Shaolin Temple | aka Death Chambers (1976) Review

Posted on January 21, 2011 by JJ Bona
"Shaolin Temple" Chinese Theatrical Poster

“Shaolin Temple” Chinese Theatrical Poster

Director: Chang Cheh
Co-director: Wu Ma
Producer: Run Run Shaw
Cast: Alexander Fu Sheng, Ti Lung, David Chiang, Chi Kuan Chun, Johnny Wang, Chiang Sheng, Lo Meng, Lu Feng, Philip Kwok, Choi Wang, Cheung Hei, Chiang Nan, Chui Tai Ping, Goo Man Chung, Hong Hoi, Kok Lee Yan, Ku Feng, Anthony Lau, Lau Fong Sai, Wang Chung
Running Time: 116 min.

By Joe909

Not to be confused with the Jet Li film of the same name, Shaolin Temple is a Chang Cheh/I Kuang production that provides a different look at my favorite director/writer combo. Its pace is leisurely, the story takes back seat to character, and the kung fu fireworks are mostly saved for the very end, but regardless, I was swept away by this great movie.

There are many similarities between this and Liu Chia-Liang’s later 36th Chamber of Shaolin, but whereas Liu’s movie focuses on one character, Shaolin Temple features several characters, jumbled together. I believe this actually caused contention in the Shaw Brothers camp; former Chang Cheh darlings David Chiang and Ti Lung are mostly relegated to supporting roles, with new favorites Fu Sheng and Chi Kuan-Chun in the lead. Apparently Chiang and Lung resented this, and shortly thereafter parted ways with Chang Cheh. I do feel a bit sad for the formerly-popular duo, though. It’s obvious Chang snubs them, rushing through their scenes so he can get back to Fu Sheng.

But that’s beside the point, because I actually prefer Fu Sheng’s character to either Chiang’s or Lung’s. I’ve always felt Fu Sheng had more star potential than any of the Shaws actors, and I’ll add my voice to the thousands of others who’ve said this: it’s a damn shame he died young. Fu gets to show off his acting range in this one, as usual getting all the laughs in the comedic parts, and then proving his worth when it comes to the fighting. Here he plays Fong Sai-Yuk, a character he portrayed in a handful of other Chang Cheh movies made in the mid-1970s.

Shaolin Temple can be seen as a melting pot of the Shaw Brothers’ acting stable. There’s David Chiang, Ti Lung, and Wang Chung representing the late 1960s/early 1970s era. There’s Fu Sheng and Chi Kuan-Chun representing the mid-1970s era, and Kuo Choi, Chiang Sheng, and Lu Feng of the Venoms crew representing the late 1970s/early 1980s. Then there’s Wang Lung-Wei, who was a constant villain throughout all of the eras. Chang Cheh juggles all of these acting groups very well for the most part, though as I said Fu Sheng takes predominance.

The movie details the final days of the Shaolin Temple, as Manchu bastards plot its destruction. Fu Sheng and Chi Kuan-Chun are Fong Sai-Yuk and Hung Sze-Kwan respectively, and seek admittance into the Temple. The monks only let them in once they realize that the imminent destruction of Shaolin would erase their style of martial arts from the world, so the more students the better. Fu Sheng and his pals are given menial jobs however, and only Chi Kuan-Chun is instructed in kung-fu. Time passes by in the usual fast-forward Shaw Brothers fashion, until Ti Lung, David Chiang, Wang Chung, Wang Lung-Wei, and a few others arrive as soldiers opposed to the Manchu. As they were once Shaolin students, they’re admitted promptly into the Temple, much to the chagrin of Kuo Choi and his fellows, who have been kneeling outside for days, awaiting admittance. Eventually they are accepted as students, and here the film juggles training sequences between the three groups.

Fu Sheng resorts to learning kung fu on the fly from a masked master. Eventually he and Chi Kuan-Chun decide they’re now good enough to leave the Temple and accomplish the mission for which they became students: namely, gaining revenge. However, leaving Shaolin is just as difficult as entering it, and they must leave through the Alley of Death, a “death chamber” that’s loaded with traps and wooden robots. Treachery is afoot in the Temple, as well, with Wang Lung-Wei and one of the monks scheming together to bring the Temple down from the inside. The two of them attempt to kill Fu and Chi, but with the assistance of Chiang, Lung, and Chiang Sheng our two heroes manage to escape.

Later, after they’ve gained revenge and notoriety as great fighters, Fu and Chi discover Manchu soldiers en route to the Temple. They go back to inform the monks, but the old men decide they’ll die with Shaolin. This leads to the final battle, which is a tour de force of martial combat. The Manchu soldiers arrive, but mostly stand around outside and lamely shake their spears while their kung-fu masters (Lu Feng among them) storm the Temple and take on the monks in one-on-one combat.

The choreography here is very good, though Kuo Choi and Lu Feng put the others to shame, even though they only give a glimpse of what they’d later accomplish in the Venoms movies. But with all of the chaos and cutting to and from different fight scenes, the end battle is a bit overwhelming. If the Water Margin’s finale was anti-climatic, then the finale for Shaolin Temple is TOO climatic. Especially after the leisurely pace of the preceding hour-plus of story. Another problem is that the Temple is taken down too quickly. All we see is kung-fu combat among the principles, a few Manchu soldiers getting in lucky strikes with their spears, and then suddenly the Temple’s burning to the ground, even though the “cannons,” which are mentioned, are never seen. I guess they were beyond the budget.

The violence level is toned down, with only the occasional spurt of blood from mouths or sword slashes. I think there must have been a crackdown on cinema violence in the mid-1970s in Hong Kong, as this and other Chang Cheh movies of the era have suspiciously-minimal carnage. That’s not to say this movie is Disney-lite. In fact, tons of guys buy the farm in the climax, but just not as bloodily as they would’ve in earlier and later Shaw Brothers movies. Set design on the other hand is as high as ever, though most of the action takes place in the Temple itself. And you’ve gotta love those wooden robots.

Like I said, this movie shows a different side of the Chang Cheh experience. Instead of rushing to vengeance-fueled melees, he takes his time with the story, giving it a near-epic feel. Comedy is sprinkled about, though unfortunately it’s complimented with goofy sound effects. They even pull out the traditional “wah-wah-waaaah” French horn bit. I guess it’s the fact that it seemed so different from most other Chang Cheh films is what made the movie so enjoyable. The guy was a great director, and the historical revisionism currently going on is bullshit. (I read an online review that claimed Chang was the Shaw Brothers’ “weak link!?!” He was their top director!) If a movie’s got Chang Cheh’s name on it, most of the time it’ll at least be very good, but most of the time it’ll be great. And Shaolin Temple is great.

This movie leads directly into Five Shaolin Masters, a 1974 film directed by Chang Cheh and featuring most of the same actors (save for the Venoms crew). Interestingly though, only Ti Lung, David Chiang, and Wang Lung-Wei play the same characters in that film, with Fu Sheng and Chi Kuan-Chun portraying different Shaolin heroes. It’s also interesting that Wang Lung-Wei plays the same character in Shaolin Temple and Five Shaolin Masters, as his character dies in both films! I guess he knew “regenerative kung fu” or something. Anyway, this technically makes Shaolin Temple a prequel, much like Phantom Menace was a prequel. But whereas Phantom Menace was a big steaming pile of shit, Shaolin Temple is excellent filmmaking.

Joe909’s Rating: 10/10

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

Singing Killer, The (1970) Review

Posted on January 21, 2011 by JJ Bona
"The Singing Killer" Chinese Theatrical Poster

“The Singing Killer” Chinese Theatrical Poster

Director: Chang Cheh
Cast: David Chiang, Ti Lung, Wong Ping, Tina Chin Fei, Guk Fung, Chan Sing, Stanley Fung (Sui Faan), Dean Shek Tin, Yeung Chi Hing, Wong Chung, Lau Gong, Yip Bo Kam, Lee Sau Kei, Nam Wai Lit, Pao Chia-Wen, Wong Pau Gei, Lau Kar Wing, Lo Wai, Wong Ching, Fung Hak On, Tino Wong Cheung, Yuen Wo Ping, Yen Shi Kwan
Running Time: 105 mins.

By Mighty Peking Man

The more I watch these obscure flicks by Chang Cheh, the more I realize that “diversity” is not the word that best describes this movie-making genius. “All over the f-cking place” is more like it. How does Chang Cheh jump from a legendary tale of a One-Armed Swordsman to the kung fu cult spectacle of Five Deadly Venoms; and still have an eye for the ultra violent mayhem of Five Element Ninjas, the coming-of-age street tales of Delinquent, and the gangster saga of Chinatown Kid?

Sure, there have been many filmmakers who tend to try something new or tackle different genres, but with Chang Cheh, the high notes are usually hit no matter what he’s experimenting with.

With Chang Cheh’s The Singing Killer, we have a film that’s part noir, part musical, part heist, part love story and part action.

Johnny (David Chiang) is a famous pop star who attracts hundreds of fans at a busy nightclub where he sings his heart away on a stage filled with extravagant props, groovy dancers, and a full-scale band. He’s so popular, that everywhere he goes, he’s mobbed by giddy fans i.e. A Hard Days Night. However, there is a dark side to Johnny. Years earlier, he was connected to a group of criminals where he, for obvious reasons, was given the nickname The Singing Killer. Now, his old friends are back and they’re forcing him to take part in a million-dollar heist that can not only ruin his career but also send him to prison. Using different methods such as blackmail, getting to the woman he loves, and his celebrity status, they send Johnny back to a world he wish never existed.

Though not as bloody and violent as I’d like it to be, it still packs a share of brawls and bloodshed. This is especially apparent in the film’s second half when things start to heat up. The martial arts choreography by Lau Kar Leung and Tong Gaai never really stand out. The problem is they suffer from the typical swingy-arm syndrome that is usual in most early 1970s kung fu films. Once again, this is another acceptable flaw, because with its solid plot holding up the movie, the martial arts and action sequences are less of a priority. Hell, there’s not even a one-on-one duel with the buff Chan Sing who plays the main bad guy who’s just begging to get the shit beaten out of him.

The songs that are performed in this movie are pure 1970s cheese, which is more of a treat than a negative thin – most of them are unintentionally hilarious. I doubt David Chiang is really singing. Most of the time they didn’t even bother to match his lips with the words. There are certain instances where his lips are several seconds off. The dated performances may raise a brow on people’s faces, but walking into a film called The Singing Killer, none of it should come as a surprise.

Like most of the early Shaw Brothers flicks, look out for a handful of pre-stardom cameos and co-starring roles (like Yuen Wo Ping, Wang Chung, and most notably, Dean Shek, mostly known to the Asian cinema fans for his roles in Drunken Master and A Better Tomorrow II). Ti Lung shows up for a few seconds of screentime as a guitar player for David Chiang’s band.

Overall, The Singing Killer is a well-done movie that tends to feel more like a Hollywood heist film than a Shaw action fest. It’s not as brutal as you’d expect but if you’re open to explore different genres, you’ll find it entertaining. Besides, it’s a Chang Cheh flick. When was the last time he let you down?

Mighty Peking Man’s Rating: 7/10

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

Flag of Iron | aka The Spearmen of Death (1980) Review

Posted on January 20, 2011 by JJ Bona
"Flag of Iron" American Theatrical Poster

“Flag of Iron” American Theatrical Poster

Director: Chang Cheh
Cast: Philip Kwok, Chiang Sheng, Lung Tien Hsiang, Lu Feng, Wong Lik, Chui Tai Ping, Wong Ching Ho, Lam Chi Tai, Liang Yao Wen, Chan Shen, Skinny, Chan Hon Kwong, Chan Shu Kei, Chiang Kam, Chow Kin Ping, Fung King Man
Running Time: 108 min.

By Joe909

Flag of Iron is one of the better Venoms movies, with intricate choreography, colorful villains, fantastic sets, and excessive violence. I wish I could direct you to your nearest DVD retailer to pick it up, but unfortunately, until Celestial releases it, getting hold of this movie will require a lot of digging.

Now, you might see the NS DVD release of Flag of Iron at your local store, but that is not the version you want to buy. In fact, if you see the NS release, what you want to do is chuck it into the nearest dumpster, and then run like hell when security comes after you. Because that release, beyond being a bootleg itself, is cut into ribbons. The NS release runs 89 minutes. Flag of Iron, in its uncut state, runs 114 minutes. That’s nearly half an hour that’s been cut from the NS version!

Flag of Iron is similar to another Venoms movie, Masked Avengers, in that both are heavy on plot, both lack main Venoms Lo Meng and Sun Chien, and both are impressively violent. Of the two, I think Masked Avengers is the superior movie (not to mention the more gory), but Flag of Iron should rank high on any Shaw Brothers fan’s watch list. But like I said, be sure to hunt down a copy of the uncut version, which thankfully was released on video in Europe under the title The Spearman. Otherwise all we’d have would be the chopped-up NS release, which deletes major plot points, cuts off dialog even when characters are in the middle of a sentence, and tones down the violence.

The story concerns the virtuous Iron Flag clan, which is headed by a respectable, elderly leader who likes to keep the city clean. Lo (Kuo Choi) and Yuen (Chiang Sheng) are two of the top brothers, and we meet them as they bust a prostitution ring that’s run by a rival gang, the Eagle Clan. The Eagles are the Iron Flag’s sworn enemies, and Lo suspects a gang war is soon to erupt. After busting their operation, the Iron Flag leaders are shocked to receive an invitation to join the Eagle Can for dinner, to discuss peace between the gangs. They all suspect a trap, and Chow (Lu Feng), the eldest member of the Iron Flag clan, reveals that he’s hired an assassin who goes by the name Spearman (Tien Sheng Lung) to protect them.

Of course, it’s a trap, and all hell breaks loose in the restaurant. The unarmed Iron Flag leaders are surrounded by dozens of Eagle Clan fighters, but the Spearman arrives just in time to toss them small, spear-tipped weapons to fight with. But by the end of the fight, both the Iron Flag and Eagle Clan leaders are dead, and the remaining Eagle Clan fighters have escaped. Chow is elected to be the new Iron Flag leader. It’s decided that Lo should take the blame for everything, as the police inform them that the Eagle Clan is pressing charges, for the murder of their leader. Lo agrees to leave town for about a year, only to come back when things settle down. Chow promises to send him money once he gets settled.

Big surprise: the money never arrives, and Lo spends the next year working as an anonymous waiter in a restaurant. Things get worse when he’s attacked out of the blue by a guy with a large axe. Chang Cheh works in some dark comedy here, as Lo takes on the dude superhero style, fighting him while making sure no one notices, so his cover isn’t blown. And then when he kills the guy, he drops the corpse into the restaurant’s water well. How sanitary! Yuen shows up, reveals he’s been kicked out of the clan, and tells Lo that Chow has made the clan even more crooked than the Eagle Clan ever was. Prostitution, gambling, the works. Yuen also tells Lo that the dreaded 10 Killers, a group of mysterious assassins, are out for him, and they’ve been sent by Chow. Lo sends Yuen off to think things over.

Here the film enters its best part, as Lo takes on each of the 10 Killers. The fights here aren’t as long and drawn out as they are in most Venoms movies, but each features flawless choreography, outrageous weapons (one of the Killers uses an abacus), great use of the marvelous sets (I especially enjoyed the image of Kuo Choi jumping up on a rooftop, where he hopped around as the tiles slid out from beneath his feet) and some good old Chang Cheh bloodshed. This sequence is similar to another Shaws movie, Sun Chung’s 1978 Avenging Eagle, in which a gang of colorful assassins pursue Ti Lung and Fu Sheng. But whereas those assassins all seem like a bunch of comic book characters, the Killers in Flag of Iron are more the type who blend into their surroundings.

After defeating the Killers, Lo and Yuen head back to confront Chow. But instead of engaging in an immediate fight, they bide their time. Lo discovers that Chow is attempting to bribe him into rejoining the clan; making his underlings lose to Lo in high-stakes gambling matches. In the midst of this, the Spearman returns. He informs Lo that he is the man who killed the Iron Flag clan leader. He only did so because he was tricked into it by the despicable Chow, who wanted to take control of both clans. The Spearman insists that he wouldn’t kill a good man, and so wishes to join Lo and Yuen in their revenge.

The film takes its time getting to said revenge, with Lo, Yuen, and the Spearman conspiring against Chow. At one point Lo gets caught, and in a memorable scene he’s strung up in a leather cobweb that’s been soaked in water. As it dries, it gets tighter, crushing him to death. Soaked in blood, Lo looks to be done for, until he’s saved by an Iron Flag member who’s still virtuous. Finally the stage is set for the final showdown, as Lo, Yuen, and the Spearman take on Chow and his deadly flag.

The movie isn’t as fight-filled as you might expect. It’s more of a plot-driven story, with a focus on Kuo Choi’s character Lo. In fact, it seems like it takes forever to get to the final showdown. Chiang Sheng in particular doesn’t do much in this movie, even in the finale. He spends most of it off-camera, only to arrive to aid Kuo Choi for a few moments. It’s Kuo Choi who sees the most action in this film, and is its main star. Chiang Sheng is in total sidekick mode, and only gets to show his comedic talents in the first few minutes. Lu Feng is the same rotten bastard as always, but he only gets in two fights in the film. Regardless, all of the Venoms look pretty cool in the black and red garb the Iron Flag clan wears.

The movie features all manner of weaponry, and those fearing that it’s full of a bunch of guys just waving flags at each other are in for a surprise. The flags aren’t broken out until the end, and in fact they give us the film’s best gory scene, as one of them is hurled all the way through someone. The flag flies through the dude and embeds itself in a wooden beam, drenched in blood. More gore is sprinkled about the movie, and each of the 10 Killers gets wasted in creatively bloody ways.

One thing that brings this movie down is that Lo Meng, the muscle-bound Venom, is missing. I don’t know what it was with Lo Meng, but he had a tendency to not appear in the occasional Venoms movie. He would have been ideal to play the Spearman in Flag of Iron, but I guess he was too busy working out in the Shaw Brothers gym or something. It didn’t matter anyway, because it was around this time that Lo left the Venoms stable. I guess he got sick of always being the mark in Chang Cheh’s movies.

Joe909’s Rating: 9/10

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

Sword of Swords, The (1968) Review

Posted on January 20, 2011 by JJ Bona
"The Sword of Swords" Chinese Theatrical Poster

"The Sword of Swords" Chinese Theatrical Poster

Director: Cheng Kang
Writer: Cheng Kang
Producer: Runme Shaw
Cast: Jimmy Wang Yu, Li Ching, Shu Pooi Pooi, Wong Chung Shun, Cheng Miu, Tin Fung, Liu Chia Liang, Yeung Chi Hing, Yen Shi Kwan
Running Time: 105 min.

By Mighty Peking Man

Starring tough guy Jimmy Wang Yu and “Baby Queen” Li Ching, The Sword of Swords is a tale of a legendary sword and one man’s extreme honor to keep the powerful weapon in the hands of its rightful people, no matter what. This is pretty much what you need to know. Saying anything more about the plot will ruin the many twists and turns which serve as the film’s strongest functions.

The Sword of Swords pulls no punches. It’s, without a doubt, one of the most brutal Shaw Brothers films I’ve ever seen. It takes awhile for the pace to pick up, but when it does, get ready for some hardcore action. It can easily measure up against the bloodiest of Chang Cheh’s work, which is saying a lot.

Jimmy Wang Yu plays a similar role to his popular One-Armed Swordsman character, even sporting his trademark 5 o’clock shadow. His love interest, played by Li Ching, is present for nothing more than being helpless and cute (well, at least to me).

The enemy elements are as ruthless as can be. This can be attributed to the perfect casting of both Tien Feng and Huang Chung Hsun. I don’t think I can remember the last time I saw a movie where I absolutely loved to hate the bad guys. Beatings and killings of man, woman, elderly, children, and babies – you name it. In more than one point, the good guys are put in such a hopeless situation, that victory is more than unlikely.

Lau Kar-leung and Tang Chia’s beautiful fight choreography stands out. Judging from what I’ve seen, the kung fu scenes are a lot more crisp and entertaining than many films of this time. Look out for a cameo by Lau Kar-leung as a fighter with below average kung fu skills (imagine how hard that role was for him)…

The Sword of Swords suffers lightly from scene continuity issues. Since this is my first Cheng Kang film (and definitely not my last), I wouldn’t be able to tell you if his other projects have the same problem. Although they were very obvious in many scenes, in no way did they take away from the rest of the film’s brilliance.

Sword of Swords is one hell of a movie. Recommended.

Mighty Peking Man’s Rating: 10/10

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

Invincible Shaolin | aka North Shaolin vs. South Shaolin (1978) Review

Posted on January 20, 2011 by JJ Bona
"Invincible Shaolin" Chinese Theatrical Poster

“Invincible Shaolin” Chinese Theatrical Poster

AKA: Unbeatable Dragon
Director: Chang Cheh
Cast: Lu Feng, Sun Chien, Chiang Sheng, Philip Kwok Chung Fung, Lo Meng, Wai Pak, Johnny Wang Lung Wei, Kara Hui Ying Hung, Niu Niu, Yau Chui Ling, Chan Shen, Chan Hung, Cheng Miu, Chow Kin Ping, Chui Tai Ping
Running Time: 98 min.

By Mighty Peking Man

An evil Ching warlord (Wang Lung-Wei) has a secret vendetta against the North and South Shaolin masters. Instead of going through the trouble of killing both groups with his own army, he decides to set up the perfect swindle: make them kill each other. He invites a few members from both parties to demonstrate their skill, then persuades them to fight each other in a tame match. The Northern fighters (Kuo Choi, Lo Meng, and Wei Pai) are victorious over the Southern fighters. The two groups depart and nobody is left hurt – that is – until the Ching warlord decides to secretly murder the Southern fighters. He then spreads false information to other Southern students (Lu Feng, Sun Chien, and Chiang Sheng), claiming they were killed by the Northern fighters. Now the Southern clan wants revenge. This erupts an all-out kung fu war between the North and South, who have no clue who the real enemy is.

Invincible Shaolin is a 90-minutes spectacle of deceit, annihilation and kung fu; and talk about a climax where all bloody hell breaks loose. In between the crisp choreography lies some great interaction between the fighters and their social surroundings. Unlike most kung fu movies, the characters are gleaming with personality. They’re smooth with women, honest to their friends, but naive when it comes to their enemies.

To simply put it, Invincible Shaolin is one slick flick. You can thank Chang Cheh for this. Chang Cheh is the man Lo Wei wanted to be. While Bruce Lee was perfecting his one-on-one bout with Sammo Hung in Enter The Dragon, Chang Cheh was doing some pre-John Woo/Ringo Lam crime shit with Police Force. While a drunken Jackie Chan was farting in people’s faces and sticking frogs down his underpants, Chang Cheh was gathering up the “Venoms” and forcing the North and South Shaolin masters to a false state of martial combat. Chang Cheh didn’t want to make kung fu movies, he wanted to make movies with kung fu in them. It’s just something we took for granted, because the action was always as solid as the plot.

Highly recommended.

Mighty Peking Man’s Rating: 10/10

By Numskull

If you will be good enough to read Mighty Peking Man’s review, located directly beneath mine, you will note that he has an unusual moment of clarity near the end. He writes: “Chang Cheh didn’t want to make kung fu movies, he wanted to make movies with kung fu in them.” An eloquent and accurate statement. Unfortunately, the rest of the review consists entirely of Mr. Man’s usual inane babble and verbal diarrhea. (Don’t worry MPM, we still love you. Well, LIKE you, anyway. Actually, we’re kind of lukewarm on you. Okay, so we barely tolerate you. Oh, let’s be honest here…we fucking hate you and we wish you were dead. But we respect you enough to pretend otherwise, so be thankful.)

Anyway. My knowledge of the genre and the filmmaker in question is somewhat limited, but it seems to me that Invincible Shaolin is about as much of a “kung fu movie” as you can get, rather than “a movie with kung fu in it.” This is in no way intended to be a derogatory statement; it’s just that I see very little going on here other than a straightforward, revenge-driven plot, extensive training sequences, and a great big fight at the end. For a while, it looks like there’s going to be more to it, but once the three southern ass-kickers-in-development (Feng, Zhangcheng, and He Yingwu) begin their harsh and seemingly endless training, the film becomes about as pure a martial arts spectacle as you could hope for, heavier on the “arts” than the “martial.” The battle in which all of this culminates is long and bloody with a good number of combatants, but I, for one, didn’t have a whole lot of fun getting there. I can only watch Lo Meng accidentally breaking eggs so many times before I get snippy and unpleasant. The painfully abrupt and inconclusive ending didn’t help, though I suppose a more elaborate finish wouldn’t have been a big improvement.

Depending on your point of view, file this under “Highly Praised Martial Arts Movies That Numskull Doesn’t Particularly Care For” or “Classic Martial Arts Movies That Numskull The Drooling Brain-Dead Halfwit Doesn’t Get”, next to The Prodigal Son and 36th Chamber of Shaolin.

Numskull’s Rating: 6/10

By Joe909

This is what Shaw Brothers movies are all about. If you’ve ever wondered why some of us are stuck on old-school flicks, then you need to check out Invincible Shaolin to understand why. I’ve never seen a “New Wave” kung-fu movie that could hold a candle to a good Shaw Brothers movie, and this is one of their best. It’s got a great story, great acting, drama, comedy, action, bloodshed, and marvelous kung-fu.

Years ago, back when kung-fu movies were hard as hell to find, I would order videos from Far East Flix. At the time (early ’90s) I thought it was a great deal: $20 for a dubbed, bootleg tape. Hey, it’s all we had. I used to call the owner and talk with him for long sessions over what movies he thought were good. He always told me Invincible Shaolin was “awesome,” but I’d read online that it was one of those movies that’s mostly made up of training sequences. I’ve always more been into movies where the heroes already know kung-fu, so I passed on Invincible Shaolin. My loss.

But after reading some positive reviews online, I decided recently to pick up the dvd, which is put out by NS video. Surprise surprise, it’s actually uncut, letterboxed, and of above average picture quality. I have read, though, that Celestial Pictures (which now owns all of the Shaw Brothers movies) has slated Invincible Shaolin for their first wave of releases, so sooner or later a better print will be on the market. But for now, the NS release will do just fine.

The guy from Far East Flix was right, the movie is about training. But it’s training for guys who already know kung-fu. And it’s also entertaining training, of the type seen in “Master Killer.” But beyond that, the training scenes are benchmarked by life-or-death battles. The end battle in particular is one of the bloodiest fights in Venoms history. Not of “Super Ninjas” caliber, but still pretty bloody. For example, one guy gets his chest torn open, and several characters are impaled by spears.

What sets Invincible Shaolin above the usual, old-school theme of good-versus-evil, where some characters are clear-cut good, and others are clear-cut evil, is that every Venom in the movie is a hero. Yes, even Lu Feng, the constant villain in just about every other Venoms movie. But still, these men find themselves in a battle to the death, as the South Shaolin fighters (Kuo Choi, Lo Meng, and Wei Pai) are tricked into believing that the North Shaolin fighters (Lu Feng, Sun Chien, and Chiang Sheng) have killed their classmates. So while the North Shaolin fighters obliviously go about their lives, courting fiancés and upholding virtuousness, the South Shaolin fighters train to kill them.

The training sequences are entertaining, but do slow down the movie. This is the only thing that keeps the film from being perfect, as the pace plods in the middle half. Lo Meng has the best training sequences, learning Mantis Fist. He proves again that he’s as equally funny as Chiang Sheng, the Venom normally referred to as “the funny one.”

The end fight is both exhilarating and tragic. Driven by their teacher’s dying words, Kuo Choi, Wei Pai, and Lo Meng confront the Northern Shaolin masters on Sun Chien’s wedding day. As their shocked fiancés watch on, Lu Feng, Sun Chien, and Chang Shieng grudgingly accept the South Shaolin masters’ challenge. To make matters worse, a cadre of Ching soldiers show up, making this final battle one of the best in both Venoms and Shaws history.

Though it doesn’t feature the outrageous costumes or exotic weapons that are normally associated with Shaw Brothers films, Invincible Shaolin is one of the best movies Chang Cheh and the Venoms were ever part of. For once, the craziness is toned down and the characterization is turned up, way past the usual Shaw Brothers movie. Invincible Shaolin has real heart and soul, and I recommend it entirely.

Joe909’s Rating: 9.5/10

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

Vengeance | aka Kung Fu Vengeance (1970) Review

Posted on January 20, 2011 by JJ Bona
"Vengeance" Chinese Theatrical Poster

“Vengeance” Chinese Theatrical Poster

Director: Chang Cheh
Cast: David Chiang, Ti Lung, Wong Ping, Guk Fung, Wong Chung, Cliff Lok, Hsu Hsia, Wong Ching Ho, Cheng Lui, Chan Sing, Cheng Hong Yip, Chuen Yuen, Guk Fung, Lau Gong, Shum Lo, Wong Kwong Yue
Running Time: 98 min.

By Joe909

Vengeance is the perfect revenge movie. Chang Cheh accomplishes in 90 minutes what it takes Quentin Tarantino 4 hours to do in Kill Bill. But don’t get me wrong. I am in the grip of a love affair with Kill Bill, so I obviously think it’s a better movie. I just can’t help but admire Chang’s fat-free nihilistic revenge fantasy.

The opening itself is lots of violent fun, with the film’s title briefly appearing in blood-red cartoon characters, only to melt off the screen. It’s 1925 in “a city in China,” and the story begins with Ti Lung, a Peking Opera star, trying to keep an eye on his adulterous wife while at the same time performing for an audience. The bitch is having multiple affairs, but for some reason Lung still hangs onto her. He warns a bunch of thugs to keep away from her. The next day Lung heads into a restaurant, only to find that every patron is strapped with a knife. They attack en masse, in a furious battle that prefigures the bloody climax of Boxer from Shantung. I should mention that this fight is very gory, even by early Shaws standards. By the end of it, Ti Lung is a mess, sliced up with his eyes poked out. He dies after taking out several enemies. All of this happens within the first twelve minutes.

Immediately after this (like I said, the movie’s fat-free), Lung’s angst-ridden brother David Chiang strides into town. He’s looking for, you guessed it, vengeance, because a movie with the title “Forgive and Forget” wouldn’t do so well at the box office. The film then follows mostly the same path as Fist of Fury, but we must remember that Vengeance came out two years before Bruce Lee’s movie. In some ways I prefer Vengeance’s handling of the subject matter. Instead of engaging in balls-to-the-wall kung-fu fights with his targets (Chiang of course was not nearly the martial artist Bruce Lee was), Chiang instead knifes everyone on his list. And boy, he kills everyone. That beautiful Shaws red-paint blood flows freely in this one. I love it!

But speaking of the kung-fu, there are several fights in this, and they aren’t choreographed as well as you’d wish. They’re not Mannix-level, mind you. In fact, they really aren’t that bad. It’s just that we all have been spoiled by modern-day, intricate choreography, thank you very much, Jackie Chan. Ti Lung has a few fights before his grand exit, and it’s obvious he was the better martial artist, but this movie was intended as a David Chiang vehicle. Although Lung is still revered as a great early kung-fu actor, David Chiang’s star has faded; it seems obvious to me that when Bruce Lee would famously poke fun at the sub par kung-fu talents of actors in early 1970s Hong Kong movies, he was indirectly referring to David Chiang. But still, Chiang does have a great screen presence; his hooded eyes and constant sneer make him believable in the role. And speaking of famous early Shaws actors, Chen Kuan-Tai makes a brief cameo as a guard who can’t NEARLY take a knife to the gut as well as his character in Boxer from Shantung could.

The Celestial disc is fantastic! I can’t believe how well they’ve restored these old classics. I could moan that the English dub wasn’t included (part of my lifelong enjoyment of Shaw Brothers movies has been the cheesy English dubbing), but it’s really no big deal. The movie is also uncut, in full color; Vengeance reverted to black and white in certain scenes in the US print, to hide the violence. Yes, this is what gave Quentin Tarantino inspiration to make parts of the “House of Blue Leaves” fight sequence black and white in Kill Bill; he himself stated this in an interview on the Charlie Rose show.

The DVD also features multiple extras. Several trailers are included, as well as behind the scenes shots and documentaries on Ti Lung, David Chiang, and most importantly, Chang Cheh. The Chang bio is worth the price of the DVD itself, as it features current-day Hong Kong directors (i.e. John Woo, Tsui Hark) and actors (i.e. Andy Lau) reminiscing about him. It’s all in Cantonese, but English subtitles are offered. We also see shots of several Chang movies, and the interesting thing is, Celestial uses clips from movies that aren’t remastered. For example, multiple clips from One-Armed Swordsman are shown, the print all faded and worn, with the burnt-on Chinese and English subtitles at the bottom of the frame. Really makes you appreciate even more how Celestial has cleaned up these movies.

Production quality for the movie is very high, the acting is pretty good, and the fighting, while not elaborate as a latter-day Shaws flick, is a carnage-filled delight. You need some Vengeance in your life.

Joe909’s Rating: 10/10

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Daredevils | aka Magnificent Acrobats (1979) Review

Posted on January 20, 2011 by JJ Bona
"Daredevils" Chinese Theatrical Poster

“Daredevils” Chinese Theatrical Poster

AKA: Daredevils of Kung Fu
Director: Chang Cheh
Cast: Lo Meng, Chiang Sheng, Wong Lik, Sun Chien, Lu Feng, Phillip Kwok, Chui Tai Ping, Chan Shen, Wang Han Chen, Yeung Hung, Tam Jan Dung, Walter Tso Tat-Wah, Ng Hong Sang, Paul Wong Kwan
Running Time: 101 min.

By Joe909

Daredevils was one of the first Venoms movies I saw, and hence was an early favorite. Unfortunately, it doesn’t hold up, these days. The Venoms give it their all, the acrobatic kung-fu is as great as ever, and the story’s different than the usual “vengeance for my dead dog” routine, but what kills the movie, I’m sad to say, is Chang Cheh’s directing, which for lack of a better word is just plain lazy.

Chang Cheh could have become the Hong Kong Sam Peckinpah, creating movies that dealt with social issues while at the same time delving into hardcore violence. Boxer from Shantung, Duel of the Iron Fist, and especially Vengeance all prove that Chang was a gifted director. But as the years progressed, he instead fashioned himself into a workhorse, and his directorial skills began to wane. But then again, the man directed around a hundred films in his lifetime, most of them made in the 1970s. The occasional misfire was only natural, as was the fact that his later films all feel like they’ve just come off a factory line.

There are long shots in Daredevils that are made up of nothing but Chiang Sheng, Kuo Choi, and Lu Feng doing backflips and other acrobatic tricks. In fact, you could just watch this movie and save yourself a few bucks, the next time a Chinese acrobatic troupe comes into your town. You’ll see most of the same stuff here in this movie. The three main Venoms had a Peking Opera background with a focus on tumbles, leaps, flips, and the like, and this movie serves as a display of the skills they learned. Apparently Chang was happy to just let them show their stuff, and either fell asleep behind the camera or let the boys block out the direction on their own.

The story concerns Lo Meng’s quest to avenge his father’s murder. That’s the starting point for the story, at least. As usual, Chang gives Lo Meng short shrift, and he’s barely in the movie. It’s no wonder Lo was soon to leave the Venoms crew. Anyway, it’s the early 20th century (Daredevils takes place around the same time period as two other Venoms movies: Killer Army and Magnificent Ruffians), and warlords are taking over China. Lo’s dad is a military chief who’s murdered by a ruthless general, played by Wang Li. Lo is the only survivor left in his family, and he hooks up with his pals Kuo Choi, Chiang Sheng, Sun Chien, and Lu Feng, hoping they can help him figure out how to get revenge.

The only problem is, his pals are all starving acrobats, who put on street shows to raise eating money; they don’t have much help to offer. While they goof off and get drunk, Lo sits in the corner and sulks. Viewers hoping to see Lo Meng show off his superb comic timing will be let down. Lo gets the straight role in this film. And speaking of role reversals, Lu Feng, the shifty-eyed Venom who was always the villain, is actually one of the good guys in this movie. It’s kind of hard getting used to seeing him smile and joke around with the others, as you keep expecting him to stab one of them in the back.

Lo takes off on his own to confront Wang Li. The two square off in a nice fist-versus-swords fight, but the problem is, Wang employs a few bodyguards who also specialize in martial arts. Lo breaks out a pair of nunchucks, something uncommon in a Shaws film, but since we’re only about thirty minutes into the movie, it’s obvious how this fight is going to end.

The remaining Venoms find that Lo left them access to his bank account. Learning of their friend’s demise, they plan on gaining vengeance. Here’s where the movie differs from the norm. Ordinarily, the heroes would train for a while, then assault the villain’s headquarters. In Daredevils, the Venoms instead devise to get themselves into Wang Li’s confidence, so that they can just take on him and avoid the army at his command.

The Venoms break into an armory, steal a few guns, and use them to make Wang Li believe they are envoys for a high-ranking warlord. Using Lo’s money to make themselves appear important and influential, they successfully dupe Wang into believing they’ve been sent here by their master to offer Wang a new position in the army. (This matter of warlords and weapons shipments is similar to Chang’s 1971 movie Anonymous Heroes, which also took place in the same time period).

The middle half of the movie is made up more of intrigue and subterfuge than kung-fu chaos. There’s a great nighttime raid on an armory, when the Venoms steal the guns. Chang films it so it’s just a long shot of the boys rappelling down a rope, as a guard tower looms behind them. When you realize all of this is being filmed in an indoor studio, it’s very impressive.

Eventually, of course, the Venoms are discovered, but not before they’re able to corner Wang and his bodyguards and take them on in combat. The final fight brings the movie back into the normal Venoms oeuvre, but it’s strange to see Lu Feng fight WITH Chiang Sheng and Kuo Choi, instead of against them. This alone makes the movie unique. Here the Venoms use poles, ropes, and axes to fight their enemies, who themselves rely on short swords and throwing knives.

I wouldn’t rank Daredevils highly on a list of best Venoms movies. In fact, it’s now one of my least favorites. Not only for the reasons above, but also because the Venoms’ ruse to fool Wang is so paper-thin, you have to scratch your head that it even works as long as it does. Also, the movie doesn’t feature the outrageous weaponry and bloody violence that’s seen in other Venoms movies. I’d say this movie is the least violent Venoms movie of them all. But if you’re seeking a showcase of the Venoms’ acrobatic talents, look no further.

As for availability on DVD, as of July 2004, Celestial has not remastered this movie. You can find it either as a widescreen NS DVD release that has fair picture quality, or as a recent Panmedia release which is also widescreen, but apparently doesn’t have the best picture quality. Regardless, you want the Panmedia release. Like most other Venoms movies released by NS, the NS version is taken from a European edit of the movie. It’s missing several minutes of footage, most of which is exposition, but a lot of which is integral to the story. In fact, one of the scenes cut from the NS release is very important: it’s the scene where the Venoms discover that Lo’s left, and given them access to his bank account! It seems that the Panmedia release is uncut, so go with that one.

As a closing note, I’d like to mention that this movie has the strangest music cues of all time.

Joe909’s Rating: 6.5/10

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

Young Rebel, The | aka The Rebel Youth (1973) Review

Posted on January 20, 2011 by JJ Bona
"The Young Rebel" Chinese Theatrical Poster

“The Young Rebel” Chinese Theatrical Poster

Director: Ti Lung
Cast: David Chiang, Ti Lung, Ming Ming, Wan Man, Simon Yuen (Siu Tin), Fung Ngai, Chiang Nan, Kong Do, Lam Jing, Lo Dik, Yen Shi Kwan
Running Time: 99 min.

By Mighty Peking Man

After Xiang Rong’s (David Chiang) father passes away, he makes a promise to his mother and sister that he will earn money and look after them. He takes up a job as a grocery store delivery boy where he’s constantly treated like shit by his boss. With no choice and lack of any other working skill, Xiang deals with the job and continues to put up with the harsh work environment.

One day, on a routine delivery, he runs into a hood named Shi (Kong Do aka The Human Testicle), who wants to recruit him into his gang of crooks. Xiang declines his offer and is beaten up. After more encounters with Shi, Xiang decides to learn kung fu so he can defend himself. With the help of Gen Lai (Ti Lung), he is introduced to reputable kung fu teacher (Simon Yuen).

With his mind on life’s hardships and constant bullying by not only gangs, but also his own boss, Xiang obsesses over his martial arts training. Mixing rage, determination, and physical training, Xiang begins to master fighting styles faster than any other student do and becomes a killing machine almost naturally.

It’s during another brawl with Shi during which he becomes victorious, that his uncanny fighting ability catches the eye of a triad leader named Mr. Tou (Lo Dik) who wants to use him as a personal assassin. At first, Xiang is skeptical but when Mr. Tou reveals his lavish salary, he accepts; no questions asked.

What ensues is a war between two crime bosses with Xiang as the key player in the middle of it all. It is only a matter of time before Xiang rethinks his violent lifestyle and questions his role in life. After admitting to his mother about his deadly career, Xiang decides to turn himself in to the police. Mr. Tou ultimately finds out about Xiang’s change of heart and is threatened that he will tell the police about his crime operations. Now that Xiang and his mother’s life are in jeopardy, he decides that he must do one more thing before he turns himself in to the law; and that is to kill Mr. Tou.

“The Young Rebel” is yet another coming of age tale of those good boy turned gangster flicks made popular by Chang Cheh (ie “The Delinquent,” “Generation Gap,” and “Chinatown Kid”) throughout the 1970s. Though it was produced under Chang Cheh’s film company, “The Young Rebel” was directed by Shaw star Ti Lung, who also guest stars. By the end of the movie, you realize that Ti Lung’s talents go beyond his onscreen ability. Though not as well paced and easy moving as Chang Cheh’s similar themed films, “The Young Rebel” still holds its own. In fact, if someone told me that Chang Cheh was the co-director, I wouldn’t be surprised at all.

“The Young Rebel” plays as one big flashback; a structure style that would become an ongoing fad years later in Hollywood films such as in “Pulp Fiction.” That alone gives the film a hip, groundbreaking edge that was probably considered strange back then. Considering how the beginning and end of the film reveal what makes sense, you realize how ingenious the idea is. Between Ti Lung and I Kuang (the two credited screenwriters), I’m really impressed.

There seems to be some debate surrounding the film’s choreography. The Celestial DVD sleeve credits Simon Yuen as the fight choreographer, however, in the film’s actual credits, it lists Liu Chia Yung, Huang Pei Chi, and Chan Chaun as the film’s “Fighting Instructors.” For a 1973 film, the fight scenes seem to be more defined and swift than, say “The Angry Guest,” which is of typical early 1970s Liu Chia Yung fare. Whoever was responsible for the fight scenes did a damn good job, especially considering the time.

“The Young Rebel” has a lot of action, but for the most part, the drama takes up most of the space (David Chiang’s character doesn’t learn how to fight until about halfway through the film). It’s not as bloody as the average Chang Cheh film of the time, but the hard-hitting detailed action makes up for it.

Look for a handful of cameos including ones from Sammo Hung, Simon Yuen, and an extended one from Eddie Ko. Not only, music enthusiasts might get a kick out of hearing Pink Floyd’s “Time” which comes out of nowhere and surprising, it fits in well with the movie.

Highly recommended.

Mighty Peking Man’s Rating: 8/10

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Boxer from Shantung | aka The Killer from Shantung (1972) Review

Posted on January 20, 2011 by JJ Bona
"Boxer from Shantung" Chinese Theatrical Poster

“Boxer from Shantung” Chinese Theatrical Poster

Director: Chang Cheh
Co-director: Pao Hsueh Lieh
Producer: Runme Shaw
Cast: Chen Kuan Tai, Cheng Lee, Guk Fung, Tin Ching, David Chiang, Wong Ching, Mario Milano, Fung Hak On, Wong Chung, Geung Nam
Running Time: 128 min.

By Numskull

The Boxer from Shantung combines martial arts action with an earthy 1930s gangster story, and while neither element is of extraordinary quality, the synthesis makes for a pretty enjoyable film that quickly dispatches the visions of Shaolin monks, murdered paternal figures, and ninjas in garishly colored costumes that the phrase “kung fu movie” often conjures up.

Ma Yongzhen is the film’s protagonist (“Hero” would be pushing it, despite the fact that the 1997 remake is called just that), Xiao Jiangbei is his meek but loyal buddy, Tan Si is the affable crime lord he idolizes, and Boss Yang is Tan Si’s rival…and, therefore, Ma’s as well. Ma and Xiao are manual laborers busting their asses in Shanghai at the beginning of the film, and Ma’s first encounter with Tan Si starts him off on the underworld influence ladder. Step by step, he earns the respect of everyone he meets, either with his strength of character or by beating them up. When he gets a really big break by defeating a Russian strongman, he indulges himself in a fancy cigarette holder, much like the one Tan Si uses. However, he is mindful of his humble beginnings, and of the fact that times are still tough for many in Shanghai. He shares his good fortune with his old fellow wage slaves, and when they assist him in his various extralegal activities, he lectures them on the futility of trying to extort money from people who simply don’t have any to spare.

The tea house that Ma and his underlings frequent employs a singer, Jin Lingzi, and her uncle, who provides the music. Ms. Jin’s hopes that Ma’s arrival will mark a turn for the better for conditions in the crime-plagued city are dashed when she ascertains that he isn’t different enough from the other bosses she’s seen rise and fall. This is a plot element that I could have done without, but since it never blooms (decays?) into a full-fledged romance, it’s bearable.

There are fights here and there; some minor scuffles and a mass brawl or two. The lot of them combined can’t match the intensity of the staggering finale. Ma Yongzhen, alone and badly injured, must fight Boss Yang’s champion fighters and (literally) dozens of hatchet-wielding thugs. His foes treat him as they would a wounded animal, knowing the advantage is theirs but reluctant to approach, not wanting to be one of the few he takes out should they decide to rush him. This is one of the “angriest” fight scenes you’re ever likely to see, as well as one of the bloodiest. As with the other fights, the choreography is very much lacking in finesse and “prettiness”; kung fu showboating has no place here. The psychology of this sequence is excellent; rather than going for the frantic adrenaline rush, it paces itself in such a way that the viewer has plenty of time to wonder how long it will take for Ma to fall victim to a fateful blow, drop dead from blood loss, or maybe…just maybe…emerge victorious. You can see the inspiration in the climaxes of Gordon Chan’s Beast Cops, in which the maniacal Anthony Wong keeps fighting out of sheer hatred when he really ought to be dead or comatose, as well as in John Woo’s silly-ass A Better Tomorrow 2, in which the good guys get shot multiple times with little ill effect.

The Boxer from Shantung utilizes a somber musical score and a quietly memorable ending, as if the movie itself knows what sort of misery lies ahead for China, but the characters within it do not (or perhaps are underestimating it). The acting is sufficient, though David Chiang and his gleaming grin give Tan Si a weird hammy flavor that some may find annoying. Also, Chen Kuan Tai’s (Ma Yongzhen’s) default facial expression is one of irritating smugness. Only at the sight of his own blood (and boy is there a lot of it) does he get rid of it. Speaking (again) of blood, in this film it’s an unnaturally bright red; a minor but constant source of annoyance. Ah well, at least it isn’t that pink Kool-Aid shit.

So, that’s that. A solid movie, this, that shouldn’t be lumped together with Shaolin This and Kung Fu That. The sheer audacity of the last 20 minutes in and of itself makes it well worth your time.

Numskull’s Rating: 8/10

By Joe909

One of the early Shaw Brothers movies, Boxer from Shantung doesn’t have much in common with later Chang Cheh movies. It’s actually filmed outdoors, instead of in the Shaw Brothers studios, there are no colorful costumes or exotic weapons, and it’s more of a bona fide movie than a chop-sockey epic. It’s also very slow-moving, when compared to later SB flicks. As a matter of fact, this movie was so slow-moving that my friend and I drifted off (my wife was already long asleep), until we were re-invigorated by the bloody, cathartic finale.

Pure and simple, this movie is a direct lift of the “Godfather.” Warring factions, young upstart who carves out his own territory, ambushes, backstabbings, etc. The only difference is, there isn’t a gun in sight in Boxer from Shantung, and no horse heads magically appear in beds. This is one of those movies where everyone wears the same sort of clothing throughout the film: those old-style, bathrobe-looking Chinese outfits. Only David Chiang dresses differently, wearing a Western three-piece suit. The problem with this is that everyone in the movie looks the same, and also these costumes aren’t as aesthetically pleasing as the later, eccentric Shaw Brothers costumes.

Knives and hatchets are the weapons of choice. The evil, old boss employs a legion of axe-carrying goons, who for some reason, no matter the opportunity, refuse to throw their axes. Instead, they use them more like knives. If you’re carrying a throwing axe, throw the damn thing! There are a few fights before the finale, but they aren’t that fast, and poorly choreographed, when compared to later kung-fu movies. Throughout this film I kept comparing it to “Way of the Dragon,” the Bruce Lee movie that was produced the same year as this. It’s amazing how much faster Bruce was than any of these guys. No wonder his movies were such a lightning bold in Asia.

Things meander for a couple of hours as the plot builds. Ma gets some power after beating a foreign wrestler in a tournament. He then goes on to face down challenges from other bosses, but there’s no real spark until the final twenty minutes of the movie. Ma goes to a restaurant to meet with a rival boss, but it’s an ambush. Everyone in the restaurant is under the boss’s control, and carries either a knife or a hatchet.

The fight starts out badly for Ma, as he takes a hatchet to the gut. But he’s just gotten started. Ma proceeds to fight every person in the restaurant, even though he bleeds enough for two men. Gallons pour out of him. The lower half of his body is literally drenched in crimson. This end fight is pure Shaw Brothers material, a big step up from the preceding two hours of boredom. Chen Kuan Tai moves fast, and finally lets loose. The ending of Boxer from Shantung is without a doubt the bloodiest finale I’ve ever seen in a kung-fu movie.

So if you’re looking for the usual Shaw Brothers flick, this will leave you uninspired. But if you’re looking for an old-school kung-fu film that was made back in the days when kung-fu movies were more like “real” movies with some martial arts thrown in, you’ll be in for a treat. Either way, the ending will blow you away.

Joe909’s Rating: 5/10

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Heroes Two | aka Bloody Fists (1974) Review

Posted on January 20, 2011 by JJ Bona
"Heroes Two" Chinese Theatrical Poster

“Heroes Two” Chinese Theatrical Poster

AKA: Kung Fu Invaders
Director: Chang Cheh
Cast: Alexander Fu Sheng, Chen Kuan Tai, Fong Sam, Bruce Tong, Wong Ching, Zhu Mu, Fung Ngai, Chiang Nan, Fung Hak On, Tino Wong Cheung, Wong Shu Tong, Lau Kar Wing, Chan Chuen, Lee Hoi Sang
Running Time: 91 min.

By Joe909

The first of Chang Cheh’s Taiwan-produced, mid-1970s Shaolin cycle, Heroes Two is the low-budget beginning of several films starring Fu Sheng, which culminated with the grand Shaolin Temple in 1976. Fu’s later co-star Chi Kuan-Chun isn’t in this movie, however; instead, Chen Kuan-Tai steps in as Hung Sze-Kwan, providing a supporting role to Sheng’s Fong Sai-Yuk.

The story is so simple it could be a kid’s cartoon. The Manchu have burned Shaolin to the ground, and only Hung Sze-Kwan escapes. Hung kills a whole bunch of the Ching bastards, and try as they might, they can’t capture or kill him. This is especially troublesome for non-threatening main villain Zhu Mu, a Manchu prick given to sneering and not much else. His second in command, the cruel Fung Hak-On, is more of a believable main villain, but oh well.

Meanwhile, Fong Sai-Yuk makes a name for himself in the Chinese countryside, generally doing good deeds. A quick recap shows us his history: leaving Shaolin by the alley of death and defeating a Manchu dog while fighting on poles. These scenes can be seen more fully in two other Chang/Fu Sheng movies that are part of the Shaolin Cycle: Men from the Monastery and Shaolin Avengers. Fong’s a good fighter, but he isn’t very bright; the Manchu (foot soldiers, nonetheless, not even the leaders!) easily fool him into thinking Hung’s a villain who’s been murdering innocent people. Fong attacks Hung (much to Hung’s amazement) and captures him for the Manchu, who promptly cart Hung off to be tortured in a dungeon.

Fong finds that the locals are now pissed at him. Only upon being attacked by fellow Shaolin students does our hero realize his screw-up. The movie provides its most touching moment as Fong breaks into the Manchu base, where Hung is chained to a stone wall. Knowing he’s outnumbered and can’t save Hung by himself, Fong nevertheless dashes into the dungeon as the Manchu attack him, just so he can kneel before Hung and beg forgiveness. Fong escapes, beaten bloody by Zhu Mu’s special technique, and becomes a man possessed, devising a way to free Hung.

He soon gets an idea: he can dig a tunnel to free Hung. Unbelievably, this works, although it takes several days. Upon freeing Hung, the Shaolin fighters team together and wait for the Manchu, who of course follow the tunnel to see where it leads. So begins the final battle, with the Shaolin taking on Zhu Mu and his imported band of Tibetan warriors. Chang spices things up, as he does in the other Shaolin Cycle films, by using colored film gels to obscure the bloodshed. Not that the movie’s very violent, especially when compared to other Chang Cheh films, but it still looks pretty brutal when these guys get impaled and chopped by swords.

Liu Chia-Liang served as fight choreographer, but the martial arts on display fall into the early 1970s “slow and awkward” category. Especially from Fu Sheng, all of 19 years old at the time, who obviously lacks the kung-fu skills he would later acquire. When he defeats Chen Kuan-Tai, it’s hardly believable. I’m not saying the fights are “early Bruce Li” subpar quality, though. It’s just that they aren’t as good as in later Chang Shaolin movies. However, the quality of the fights increases as the film progresses, with the finale being very well done.

A problem also arises with the characterization. Fong Sai-Yuk is portrayed as a simpleton, easily swayed by anyone with a walnut-sized brain. Hung Sze-Kwan is more of a killer than the worst of the Manchu; I lost track of how many people he killed. Seriously, the guy’s an early-model Terminator. The villains are all underdeveloped, particularly the hateable Zhu Mu. All the guy does during fights is lurk around, watching his men take on the Shaolin fighters, just to sneak up and throw in the occasional cheap shot.

The sets are low-budget, compared to later Shaolin films. Most of the movie is filmed outdoors, with the indoor sets mostly relegated to the dungeon and other nondescript locations, though there is a nice reproduction of a village. There’s a great film flub when Fong escapes the Chings after his failed rescue attempt on Hung. Fong runs along a roof and jumps over a wall, and if you look close, you can see his shadow on the painted “sky.”

In conclusion, there are too many problems with the story and its execution to consider this film a flawless classic. Still, it’s recommended for all Chang Cheh/Fu Sheng/Chen Kuan-Tai fans. As a closing note, the film’s soundtrack features a fanfare that sounds exactly like a section of the theme from Phantom Menace.

Joe909’s Rating: 6.5/10

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Boxer Rebellion | aka Bloody Avengers (1975) Review

Posted on January 20, 2011 by JJ Bona
"Bloody Avengers" American Theatrical Poster

“Bloody Avengers” American Theatrical Poster

AKA: Spiritual Fists
Director: Chang Cheh
Cast: Alexander Fu Sheng, Jenny Tseng, Chi Kuan Chun, Johnny Wang, Li Lihua, Leung Kar Yan, Richard Harrison, Bruce Tong, Hu Chin, Alexander Grand, Au Lap Bo
Running Time: 137 min.

By Mighty Peking Man

Let’s kick off with some bold statements: Boxer Rebellion is one of the most extravagant Shaw Brothers flicks I’ve ever seen. It has a strong budget and is polished with an international cast. It features some of the finest martial arts choreography of the time (compliments of Liu Chia-Liang); as well as outstanding performances by its lead cast (Alexander Fu Sheng, Chi Kuan Chun, Liang Chia-Jen and Wang Lung-Wei).

But truthfully, I’d rather watch Masked Avengers over this any day.

I haven’t seen all of Chang Cheh’s “let’s seriously base this on an historic event” movies, but let me tell you, the guy shines a lot more when he’s making brainless ultra-violent action flicks like Five Element Ninjas and One-Armed Swordsman.

I personally don’t think Chang Cheh and factual scenarios mix. At some instances, Boxer Rebellion is a serious piece of historic drama. Other times, it’s a badass kung fu flick in the vein of a Venoms movie. In the end, we end up with a half-assed true story (with many inaccuracies) smothered with Saturday afternoon Black Belt Theater action. I mean, imagine if Kubrick’s Full Metal Jacket had ninjas in it or something? Where I’m getting at is there aren’t enough gray areas, just a sloppy mix of black and white. Make either a no-nonsense, high budget period movie or or a straight up kung fu tale. Don’t try to cram both into one package.

Boxer Rebellion is a very Americanized production. They definitely didn’t skimp out when it came to extras (of all races), set designs and locations. Even the soundtrack (which I’ll assume is the original) sounds like some kind of American TV show from the 70’s. Richard Harrison – an Italian film star who made dozens of films in the 60’s and 70’s, including Chang Cheh’s Marco Polo; as well as unintentionally starring in a string of goofy Ninja movies for Godfrey Ho and Joseph Lai – has a chunky cameo as an American officer who tries to take on Alexander Fu Sheng and Chi Kuan Chun (take a guess who wins?).

All bullshit aside, Boxer Rebellion isn’t bad, but it does take a while to build up into something we’d expect from a Chang Cheh film. The final third of the movie is what packs the most punch (mind you, this is a very LONG movie). The action is brutal, entertaining and bloody remarkable (no pun intended). As with most Chang Cheh films, don’t expect a 100% happy ending. Heck, a lot of the movie has kung fu guys vs. men with rifles, so use your imagination.

Now, excuse me while I pop in Crippled Avengers.

Mighty Peking Man’s Rating: 7/10

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

Don’t Tell My Partner (1997) Review

Posted on January 20, 2011 by JJ Bona
"Don't Tell My Partner" Chinese DVD Cover

"Don't Tell My Partner" Chinese DVD Cover

Don’t Tell My Partner (1997)
Director: Otto Chan Juk Tiu
Producer: Norman Wong Chi Hung, Wong Hon Wa
Cast: Siu Chet-Yuen, Wong Shu-Kei, Tong Tak-Wai, Cho Wing-Lim, Ben Ng Ngai-Cheung, Gan Piu-Kwan
Running Time: 91 min.

By Gwailo

Category III meister Otto Chan casts his ‘Grand Gugniol’ violence stylings aside in favor of something a tad different. Chan’s 1997 offering, ‘Don’t Tell My Partner”, is an attempt at the most frightening of all genres, the romantic-comedy hybrid. He’s used both before in other films, but opts to leave the blood and carnage out, solely relying on romance and laughter- not much of either are on display unless you count ‘ye ol’ in-out’ as romantic or comedic. My ex-girlfriends vote the latter. Anyway, a staple of Chan’s film’s stays intact-the nudity. The ever-lovin’ gobs of naked excess-the films strength, naturally.

The paper thin excuse for a plot has an add exec (Jimmy Wong)-nicknamed ‘Little Cock'(My ex’s must have gotten a hold of this film) getting involved with the new office girl (Ozawa Madoka). Little Cock’s close friend has persuaded him to forsake his upcoming nuptials to a fashion photog, and get a bit adventurous. How odd his friends words coincide with the hiring of the new office hottie. Kismet or plot device? You make the call!

The sex scenes in DTMP are just short of x-rated and seems as if shots of penetration were trimmed before release. Jimmy Wong always seems to get sweet tail (see The Fruit is Ripe) and here rides Madoka, holding on for dear life. Ozawa Madoka is rather good looking, but needs to see an orthodontist. The Brits may have left HK, but it seems they have left their legacy of mangled oral hygiene behind.

Though I am a big Chan advocate, in all honest, the film isn’t really good. It’s rather slow and the sex scenes, which I’m sure the film is built upon, are few and far between. There is absolutely no need for the film to exist save for the booty on display. It’s all just softcore, late night skin flick, nonsense (not that I’m complaining, really). One thing seems to be certain and seen in many a Chan flick – he sure knows how to film scenes of carnal pleasure. The kind that make theater floors sticky and the rewind button constant.

Gwailo’s Rating: 3.5/10

Posted in Chinese, Reviews |

Duel to the Death (1982) Review

Posted on January 20, 2011 by JJ Bona
"Duel to the Death" Chinese Theatrical Poster

“Duel to the Death” Chinese Theatrical Poster

AKA: Duel, The
Director: Ching Siu-Tung
Cast: Norman Chu, Flora Cheung, Damian Lau, Kuo Sheng, Eddy Ko, Paul Chang Chung, Yeung Chak Lam, Kwan Yung Moon, Casanova Wong, Hon Gwok Choi
Running Time: 82 min.

By Numskull

Bo Ching Wen is a wise young Chinaman, itching to test his skills after ten years of intense study at the Shaolin Temple. Hashimoto is the warrior champion of the Sun Yin Sect, eager to illustrate the power of his Japanese martial techniques, even at the cost of his life. Both men of honor, both master swordsmen, both snappy dressers. Both headed to Saint Sword Village in China to meet their destinies and determine once and for all whose skill is superior in a…(drumroll please)…DUEL TO THE DEATH!!!

Yes, it’s a hokey old Hong Kong melodrama, but it’s no Lo Wei bullshit. It’s an entirely different kind of bullshit. Swordplay replaces Kung Fu, honor replaces revenge, and LSD-induced fantasy replaces realism as warriors fly through the air with the greatest of ease, engaging in elaborate combative exchanges while floating twenty feet off the ground. There’s also a talking bird (though it is not a parrot) named Chicken (though it is not a chicken, either) who looks after Bo Ching Wen’s crazy old mentor who appears to have modeled his life on the teachings of Tarzan rather than Buddha. Even better, when a villain is decapitated and his severed head gets impaled on a tree branch, he utters a curse at his killer before dying. I always thought that you needed your lungs to draw the breath necessary for speech, but maybe I was wrong. And let’s not forget those darn ninjas. They pop up everywhere, working against Bo Ching Wen and his allies. And when I say “pop up”, I mean that in a very literal way, because they can appear out of thin air in the blink of an eye, vanish in a puff of smoke, explode in suicide frenzies, and merge into a fifteen-foot Super Ninja.

Bullshit…but entertaining bullshit.

The fight choreography seems competent enough, but don’t expect anything too spectacular. The aerial super-heroics get in the way sometimes. The plot is coherent despite the absurdities of the action that drives it along. Towards the end of the film, it looks as though the grand finale will be a cop-out and that no actual…DUEL TO THE DEATH!!!…will take place. But take place it does, and the winner should surprise no one. Keep a barf bag handy if you can’t handle severed limbs with Kool-Aid blood flowing like…well, like blood.

Oh yeah, and there’s a token female character who falls in love with one of the duellists (after knowing him for about eight minutes) and wishes she could fight as well as everyone else seems able to.

One other point I wish to address. The subtitles. The version I saw was from Tai Seng’s Remaster series, and they look great. The film is in letterbox format and the text is in (O Hosanna!) the blank space underneath the picture, with clear electronic characters. This in itself is a minor miracle, but the thing that really impressed me was their coherence. I did not notice a single spelling error, and there were only two or three grammatical snafus that anyone could have made. You won’t have any problem following the story. Well done.

The best recommendation I can give you: “You could do worse.”

Numskull’s Rating: 6/10

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

Champions, The (1983) Review

Posted on January 20, 2011 by JJ Bona
"The Champions" Theatrical Poster

“The Champions” Theatrical Poster

Director: Brandy Yuen
Cast: Yuen Biao, Dick Wei, Fung King Man, Cheung Kwok Keung, Gam Biu, Moon Lee Choi Fong, Eddie Ko Hung, Tino Wong Cheung, Ho Pak Kwong, Johnny Cheung Yiu Wah, Brandy Yuen Jan Yeung, Cheung Ging Boh
Running Time: 94 min.

By Vic Nguyen

A mischevious country boy, who after many amusing situations, becomes Hong Kong’s soccer king.

This early Yuen Biao vehicle is an entertaining blend of light comedy and some of the best soccer sequences ever commited to film. Here, Ah Biao stars as an acrobatic country hick from the sticks who must flee out of town after inadvertantly injuring a wealthy socialite during an innocent competition. While exploring the area, he runs into a soccer team who discovers his talents, and subsequently joins the team.

Despite the martial arts adept cast, there is little to no fistacuff duels in this film, instead, the action all involves well choreographed soccer games that are every bit as exhilarating. Yuen Biao, at the prime of his career, gives a fun performance, while Dick Wei provides a great portrayal as the arrogant villain. An underrated gem that unfortunately does not receive the attention it deserves.

Vic Nguyen’s Rating: 8.5/10

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

China Strike Force (2001) Review

Posted on January 20, 2011 by JJ Bona
"China Strike Force" Hong Kong Theatrical Poster

“China Strike Force” Hong Kong Theatrical Poster

AKA: Thunder Cop
Director: Stanley Tong
Cast: Aaron Kwok, Norika Fujiwara, Mark Dacascos, Leehom Wang, Coolio, Ruby Lin, Jennifer Lin, Ken Lo, Kim Won-Jin, Jackson Lau Hok-Yin, Li Xue-Tong
Running Time: 103 min.

By Reefer

Wanna know why I like Stanley Tong? Because he is a guy who must have sleepless nights trying to figure out how the heck he’s going to get a motorcycle on top of a double-decker bus. He’s a guy who probably wonders out loud “Can Coolio do kung fu?”; and says “Forget that Jackie hanging from a helicopter crap. Let do one better!”; and asks “Can Aaron Kwok’s hair actually move?”

Needless to say, Tong’s Chinese Strike Force is an effort to make a bigger, better action movie. Unfortunately, you feel that he judges success by the amount of wrecked cars and mangled stunt men and not by creating any emotional attachment to his characters or telling an interesting story. It is because of this that Chinese Strike Force comes off as a hollow exercise in complicated physical mayhem.

CSF follows the adventures of two agents (one of them is Kwok) as they chase bad guy Mark Dacascos and LA gang-banger Coolio who are planning a big drug deal along with the help of a skillful and beautiful Japanese chick.

Filmed mostly in English, the acting is truly a bore. It isn’t exactly a good thing when American rapper Coolio turns in the best performance. Kwok, who looks like the Asian Gumby, acts like he doesn’t quite understand what he is saying. Dacascos comes off as nothing but a typical sneering bad guy. The rest of the cast just kinda wanders around until they get behind the wheel or find a gun in their hands or are, uh . . . suspended on a giant pane of glass hanging by a crane connected to a skyscraper. You get the picture. A couple plot twists are thrown in, but who really cares? For the most part, I was just waiting for some more excitement.

Fortunately, excitement comes in some heavy doses as Tong gives you a wild car chase involving an Indy car and a Lamborghini, another insane chase with the aforementioned double-decker bus, several lively fistfights and finally a Supercop-topping finale.

Tong clearly is a guy who should stick with stunt coordinating and producing but save the actual filmmaking for more complete directors. I am trying not to make this a slam because what Tong does with his imagination and skills as a stuntman are truly amazing.

Reefer’s Rating: 5/10

By Ben Poppel

Wow, what a disappointment. The way this movie starts out, you get the feel that it’s going to be an all out action bonanza buffet. But what we get instead is a big ball of cheese. What the hell was Coolio doing in this movie anyway, he used more terrible potty-mouthed one liners than the guys from Night at the Roxberry, I just hope he had nothing to do with the writing of his own lines. At least the almost always cool Aaron Kwok was pretty up to par in this movie. And Talking about pretty, the Japanese co star was probably the highlight of the film.

Now, I can’t say this is a flat out terrible movie – It had a few nice set pieces and crazy stunts, with the help of some wire work, but you talk about a terrible ending. I know some Hong Kong movies are trying to go for that Hollywood look and feel, but give me a break, the ending was just too unrealistic! Overall, It has the look and feel of a low-budget Mark Dacascos movie…oh wait a minute he was in this film too with the help of director Stanley Tong. But the good action was just too few and far between and was filled with dialogue (which is over half in English) and lousy plot lines that are overused.

This will probably be released in America in a year or so and have a big picture of Coolio and Mark Dacascos on the poster art. Nevertheless, this will probably be a movie you will either love or hate.

Ben Poppel’s Rating: 6/10

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