bag not getting snatched up off the ground while he’s away, a kitchen fire spreading WAY too quickly, and a car trunk popping neatly open when it gets rammed by another vehicle. There’s one major event even more absurd than any of these near the tail-end of the film, but I shouldn’t give it away. Believe me, you’ll know it when you see it.

Look past its faults, and you’ll find a fairly worthy story here. But don’t use this movie to introduce someone to Hong Kong cinema; there’s just enough wrong with it to turn somebody off to the whole shebang.

Numskull’s Rating: 7/10

By Vic Nguyen

Among the best films of 1998, Patrick Yau’s The Longest Nite is one of the bleakest, and one of the best crime films I’ve seen in a long time. The plot is a rich tapestry of betrayal, mystery, and deceit, all handled to perfection by two of Hong Kong’s most accomplished veterans, Tony Leung Chiu-wai and Lau Ching-wan (who sports a shaved head). These men give rich, multidimensional performances, and generate so much chemistry on screen together that it is an exhilirating experience on it’s own. Although highly convulated, and sometimes illogical, the film keeps you glued during it’s short 85 minute duration. My only real gripe is the obligatory action sequence, which is interesting enough, but brings the film’s realism and intrigue to a screeching halt. Yet despite this, I wholeheartedly recommend The Longest Nite, a refreshing new masterpiece that is another winner for the Milky Way Image company. (Note- all VHS and VCD copies sport small, nearly unreadable subtitles that is especially evident during Tony Leung and Lau Ching-wan’s tense prison scene (which is filled with bright, glistening lights, making the subs disappear). If you really want to enjoy this great film, I’d suggest you view the DVD, which have large, remastered subs, while retaining the original widescreen scope.)

Vic Nguyen’s Rating: 9.5/10

Posted in Chinese, Reviews | Tagged , , , , , , , , |

Hero Never Dies, A (1998) Review

Posted on February 24, 2011 by JJ Bona
"A Hero Never Dies" Chinese Theatrical Poster

“A Hero Never Dies” Chinese Theatrical Poster

Director: Johnnie To
Cast: Leon Lai Ming, Lau Ching-Wan, Fiona Leung Ngai-Ling, Yoyo Mung Ka-Wai, Henry Fong Ping, Yam Saikoon, Keiji Sato, Michael Lam Wai-Leung, Yen Shi Kwan, Lam Suet, Yuen Bun, Philip Keung Hiu-Man
Running Time: 98 min.

By Numskull

When are people gonna learn that crime doesn’t pay unless you’re O.J. Simpson?

In this corner, we have Jack, devoted servant of Mr. Yam, a gang lord who consults an elderly fortune teller for advice. And in THIS corner, we have Martin, devoted servant of Mr. Fong, another gang lord who also consults an elderly fortune teller for advice.

Jack and Martin, Martin and Jack. They drink in the same bar, they piss on the same trees, and they share a deep mutual respect and a friendship so twisted it hardly qualifies as “friendship” at all.

The source of the tension, of course, is the fact that they work for opposing gangs. One of these days, they figure, one of them is gonna have to put seventeen and a half bullets in the other. No hard feelings, eh? But when a clash between the two factions leaves Martin crippled and both men abandoned by their bosses, they turn their focus to getting some payback.

All in all, A Hero Never Dies is one of the most emotionally hard-hitting HK movies I’ve come across. Every reaction that the story elicits from the viewer…from the desire to send Fong and Yam (especially Fong) kicking and screaming into Hell to the sad respect for Fiona’s dog-like devotion to the wheelchair-bound Martin to the satisfaction of seeing the cane-wielding, whack-happy fortune teller get shot in the foot…is genuine and understandable, if unrealistic.

The film is also full of some striking images which remain in your mind’s eye after the movie ends. The bottle of wine with Jack’s name on it, waiting patiently (if an inanimate object can be said to do such a thing) on a shelf. Jack’s girlfriend’s scarred face after being burned by a pair of hitmen. Fiona, forced to sell her sex for passage back to Hong Kong. And most of all, Martin’s motionless body slumped in his wheelchair, casually rolling through a heated shootout with havoc being wrought on all sides. This isn’t a movie that you just walk away from, saying “Hey, that was pretty good” or “Hey, that was even better than a blow job” or “Hey, that really sucked, I should have watched some Mad About You reruns instead.”

It can be disarming at first; there’s some humor (half-way decent humor, mind you) near the beginning, but it’s nowhere to be found once the characters are established. Jack and Martin threatening each other over the phone through a tired old man is fun, and the glass-breaking scene in the bar is one of the best. There ain’t much else to laugh at, though, nor should there be. Life’s a bitch and then you die. It’s a fact that this movie conveys pretty well.

The biggest fault that AHND has is its ending, which is a little weak only by comparison to the rest of it. I won’t say it’s “formulaic in the extreme” or “more predictable than a teen slasher flick” but, when the film reaches a certain point, there’s only one direction that the story can credibly take. If you’ve seen more than a small handful of HK films, you’ll no doubt be unsurprised by the finale. That doesn’t make it a bad ending, though.

Good acting all around and a very fitting musical score, as well. Never did I get the impression that any aspect of AHND was rushed or done with half an ass.

Good story, good acting, good music, good movie. Not much else to say. Stick a fork in me, I’m done.

Numskull’s Rating: 8/10

By Equinox21

I don’t know what I was thinking the first time I watched this movie, because I didn’t think much of it. But, when I watched it for the second time a year later it struck me as being a brilliant film and one of Johnny To’s best. It’s a story of rivalry and friendship, betrayal and justice.

Martin (Lau Ching-Wan) and Jack (Leon Lai) share a unique friendship. They don’t necessarily get along, but they seem to have an unspoken respect for one another. Each is their own Triad boss’ right hand man, because they are smart, loyal and as good as it gets doing what they do. When Jack and his gang protect their boss, Mr. Yam, from Martin and his gang, it leaves all but Yam, Jack and Martin deadŠ with the latter two full of bullets and near death. After this bloody confrontation between the two gangs, The General orders the two opposing bosses to go back to the way things were a year before. They agree, and form a new gang, with both bosses in charge. Unfortunately, Jack and Martin are no longer needed, and are ignored and left to rot in the hospital and then on the streets with no jobs, Martin with no legs, and eventually with both their women dead. But, can their friendship be enough to get them the justice they deserve?

The acting on all fronts was quite good. Lau Ching-Wan and Leon Lai were perfectly cast in the leads, each displaying perfect arrogant, steely attitudes. Martin dresses almost like a cowboy/pimp, with a wild cowboy hat and boots. I’m not sure anyone BUT Lau Ching-Wan could have pulled this off without being laughed at. He really is to Johnny To what Chow Yun-Fat is to John Woo.

There were a few scenes that I didn’t care for tremendously. One such scene was a shootout on a dark bridge, and this was because the only lighting in the entire scene came from the headlights of the cars on the bridge. It was just a little too dark to see what was happening. Another was in a bar, which plays an important role in their friendship, where Martin and Jack are shattering each other’s wine glasses with a coin. It was a little far fetched, however the important part was really the back and forth challenging of the two characters which displayed the friendship/rivalry perfectly.

The action scenes were, however, all really well done; lots of shootouts, lots of bullets, lots of bodies. This movie is the epitome of a heroic bloodshed or a bullet ballet movie.

Any fans of good movies about friendship or movies with lots of action should love this one. Do yourself a favor and check it out.

Equinox21’s Rating: 9/10

By Alexander

Overrated.

How else to explain the absolutely glowing praise heaped upon this ugly monster of a film by past reviewers on this website?

How else to explain this nugget by James H.: “…very few films…can exude as much style and grace as ‘A Hero Never Dies’.

Or this, from the esteemed MPM: “Johnnie To’s masterpiece.”

And this, from our Ron Jeremy of reviewers, Numskull: “One of the most emotionally hard hitting HK movies I’ve come across.”

From Joe909: “…a classic story along the lines of The Killer.”

From Woody: “…had me on the verge of honest to Gawd tears.”

And finally, Tequila: “Wow.”

The effusive hyperbole spewed by trusted City on Fire reviewers — who also give this film a bloated average rating of 9.3 — is mind-boggling considering A Hero Never Dies is, at best, a mildly entertaining diversion cursed with one of the worst endings EVER. I’m not going to spoil the final act for the handful of people who haven’t seen it, but I would have been less disappointed had a herd of cartoon rabbits been shot out of Lau Ching Wan’s gun and danced across the screen singing “Ice, Ice Baby” in Cantonese.

I’ve seen this film twice, thinking I’d missed something the first time. Unfortunately, the second time around simply afforded me more opportunities to shake my head at ridiculous scenes like the male-bonding-by-pissing-on-tree bit. I WAS initially impressed by the film’s visuals and Johnnie To’s direction. Leon Lai is impressive and proves he’s one of Hong Kong’s most versatile actors (his Comrades, Almost a Love Story shouldn’t be missed). The renowned bar sequence is also enjoyable. BUT, I could not get over…

…Lau Ching Wan’s ridiculous cowboy/low-rent pimp get-up. There is nothing cool about his pencil thin mustache and wide-brimmed hat. If you want to see Lau Ching Wan at his coolest, watch Longest Nite instead. The only thing missing were a white pair of leather chaps and a diamond-encrusted pinky ring.

…”Sukiyaki”. Woody earnestly recited a snippet of this song in his review. That’s cool and all, but it seems as if Hong Kong film fans generally make too big a deal out of hearing a familiar tune in an Asian film (see also Chungking Express). It’s like, “Hey, I can’t understand a word these people are saying and the subtitles are blurry but I DO recognize that song. Cool!”

…the ending. See paragraph one.

…Fiona Leung’s character was once praised on this very site as being an example of a strong female lead with a heart of gold hidden beneath a tough exterior. Bullshit. She spends the first half of the film convincing Yo Yo Mung’s character to be totally subservient to her boyfriend and even gives her tips on how to better please her man.

…the tired male bonding bits ubiquitous to the heroic bloodshed genre.

…the ending. Oops. Said that already.

I’m still confused as to the appeal of the film. Sure, by Hong Kong standards it’s pretty decent, but I don’t think it quite deserves the praise bestowed on it by our reviewers. If you haven’t seen it, give it a shot and let us know what you think. I can’t be the only one who thinks this movie is overhyped and, ultimately, overrated.

Alexander’s Rating: 5.5/10

By Woody

I’ll keep this review short and to the point. See this movie. It is without a doubt one of the best HK action films made in the 90’s. I don’t get all teary eyed over movies…alright, that’s a lie. I always get teary eyed over movies, but that is just because I watch a lot of depressing shit. This, though, had me on the verge of honest to Gawd tears.

This is basically a 1998 retread of John Woo’s classic A Better Tomorrow. It’s got the crippled hero, the overwrought (yet ,oh so great) music, the mythic characters, and the performance of a lifetime. In A Better Tomorrow it was Chow Yun Fat. The torch has now been passed on to Lau Ching Wan, whose performance here is not brilliant, but F*CKING brilliant. That big empty void Chow left when he came to the States has now been filled.

Unlike Woo’s film, this thankfully has some strong female characters, too, the strongest being Fiona Leung. Her performance was also really great here, and the image of her whoring herself to get money for a ticket back to Hong Kong for her and Lau is one of the most depressing and memorable I have ever seen.

There are flaws, but who cares? Everything else in the movie more that makes up for that. The ending, the music, the acting…it’s all great. I don’t know how Johnny To does it. Maybe I don’t want to know. Another classic film from Johnny To. Oh yeah…if you like the song “Sukiyaki”, this is the movie for you!

“It’s all because of you, I’m feeling sad and blue You went away, Now my life is just a rainy day and I love you so, How much you’ll never know…You’ve gone away and left me lonely.”

Woody’s Rating: 10/10

By Joe909

I’m sure this movie was produced with the intention that it would be a tribute to the Heroic Bloodshed films of a decade ago. But instead of coming off as a tribute, A Hero Never Dies is just as great and timeless at the films it pays homage to. The plot is recounted in-depth elsewhere, so I will just offer a few comments on what I liked and disliked about the movie.

As for likes: well, basically everything. Acting, directing, writing, action scenes; everything was exceptional. This was the first Leon Lai movie I’ve seen, and he’s one cool bastard throughout. Lau Ching-Wan, of course, is as consistent as ever in his performance. The gunfights are a good mixture of Ringo Lam realism and over-the-top John Wooery. The end setpiece especially smacks of Woo, in which Lai takes more bullets than Toshiro Mifune took arrows in Throne of Blood, and keeps on walking. Johnnie To uses some interesting film tricks, such as glossing color. On certain shots there almost seems to be a fingerprint on the camera lens, smudging the actor’s faces. A filmic trick that some might find distracting, but here it was used in moderation, and only served to heighten the mythic aspect of the characters.

The film isn’t without flaws, though. Something bothered me throughout the movie’s second act, and it wasn’t until after the film was over that I realized what it was. It’s a typical problem in modern-day HK cinema: lack of a good Villain. Heroic bloodshed flicks are so good at giving us anti-heroes that they sometimes fail to give us a villain we really want to see those anti-heroes annihilate: I’d say this is one small area in which Hollywood action movies are superior to Hong Kong’s ? Hollywood is always sure to give us a memorable and hateable villain, who is known (and hated) from the opening act. A Hero Never Dies (like the Blood Rules, etc) suffers from this problem: the Villain is not introduced as a villain until well into the Second Act, and his appearance as such seems forced.

Let me elaborate. Jack protects his boss Yam. Martin protects his boss Fong. In the opening half of the movie, both bosses are portrayed as kind benefactors. Yam doesn’t even really get pissed off at Jack for shooting his fortune teller in the foot! Add to this the fact that Yam comes off as a very nervous, indecisive, snivelling rat, who seems to look up to Jack as his prime guardian. Martin’s boss, Fong, is barely developed at all: he only gets two scenes in the first act, one in which he appeals to Martin to kill Yam (and this scene is robbed of any “evilness” on Fong’s part when he looks eagerly in Martin’s van for the hookers), and another scene where he stumbles into the General’s office and happily makes up with Yam. Then only a few scenes later he’s beating his subordinates, shooting Martin’s girlfriend, and in general being a world-class prick. Same goes for Yam, who apparently sends some heavies to take out Jack in the hospital, and leaves the widows of his dead guardians with nothing but a few small bundles of cash and a good smack to the face.

The problem is, when Yam and Fong betray Jack and Martin and become the villains of the piece, it just comes off to forced, especially when compared with how the bosses were portrayed in the opening. Maybe by having them act a little more cruelly (or at least, in Yam’s case, a little less uncertain), we could buy the whole betrayal bit.

As it is, though, Jack and Martin’s eventual revenge doesn’t lack any power due to this. I’ve always liked the song “Sukiyaki,” and now I’ll never hear it the same way again: I’ll always think of Jack, finally back from Thailand, striding purposefully into the Saxophone bar, or Jack assisting Martin in his final vengeance upon Fong. This is a great film, and certainly a classic along the lines of the Killer and A Better Tomorrow.

Joe909’s Rating: 10/10

By Tequila

A Hero Never Dies. Wow. I’m not going to explain the plot as Numskull did already, I’m just going to give a rundown on how good this film really is and that.

I thought that this was just going to be another run of the mill gun film, and I expected the acting to be great from Lau Ching-Wan and average from Leon Lai, with great cinematography and direction (it’s a Milkyway film) and nothing really to write home about.

Man was I wrong…Comparing this to The Killer or A Better Tomorrow is like comparing hentai to Garfield – they share a genre and that is all. The only ways they are similar is the use of akimbo handguns and sniper rifle scope cams. The gunfights are just so original, like the finale with Lau Ching-Wan offing triads from a wheelchair or Leon Lai shooting through the roof, resulting in blood dripping down through the ceiling and they add a new dimension to the regular gunplay.

The style of AHND is amazing, Lau Ching-Wan is the only man I know who can make a legless, emasculated shell cool – even with the cowboy hat. There are no bad performances; everybody is excellent, my personal favorites were Lau and Fiona Leung as his girlfriend. The opening bar scene was fantastic and totally bizarre.

All in all, AHND is one of my favorite Hong Kong movies, the only thing I can think of that would improve it is Chow Yun Fat instead of Leon Lai, but only because he’s just so much cooler. Lai doesn’t have that ‘look’, Chow would have rocked that opening bar scene.

Tequila’s Rating: 10/10 – Fantastic!

Posted in Chinese, Reviews | Tagged , , , , , , , , , |

Revenge DVD (Animeigo)

Posted on February 23, 2011 by JJ Bona
Revenge DVD (Animeigo)

Revenge DVD (Animeigo)

RELEASE DATE: May 17, 2011

A minor quarrel escalates into a duel. A death creates a debt of honor. The demands of honor outweigh the demands of justice, and force friends to spill each other’s blood. And the need for victory requires the sacrifice of honor. One simple argument spawns death, madness, and a final confrontation that will leave the sandy soil soaked with blood. Starring Kinnosuke Nakamura, and directed by Tadashi Imai!

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

Bangkok Dangerous | aka Rain (1999) Review

Posted on February 22, 2011 by JJ Bona
"Bangkok Dangerous" Japanese Theatrical Poster

“Bangkok Dangerous” Japanese Theatrical Poster

AKA: Rain
Director: Oxide Pang
Co-director: Danny Pang
Cast: Pawalit Mongkolpisit, Premsinee Ratanasopha, Patharawarin Timkul, Pisek Intrakanchit
Running Time: 105 min.

By Woody

I’m really drunk right now, so excuse any glaring grammatical errors. “Bangkok Dangerous” is a really awesome low-budget flick. If you were to take Chow Yun Fat out of “The Killer” and replace him with Takeshi Kaneshiro’s character from “Fallen Angels”, you’d have a pretty shitty movie, right? Uh, not right. That is pretty much the premise of “Bangkok Dangerous” and it kicks ass, man. And it’s directed by the Pang brothers. I wonder if they are twins. If so, they should wear matching flannel suits and sing torch songs in seedy Thai nightclubs where rich American men go looking for underaged girl-boy “yum yum”. Like, when they aren’t directing and stuff. I notice also that one of the brother’s names is Oxide. Sounds like a chemical compound or something. I wonder if that is a common thing amongst the Thai…choosing their kids names at random from a chemistry book. If that is the case, I must on principle steer clear of getting any Thai chicks…I might end up with a strapping young lad named “Sodium Chloride” or “Phosphate” or something along those lines. It would be hard to steer clear of Thai chicks, though, if they all looked like Fon, played by the oh-so-hot Premsinee Ratanasopha. She was a definite highlight.

The movie looks really nice, too, considering the extreme low-budget. There are all kinds of nifty music-video style flourishes and stuff, and yet, it still retains this gritty verite feeling. Even though in the context of a typical shoot-’em-up action movie, “Bangkok Dangerous” really gives a good feel for what Thailand is like. A really, uh, dangerous place. So yeah, “Bangkok Dangerous” is really good. And not because I’m drunk and can’t stop smiling and I’m making my friends laugh. Oh, because…oh yeah, I just watched the movie. But I’m not all, like, into it, because I’m drunk because I’ve seen it already and it was really good. It’s like, a stylish verite low-budget awesome piece of work and I respect the Pang brothers so much for having made such a kickass little movie on such a low budget even if that one dude is named after a chemical compound. I would almost go as far as to call this the “El Mariachi” of Thai cinema, but I’ve only seen a few Thai movies and frankly I don’t want that chemical compound dude and his brother to come over here and direct, like, a “Spy Kids” sequel or anything. I’m so dizzy and I can’t see and it’s all blurry. What a strange feeling. It’s so funny…oh my gaw… dddddddddddddddddd…

Woody’s Rating: 8/10

Posted in Reviews, Thai | Tagged , , |

Beautiful Boxer (2004) Review

Posted on February 22, 2011 by ningen31
"Beautiful Boxer" International Theatrical Poster

“Beautiful Boxer” International Theatrical Poster

Director: Ekachai Uekrongtham
Cast: Asanee Suwan, Sorapong Chatree, Orn-Anong Panyawong, Kyoko Inoue, Yuka Hyodo
Running Time: 114 min.

By Ningen

An arthouse alternative to Ong Bak, Beautiful Boxer is a powerful, emotional, and riveting saga of an ordinary person named Nong Toom who takes up Muy Thai in order to fight in tournaments and get the money needed for a sex change operation. Raised in a poor nomadic family, Toom discovers his fascination with wearing make-up and women’s clothing at a young age. His family grudgingly accepts his new lifestyle, but they learn to love and appreciate him again when he helps them during their financial hardships. And through his family, Toom discovers his untapped potential at Muy Thai.

Despite his initial abhorrence of the violence in the sport, certain graceful movements which can only be taught to pros motivate him to continue the program. In fact, the make-up eventually becomes an asset, instead of a liability, because his trainer needs a gimmick to enter the top Muy Thai tournament in Thailand, and so he hypes Toom’s feminine ensemble. Ironically, however, Toom’s formidable skill is downplayed by audiences disgusted by his choice of fashion; and he’s ridiculed and ostracized by his own countrymen for his appearance. With nowhere else to go, he’s eventually forced to duke it out in Japan, where the women consider him a hot item. But by then, he’s burned out from fighting.

While Beautiful Boxer could’ve been just an ordinary boxing biopic, it actually does more than that by exploring sexual values and roles in Thai culture. In addition, you get a detailed insider’s view into the world of Muy Thai combined with gorgeous costumes and lush settings. ( Even a run-down shack looks glorious against a serene but majestic backdrop. Eat your heart out, Peter Pau!) But the performances are what really make it come together. Full of energy and realism, it’s easy to connect with the actors through the emotions that come with the triumphs and tragedies experienced by the protagonists. (In fact, I almost got teary-eyed in a few key scenes which would be Oscar bait if BB could compete.)

The only reason I didn’t give Beautiful Boxer a 10 is that I don’t feel the filmmakers delve deep enough into Toom’s childhood, and some of the fights go by too fast to catch, but neither issue affects the narrative. So unlike a certain American boxing movie featuring a chick with an overbite who can’t really box, but which cops out by making her kill herself, Beautiful Boxer delivers. It’s a shame it’s already two years old, because it deserves to be nominated for an Oscar for Best Foreign Film. It’s that good.

Ningen’s Rating: 9.5/10

Posted in Reviews, Thai | Tagged |

Crippled Avengers | aka Mortal Combat (1978) Review

Posted on February 22, 2011 by JJ Bona
"Crippled Avengers" Chinese Theatrical Poster

“Crippled Avengers” Chinese Theatrical Poster

AKA: Crippled Heroes
Director: Chang Cheh
Cast: Chen Kuan Tai, Lu Feng, Philip Kwok, Johnny Wang, Lo Meng, Chiang Sheng, Sun Chien, Dick Wei, Jamie Luk Kim Ming, Cheng Miu, Helen Poon Bing Seung, Chan Hung, Chow Kin Ping, Chui Tai Ping, Ha Kwok Wing
Running Time: 99 min.

By Joe909

This is often considered the Venoms’ best movie, though I prefer a few others to it. It has action, cool characters, crazy special effects, and intricate choreography, but it just seems to be missing something, if you’ll pardon the pun. Or maybe it’s just that I don’t like movies where the main characters are maimed and crippled within the first twenty minutes. But then again, if they weren’t, then this would be a very different movie.

The plot is the usual Shaw Brothers simple, which is to say, perfect. When I’m watching a kung-fu movie, I don’t want Shakespeare. I want blood and vengeance, and no one delivered it better than the Shaws. The opening of the movie lets you know what you’re in for: directly after the credits, Chen Kuan-Tai’s wife gets her legs cut off (and immediately dies, no doubt, of shock) and his young son gets his hands lopped off. This would make you think that Chen and his son are the heroes of the movie, and they’ll get revenge. But no, it turns out that Chen goes bad, and he raises his son to become a heartless machine with really cool metal hands. Lu Feng (portraying Chen’s grown up son) is the coolest thing about this movie. He’s like a kung-fu Darth Vader, with his Mazinger hands that shoot darts. Chen and Feng rule their village with an (wait for it) iron grip. First Feng cold-bloodedly cripples the sons of the men who cut off his arms. Then father and son go on to blind a journeyman (Kuo Choi), render a blacksmith (Lo Meng) deaf and mute, cut off the legs of some guy who just got fired from his job (Sun Chien), and crush a kung-fu warrior’s skull until he becomes an idiot (Chiang Sheng).

The crippled guys become friends, and decide to take Chiang Sheng back to his teacher, as they feel it’s their fault that he was made into an idiot; Chang had went to Chen’s place to get revenge for the way he treated our crippled heroes. So they haul themselves off to the old man’s secluded school, where he teaches them forms of kung-fu that improve their lot in life: Kuo Choi learns how to use his ears better than he ever used his eyes; Sun Chien is given iron feet with which he can shatter anything; Lo Meng learns how to use his sight to compensate for his lack of hearing; and Chiang Sheng basically becomes a better martial artist than ever: he just has the mental capacity of a two year-old.

What’s great about Shaw Brothers movies is how fast time flies, literally. We see a few minutes of training, and then the teacher says “You’ve been here for three years.” The teacher’s done his work; in a cool shot, we see Sun Chien, Kuo Choi, and Lo Meng walk proudly out of his school, complete men once again. What follows is fight scene after fight scene, most of which are unnecessary, but nevertheless amazing. Kuo Choi or Lo Meng will corner Chen Kuan-Tai’s first lieutenant, beat his ass around, and then he’ll run away. What it all boils down to is that Chen’s birthday is coming up, and this guy doesn’t want Kuo Choi et al to interfere with the festivities. So he hires a few thugs to take them down, and we get to watch the Crippled Avengers handle them, biding their time until they can get to Chen Kuan-Tai and Lu Feng.

And when they do, we get a phenomenal final battle that incorporates pole fighting, sword fighting, lots of flips, some incredible hoop work, and the usual martial arts fortitude displayed by the Venoms, with Chen Kuan-Tai proving their equal. If I had to level one criticism, it would be that this fight is a bit too choreographed; many times as Kuo Choi, Lu Feng, and Chiang Sheng are flipping and leaping around, it doesn’t even look like they’re trying to hit each other, more like they’re just showing off. The finale features the usual sacrifice as favored by Chang Cheh, but, shockingly enough, the heroes actually live through this movie (save for one, of course). In fact, this is one of the few movies in which Lo Meng survives.

It’s really hard for me to pick a favorite Venoms movie. Five Venoms had the tighter story, but didn’t give the Venoms a chance to strut their stuff. Crippled Avengers does for sure, but the story loses focuses in the last half, so that the action may prevail. That being said, the fight scenes are great, as is the costuming and set design. And Lu Feng’s just too cool in this one, giving us one of the greatest villains in old school kung-fu. So even though it might not be my favorite Venoms movie, I can see why it is for so many others. And as a final enticement, the DVD release is actually uncut and letterboxed, but supposedly Celestial will release a remastered version on DVD in Fall 2004.

Joe909’s Rating: 9.5/10

By Numskull

I quote Kool-Aid Man: “Oh yeeeaaahhhhh!!!”

This is a very solid old school martial arts movie that entertains on a very visceral level but also boasts a fair amount of ingenuity. It’s about four guys who run afoul of a local tyrant (Chen Kuan-Tai) and his equally heavy-handed (terrible joke) son (Lu Feng). For daring to stand against them and their bullying servants, each of them is violently maimed or handicapped in some way; one is blinded (Kuo Choi/Philip Kwok), another is rendered both deaf and mute (Lo Meng), another’s legs are severed below the knee (Sun Chien), and the noble-hearted wandering warrior (Cheng Shiang) who tries to set things right gets brain damaged thanks to a head-squeezing torture device. This last one is returned to his martial arts teacher by the other three, and they begin training with him to overcome their physical limitations and get some much-deserved payback. Kuo Choi learns to rely on his ears far more than a normal man, Lo Meng develops heightened awareness of his surroundings (and a habit of carrying mirrors) to compensate for his deafness, and Sun Chien gets fitted with a pair of iron feet.

After some very spiffy training sequences, it’s time for some equally spiffy fight scenes. The skill and physical prowess of the performers will make you curse the day that “martial arts” movies decided to depend more on pretty faces, wires, and camera tricks than on genuine talent. After we’ve seen our heroes develop great chemistry together, helping one another overcome their respective disabilities, we see them fight together in much the same manner, especially Kuo Choi and Lo Meng, who receive more spotlight than their companions in the film’s second half. This, to me, is the most irritating aspect of Crippled Avengers; I wanted to see all four of them fighting side by side and in more equal measure.

Though “Crippled Avengers” is the most sensible of this film’s numerous titles, the version I watched was the “Return of the Five Deadly Venoms” DVD from Crash Cinema; English dubbed (of course) and letterboxed. That title is rather misleading since this is in no way a sequel to Five Deadly Venoms; it merely uses the same actors in the leading roles. Such is the case with other films proudly bearing the “Venoms” label. And, once again, no female characters of any significance (unless you count Chen Kuan-Tai’s wife, who dies about two minutes into the film…so we won’t).

Numskull’s Rating: 8/10

Posted in Chinese, Reviews, Shaw Brothers | Tagged , , , , , , , , , , , |

Generation Gap, The (1973) Review

Posted on February 22, 2011 by JJ Bona
"The Generation Gap" Chinese Theatrical Poster

"The Generation Gap" Chinese Theatrical Poster

Director: Chang Cheh
Producer: Runme Shaw
Writer: Chang Cheh
Cast: David Chiang, Ti Lung, Agnes Chan, Kong Ling, Lo Dik, Yen Shi Kwan, Dean Shek Tien, Alexander Fu Sheng, Fung Hak On, Ricky Hui Kun Ying, Kong Do
Running Time: 113 min.

By Mighty Peking Man

Generation Gap is about one man’s (David Chiang) long and winding journey to find happiness and freedom-of-choice in a world full of assholes, cunts and dick-heads. In other words: society.

Judging from the time this movie was made and where it takes place, it’s the same bullshit no matter what age or country we’re living in. People telling us how to live, what steps to take in our future, and who we choose to be with. We’ve all been there – constantly being compared to our more successful peers; and parental figures questioning our ability to do the same. Generation Gap pushes the boundaries on these issues and leave us with the question: who’s right, youth or adult?

Generation Gap is definitely a change of pace for a Chang Cheh title. Don’t expect lots of brawls and blood, because you’ll be disappointed. It’s more of a drama, which shouldn’t come to anyone’s surprise considering the film’s title (but then again, IVL’s box-art seems to market it as a martial arts movie). However, don’t let this scare you away from having a good time. It has a fair amount of violence for the harder-nosed viewers. If anything, fans of Chang Cheh’s lighter action movies – such as Delinquent – should be happy.

The more I see David Chiang perform, the more I think he was the prime candidate for the Tony Leung Chiu-Wai (Chungking Express) of his time. To better say it, Tony Leung Chiu-Wai is the David Chiang of today. In fact, they bare an odd resemblance, both in appearance and mannerisms. Ti Lung, who’s just as charismatic, also appears, but only in an extended cameo.

One thing’s for sure: Generation Gap is bell-bottom fury at its finest. In fact, this movie feels more like the 70’s than the 70’s itself. The songs that play in the movie, which are performed by the film’s costar (real-life singing sensation, Agnes Chan), will make any AM Gold hit seem timeless. The wardrobe, props and film sets are colorful, tacky and wickedly surreal. If you’re a fan of retro culture in any type of films, then Generation Gap is your visual bible.

Mighty Peking Man’s Rating: 7/10

Posted in Chinese, Reviews, Shaw Brothers | Tagged , , , , , , , , |
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