Reviews

"The Jade Tiger" is definitely one of the Shaw Brother's darker films. This selection has one the most bittersweet endings I've ever seen in this series of Late Old School films (1977-1983). The film has so many double-crosses and loyalties masquerading as betrayal that it's a task unto itself to keep track of the "good" or "bad" guys. And that's the whole point. Eventually the hero realizes the self-perpetuating absurdity of violence. Why are we killing this clan? To gain dominance over the Martial Arts World? To what end? This would be the sort of chopsocky movie Hayao Miyazaki would have directed if he had grown tired of doing kiddie anime.

"Jade Tiger" is beautifully shot, with the yet another flawless Ti Lung performance. It's a good companion piece to watch with "The Boxer from Shangtung," with which it shares many similarities. I had no idea Chinese dining could be so dangerous!

Solid action, with the trademark Shaw Brothers wacky scenes...look out for the guy with the exploding eyeballs!

"Sentimental Swordsman" epitomizes the film era of Later Old School, which were martial arts films that came out later 70s and early 80s. They bridge the gap between the early 70s chop socky fests and the New Wave wire-flyers of Tsui Hark, et al. LOS works tended to have more lavish budgets than Early Old School, firmly established stars and directors entering their prime, and much more complex plots.

The story begins with a nobleman in exile, with his trusty sidekick in tow, walking through a melancholy snowy landscape. He is returning home to protect a woman he reluctantly left to protect her from the elusive Plum Blossom Bandit. Through a series of betrayals, he is accused of being the villain in question. He spends a good deal of the film protesting his innocence, with words and fists. It was a fantastic performance by Shaw Brothers legend Ti Lung. Another standout performance is Derek Yee (Er Tung-sheng), who plays Ti Lung's comrade-in-arms. He's another wandering sword-for-hire who doesn't suffer fools gladly, but repays respect with loyalty. The film features beautiful cinematography, including one lovingly shot scene of a fight in a plum blossom garden. Sentimental Swordsman is a solid sword flick, and one of director Chu Yuan's better efforts.

There are the inevitable cheeseball elements, such as the Plum Blossom Bandit's pink ninja outfit and the rather dubious martial art of snake hurling, but hey, this is Shaw Brothers. Fans of the genre will find it only adds to its appeal.

A worthy addition to your Kung Fu library.

"The One Armed Boxer" is to "The Master of the Flying Guillotine" what "Star Wars" was to "The Empire Strikes Back."

This is the film that catapulted Jimmy Wang Yu to superstar status, and for good reason. This film set the standards that you'll find in all of Wang Yu's films...superbly choreographed, arcade-style fights, exotic weaponry, colorful foreigners challenging the supremacy of Chinese boxing, and Jimmy's "aw-shucks" hero, an introspective but ultimately hardcore fighter that BARELY makes it out of his misadventures alive.

I saw "Master of the Flying Guillotine" first, and I still believe that this film is Wang Yu's greatest achievement. However, seeing "The One Armed Boxer" only increased my appreciation for "MFG" tenfold. In this film, we find out how the One Armed Boxer became One Armed, but we also learn how he became such a badass...attaining a level of kungfu (as well as cleverness) that would be put sorely to the test in "MFG."

The whole epic melodrama begins, incredibly enough, over some thugs stealing a poor man's pet bird. Wang Yu (at this point, a Two Armed Boxer) refuses to stand for such knavery, and he proceeds to challenge these scum to a fight. Of course he and his fellow students clean the floor with these clowns. Not suprisingly, the defeated thugs go crying to their sifu and fabricate a story that Jimmy insulted the sifu. The sifu then goes to Jimmy's school and challenges Jimmy's sifu to a fight. Once again, these troublemakers get beat up for their trouble.

Enraged over his defeat, the evil sifu hires a bunch of highly skilled foreign mercenaries who, unlike his incompetent students, can do the job right. This team of mercenaries are trademark Wang Yu villians...three Osaka karate experts, a Tae Kwan Do expert, a judo expert, two Thai kickboxers, two Tibetan lamas (I imagine these violent Tibetan lamas inspired "Shaolin vs. Lama"!), and a Yoga fakir who fights by bouncing on his head. (No, I'm not making this up.)

A bloody massacre ensues, and a half-dead, One Armed Wang Yu drags himself from the dojo. He is rescued by a kindly doctor and his daughter, who teach him the vital pressure points as well as a horribly painful technique that makes his One Arm the Unstoppable Killing Machine that we all know and love.

This flick is just wall to wall fistfights, with those occasional touches of utter brutality among the often graceful choreography. The head Osaka fighter is one Bad Mutha...you know he's Bad News when you see his fangs! The Tibetan lamas are no walk in the park, either. Their techniques include the dreaded Iron Palm and some weird inflation technique. But if you watched "MFG" carefully, you'll notice these two lamas are none other than the students of Evil Incarnate, The Master of the Flying Guillotine!! (the rest is history, as they say...)

Jimmy Wang Yu is one of the most under-rated masters of kungfu cinema...in terms of directing as well as acting and fighting. Of course I dig Jet Li, Jackie Chan, and the rest of the New Wavers, but there's nothing more satisfying than going back to Old School to see where Tsui Hark and Ringo Lam got it all from. Jimmy Wang Yu is a straight-up O.G., in every sense of the word.

Like most Chinese wire-flying costume epics, it's best to "check your brain at the door" and just go along for the ride. What makes "All Men are Brothers" so entertaining is its rich characterisation and elaborate sets.

The story centers around an honest Song Dynasty official, Lin Chong. Lin Chong is a martial arts expert (naturally) and is widely admired (and therefore widely envied). The evil "Great General" Gao Qiu's nasty son is going about the countryside terrorising farmers and raping women. This son eventually forces his attentions on Lin Chong's wife, played by the beautiful Joey Wong. Of course, Lin Chong must defend her honor, which proves politically disasterous.

Like most films in this genre, the plot won't stand up to close scrutiny. The theme of the film is fairly obvious (brotherhood conquers all) but the lack of any subtly is easily made up in top-notch acting, spectacular stunts, elaborate costumes, hearty kung fu music, and the wonderful comraderie between Lin Chong and Lu Da. Lu Da is the definitive drunken monk with a bad attitude. Interestingly, most of the fights are NOT between enemies, but between friends trying to win each other's admiration.

"All Men are Brothers" is a must-see for fans of wire-flying fu flicks. This film is an ideal midnight movie to see with YOUR sworn "brothers" (and "sisters")!

While the world was transfixed with Bruce Lee, Jackie Chan, and their countless clones, "Jimmy" Wang Yu was creating several minor masterpieces that have been overlooked by many fans, but still remain as an enormous influence upon today's martial arts films. Along with Jimmy's now classic "One Armed Boxer" series is another under-rated Shaw Brothers epic, "The Return of the Chinese Boxer."

Jimmy has a style all his own. He is not, by any stretch of the imagination, a clone of Bruce Lee or Jackie Chan (Indeed, he was a star before either of these actors were well-known). Jimmy excelled in playing a kung-fun Everyman of sorts -humble, resourceful, and wearing a bemused smirk that acknowledged the ludicrous situations that he found himself in. He has been described as "the Cary Grant of Kung Fu," and for good reason.

In "Return of the Chinese Boxer," Wang Yu is a one-man wrecking crew who finds himself the only man up to the task of stopping the Japanese invasion of Qing China. His enemies are formidable - batallions of riflemen, ninjas, and other assorted assassins who all want to kill the Chinese Boxer. Jimmy's enemies are hilarious, colorful, and well-armed...a signature of Wang Yu's films. The Chinese Boxer has to deal with a host of exotic weaponry, including a dozen-barrel shotgun! Of course, Jimmy is able to outfight and outwit them all.

The ending scene is similar in nature to Wang Yu's other masterpiece of 1975, "Master of the Flying Guillotine." Like "MFG," Jimmy the Hero uses his wits as well as his fists to overcome his enemies. The last scene is superbly shot and you can sense Jimmy the Director laughing his head off as this scene was shot.

If you're an Old School Fu fan, then "Return of the Chinese Boxer" is a must-see. Enjoy!

When one thinks of the term "enlightenment," as least with regards to cinematic portrayals, the usual images that pop up are robed monks chanting Buddhist sutras or quoting mind-imploding Zen insights. But as any good Buddhist can tell you, the roads to enlightenment are infinite. This particular old master's path to enlightenment involves the snapping of one thousand banjo strings. When the last string is broken, the old man will at last see the truth and be ready to die.

"Life on the String" is one of the most enjoyable and bittersweet Chinese costume epics I've ever experienced. But to label this somewhat obscure gem as a "costume epic" is a bit of an injustice, given its highly unusual story.

A blind old master of the pipa (Chinese banjo) and his blind apprentice wander through the wastes of Western China (Xinjiang), in search of enlightenment and inspiration. Upon settling in an abandoned hovel, the old master eagerly anticipates enlightenment and the sweet release of death, as he is on his 995th string.

This film, directed by the acclaimed director of "Farewell, My Concubine," is perhaps one of the most magnificently shot films I've ever encountered. But the most amazing aspect of this film is the music. You KNOW the old master is indeed a master when he plays his banjo. His melancholy, dreamy melodies give this film a genuine dream-like quality. The English subtitles, which are competently written, can only hint at the sublime Chinese poetry of his lyrics. The old man's music can work magic...a type of magic that the violent world that surrounds him sorely needs.

Despite "Life on a String"'s deliberate pace, you will be caught up in the story and its eccentric cast of characters. It's hard not to get lost in the seemingly endless horizons of the Chinese deserts and the hypnotic singing of the old master which swells with a lush symphonic accompaniment when he really needs to exert his magic. I also found myself feeling the old man's mounting excitement at his approaching death/enlightenment, as well as his temptation to sink into despair at this imperfect world's follies.

I highly recommend "Life on the String" for when you're in a contemplative, or perhaps "poetic", mood. For a film which deals with the theme of death, it is a very positive and uplifting work, forgoing the usual gloom and doom aura that often surrounds death. It is a film that cries out for the stillness of the soul so that one may hear a truth that can only be expressed in song.

This film brought a rush of half-forgotten memories...I was seven years old, living in suburban Ventura Country, California, munching on Count Chocula, and glued to the screen for Channel 7's Black Belt Theater. And that was the last time I witnessed the adventures of the One Armed Boxer and his arch-nemesis, the blind Master of the Flying Guillotine for a long, long time...

Fast forward twenty years. I stumbled across a pirated copy of this old school chop sockey classic. I couldn't believe my eyes. I had always reminisced to my friends about this flick...with its weapon that could decapitate from 40 yards, a stretchy armed Indian fakir, and perhaps the first fight between the arch-rivals Eagle Claw and Monkey Style.

I am convinced that this is the Movie that Launched a Thousand Video Games. The resemblance to Streetfighter is obvious, but this movie's whole-setup must have inspired countless button-pushin' fisticuffs that would dominate our leisure time in the following decades.

But if you go beyond the nostalgia factor and the video game inspirations, you'll find a finely-crafted, well-acted, and genuinely exciting film. Jimmy Wang Yu reprises his role as the One Armed Boxer, a thinking man's kung-fu hero. (I believe this film was third in a series of One Armed Boxer flicks). The hated Qing regime has sent the notorious (and blind) Master of the Flying Guillotine to snuff out all those pesky Ming sympathizers, and the One Armed Boxer is on top of the hitlist. (Yeah, yeah, I know I've just described the premise of five million other kung fu flicks, but stay with me). Not only that, but the Boxer had the gall to kill two other assassins who happened to be the blind man's disciples!

The Master of the Flying Guillotine is sheer evil itself. He launches into a killing spree, murdering every poor slob in the province who happens to sport only one arm. (Along with anybody foolish enough to get in his way). After being informed that he didn't kill the One Armed Boxer in his lastest decapitation, the blind assassin utters what is perhaps the coldest line in cinematic history--"I don't care who he was." Yikes.

Of course, the Boxer and the Blind Killer have the Final Throw Down Show Down...in perhaps one of the most beautifully shot fight scenes I've ever witnessed. True to form, Jimmy uses his brain as much as his fists when it comes to taking down his enemies...but I don't want to give anymore of this wonderful lost classic away.

Also of note is the music for the film...the opening titles is a veritable punk/thrash classic, and the the Flying Guillotine's theme music lets you know Evil is Afoot. I love it.

So..if you can find it, check this flick out...and then you'll see where Namco and Jet Li got it all from. It's time to go back to Old School.

This particular flick caught my attention with the box description of "an old woman and her nubile young daughter lure unwary samurai into a wheatfield to rob and kill them." Well, there wasn't much luring...most of the samurais were just unlucky enough to wander into the old woman and nubile young daughter's home territory...but the movie was still a superb little find...in a suburban Blockbuster Video, of all places! This movie, which I found to be faster paced than most Japanese period pieces, is just DRIPPING with weird psychological overtones. The story involves an old woman and her daughter-in-law living off the spoils of wars. Various samurai from countless wars are always stumbling into these bandits' territory and to be summarily jacked for their armor and weapons. It's one big happy family until an old comrade of the daughter's husband returns home and reports that the daughter's husband is dead. We're never really sure if this man killed the husband or not...but that issue is soon is overshadowed by the sexual tension of two women who haven't been with a fella for some time. Eventually, the nubile young daughter helps herself to this new lover, much to the jealous rage of her mother-in-law. So the old woman hatches a scheme to separate these two lovers...but keeping them apart is as difficult as keeping apart two dogs in...well, you get the idea. The cinematography of this film is excellent. Each shot is meticulously and lovingly shot, building the tension and supplying the canine symbolism. The music is unusual too...it starts off with some hepcat bebop and then regresses into what I can only guess is theme music for an oni (Japanese ogre). I would highly recommend Onibaba for those evenings where everyone feels a need to be disturbed and entertained at the same time. It also doesn't hurt that Jotsuki Yoshimuru, who plays the daughter-in-law, happens to be drop dead gorgeous...in a punk rock sort of way. You'll see what I mean when you check out this flick. I doubt you'll find this flick at Blockbuster Video...unless you find one in the middle of a wheat field.....

Mamoru Oshii's "Ghost in the Shell" got all the hype, but his earlier film, "Patlabor 2," is by far the more mature, artistically successful film. This is anime at its finest - sharply detailed artwork, superb animation, and a story that WILL hook you.

Disguised as a Tom Clancyesqe techno-thriller, Patlabor 2 is actually a knowing, often cynical examination of global politics. The film at times resembles a surreal CNN report...if it were scripted by Noam Chomsky and directed by Alfred Hitchcock! What does that mean? First, the symbolic visuals are beguiling and plentiful. I would suggest you first view either "Psycho" or the "The Birds" and then Watch the Birdie in "Patlabor 2".

Patlabor 2 is a beautiful film. There are many stunning, surreal cityscapes that recall "Blade Runner." These scenes are accompanied by Keiji Kawai's meditative, haunting score. But the film's greatest impact is its disturbing plausibility. There may be giant robot police patrolling the streets of Tokyo, but the patterns of infrastructure and the chaos that breaks out when it breaks down seem all too real.

I give this anime my highest recommendation and I would especially recommend it to those who are either unfamiliar with Japanese anime or perhaps think animation is not a "serious" artistic medium. (This film will set them straight). Due to it's highly dense dialogue, I would recommend the dubbed version (unless you're fluent in Japanese or just prefer subtitles). The dubbing job is superbly acted and well-timed, preserving the original script's dramatic pauses and moments of silence.