My favourite martial arts flick

I give this film a seven because it's just so much fun to watch. The acting is truly diabolical but Jim Kelly is just the coolest martial artist to ever hit the screen.

The dubbing, editing and plot are really bad and the story at points doesn't even make sense. "Well then, how could you think it's worth seven precious stars?" I hear you ask. It worth seven because it's really, really funny, full stop.

For instance, there is a scene where where the evil boss rips off a womans (who happens to be about three mens girlfriend!?) dress. The camera then zooms in to a closeup of her breasts and then the boss' face and then the breasts and then the eyes, the breasts, the eyes and then he throws her to the bed and gets it on and then we see... a formula 1 racecar...

If you like martial arts flicks then get this film have a couple of glasses of your favourite booze and settle down with this movie. It's like a spoof of martial arts movies of the time and some of Jim Kelly's move are pretty good.

It's actually way before it's time. Pure comedy gold.

What can I say? ? This is simply awesome stuff! From the super cool Jim Kelly in the main role, the numerous chop-socky fights, car chases and general mayhem to the absolutely side splitting humour throughout this is an absolute gem and a true pleasure to sit through from start to glorious finish.

Director Robert Clouse who also directed Kelly in the classic Bruce Lee opus Enter The Dragon takes a far more light hearted approach here and delivers a film that blatantly doesn't take itself at all seriously (which proves to be a most sagacious decision). Just check out the utterly hilarious scene for instance in which Kelly single handedly beats up a whole room of thugs by having his pal (played by the ever likable Alan Weeks) turn the lights on and off ? the dialogue from the villains is guaranteed to leave you on the floor with laughter for sure!

Other scenes of particular note (every single scene is great in fact!) include a number of funny brawls in Papa Byrd's (played by the welcome face of Scatman Crowthers who actually joins in the fight!) karate dojo, an amazing punch up in a train carriage during which Kelly manages to smash every opponent through separate windows in turn(!) and last but not least the classic soapy finale!

A great assemble cast of highly recognisable faces including the aforementioned actors in addition to the likes of the lovely Gloria Hendry (Rosie Carver from the James Bond classic Live and Let Die), (Earl Jolly Brown - Whisper from the same film!), Malik Carter as Pinky (a character of comic genius!) Mel Novak (who also appeared in Bruce Lee's final unfinished Game Of Death as Stick) and keeping in with the Bruce Lee connection a brief appearance by Tang Soo Do champion Bob Wall (O'Hara from Enter The Dragon and Carl Miller from Game Of Death) who also choreographs the fight scenes in this film.

What more can I add? Fans of seventies fashions (including a majestic display of solid looking Afros!), groovy seventies beats, kung fu and indeed comedy would be well advised to boogie on down to your local video outlet and grab up a copy of this veritable classic!

After two years of hearing about the myth of the most expensive Chinese film ever made, Hero has finally floated on to British cinema screens. As it flies, it trails a coloured cloth that carries the film's numerous morals and messages which descend upon you like a soft layer of fabric. This is a film that can lift your spirits and have you laughing out in sheer joy as you gaze in wonder at the perfection of the mise-en-scene and cinematography. That is, if you let the film take you on a journey, without pondering the films questionable plot points.

Hero is two sides of a tale as presented by Nameless (Jet Li), a mere Prefect who defeated three deadly assassins, and the King of Qin (Daoming Chen), the man the assassins wished to kill. Nameless weaves his heroic though modest story of how he killed the assassins, but the King remains unconvinced, spinning his own version of how he believed events unfolded.

Director Yimou Zhang takes us through Nameless' story first, spreading the battle sequences thick, allowing them to take their own time. In the King's version, certain battles are then revised, which is remarkably brave considering that some battles are utter fabrications. In one such fictitious fight, in a faultlessly designed set, Nameless and Sky (Donnie Yen) close their eyes and fight out the battle within their minds. Screen time is being spent lavishly on showing how two characters contemplated a fight, whilst fighting each other in a battle that never occurred. It is confusing certainly, but perhaps Zhang wished for his audience to get lost in the plot's design so that they would not question the warrantability of half of the battle sequences, which make up most of the film.

Yet, it is difficult to ponder these details when they are made so utterly insignificant when viewing such a spectacle. The sheer beauty of the battles, the gentle floating of the assassins as they fly around their arenas (which range from a forest full of orange leafed trees, crisp leaves falling down to the ground like rain, to the crystal clear and calm of a mountain lake), the costumes of characters at varying stages in the story line (red for passion, green for youth, white for truth, blue for love), the amazing army scenes which feature thousands of arrows being fired into the sky to create a black cloud that descends right on top of the camera, all these elements combine to produce a faultlessly perfect image on the screen, each frame a worthy photograph that gently reminds you why cinema is the greatest art form of the twentieth century.

And characterisation is not lost in this beauty as one may have feared. Despite the irritating two dimensional performance of Zhang Ziyi as Moon, the other actors carry off fine performances, especially Tony Leung Chiu Wai as Broken Sword and Daoming Chen as the King. Their performances are especially credible as they are often drowning in the memories of the King and Nameless - they need to change slight mannerisms in order to reflect whose mind they are now in.

The script too is of an impressively high standard. The moments of clarity that the warriors feel are experienced by the audience also, and there are some very informed outlooks of the emptiness of warfare, communicating that to achieve peace, sometimes war is the only option. These messages of course seem fitting in our current times, underlining how ancient some of the methods of our governing body truly are.

Hero is undoubtedly a most beautiful and awe inspiring film. What it lacks in plot substance, it makes up for with structure and script. It elaborates on the ground work created by 'Crouching Tiger' and is an experience that I would encourage you to seek out, as long as you are willing to submit to the film and let it guide you through its world on its own terms.

Make no mistake about it, Fearless is the best straight-ahead martial arts film since Jackie Chan's seminal Drunken Master 2. Director Ronny Yu crams more bone-jarring, well crafted fight scenes into the first forty minutes of this movie than most films can match in their entire runtime. This is a canny move, as it pulls in the viewer via the blurring action before beginning to develop the film's narrative in the middle third. While the story is a well used one (kung-fu bully comes to realise his skills can be used to educate rather than brutalise), it's a perfect structure on which to hang the film's many excellent confrontations. It's obvious that this film is Li's love letter to his Wu Shu background and martial arts in general. In dramatic terms, Fearless never reaches the heights of recent wuxia movies like Crouching Tiger, Hidden Dragon or Hero and so is unable to feel truly fulfilling as a great movie per se. It is however up there with Jet Li's very best work in the genre, OUATIC & Fist of Legend for example, and if it is (sadly) true that it is to be his last period martial arts picture, it's a hell of a bang to go out on.

Crouching Tiger is Ang Lee's take on the Wu Xia tradition of film making. Wu Xia, for those not familiar with the style, evolved out of popular Chinese fiction. It contains formulaic elements such as honourable warriors, powerful swordswomen, powerful swords, and often magic and mythical beasts. Possibly, it has a parallel with sword and sorcery pulp literature ? and even Western romances.

Although he grew up in Taiwan, not Hong Kong or China, Ang Lee has said he has always wanted to make a Wu Xia film. When he did, he brought sophistication and strong production values which, while not uncommon in mainstream Chinese cinema, was less common in the martial arts or Wu Xia traditions.

Make no mistake; Crouching Tiger is a beautiful, beautiful movie. The colours are rich, the light dances and the movements are balletic. But unlike lesser imitations, such as Hero, it is much more than that just stylish production and mesmerising action.

Most films (Western or Eastern) have a rigid plot against which characters move. At worst the characters become ciphers; they advance the story by making choices regardless of whether these choices are in keeping with their character. Crouching Tiger, like the best of cinema, has dynamic characters whose internal struggles advance the plot. The dog wags the tail, not the other way around.

At the heart of Crouching Tiger is the relationship between Li Mu Bai (Chow Yun-Fat) and Yu Shu Lien (Michelle Yeoh). Mu Bai is looking for a way out of the Gang Ho (Warrior) lifestyle ? he joins a monastery, as a route to enlightenment and peace, but cannot cast aside his unrequited love for Shu Lien (another warrior). On the brink of declaring their love for one another, Mu Bai's Green Destiny Sword is stolen, and his arch enemy returns. He must temporarily put aside his feelings to recover the sword and bring his master's killer to justice? Seeming to take a fair chunk from his previously directorial role, Sense and Sensibility, Ang Lee weaves a story which tragically juxtaposes the loving and giving but repressed relationship of Mu Bai and Shu Lien, with the fiery, wilful and destructive passions of Jen Yu (Zhang Ziyi) and Lo (Chang Chen). The result, for me, was breathtaking.

Some critics have suggested that the characterisation is quite slight. I think this just demonstrates the high standard to which they were prepared to judge this film. Ang Lee perfectly marries action/adventure with drama. The results may not please purists from either camp, but for the rest of the audience it is pure magic.

In many ways, Crouching Tiger Hidden Dragon is pure Wu Xia. But it has also re-invented the genre and given it artistic credibility. The greatest joy of the film is watching great Hong Kong stars like Chow Yun-Fat and Michelle Yeoh being given characters with depth ? and watching them fill the screen with their performances. The film also benefits from great performances from Zhang Ziyi and a very under-rated Chang Chen.

Quite simply, Crouching Tiger has everything. It is beautiful, breathtaking and deeply moving.

My opinion is that Twin Warriors is a very good movie.The story is fascinating and the fighting style is great.Is also a good introduction in Tai Chi-a nice style.Jet Li has a very good presentation in this movie that's why i think is the best actor of martial arts that ever was.The idea of becoming crazy to learn Tai Chi is also a great one.I think that crazy people have a clear mind and is true that u can learn one style in that time and make yourself healthy.My advice is to see this movie not once,many more times because it deserves it. Here u got a small commentary: "Jet Li was a monk in Shaolin. In a friendly competition for a higher place in Shaolin, he was betrayed and framed for using weapons (which cannot be used in the competition). He and his friend got kicked out of the Shaolin. They met rebellions at that time of China. His friend betrayed Jet Li and his rebellion friends for money from the China government. Jet Li went crazy and discovered the art of Tai Chi at the recover period. Revenge seem to the only thing he is going to do." So i'm sure you will like it.:)

The Bride With White Hair is a curious beast. Much of the first half of the film feels like you've seen it a hundred times before (a troubled sifu/student relationship, divided loyalties, warring clans and the rise of what would become a united China) and the style often looks like a relatively low-budget film trying to look more expensive than it is rather than the genuinely expensive film it was, with director Ronny Yu shooting much of the film in near darkness with deep blacks, heavy blue filters and smokey backlighting, stylistic devices that aren't to everyone's visual taste. The action scenes are often played out via jerky step-printing (where the film is shot at around 12 frames per second or less but each frame is printed twice or more to create a sense of motion at normal speed that's either heightened or degraded depending on your point of view). While the film was shot on massive sets (genuine exteriors are few and far between), they're neither lit or shot to stress their scale or often to be particularly visually interesting, with much of the early action of the film very deliberately styled after a shadow-puppet play, all profiles and silhouettes. And yet gradually it casts its spell over you and begins to grip as the story becomes more ambitious and intriguing.

On the surface it's a Romeo and Juliet story between Leslie Cheung's heir apparent to a clan dedicated to good but filled with doubt no-one else shares about the severity with which it is enforced and Brigitte Lin's "wolf-girl" (meaning she was raised by wolves rather than turns into one) who has been trained as a supernatural killing machine by an evil pagan cult and who sports a particularly lethal whip that Indiana Jones would kill for - sharper than a meat cleaver and very handy for slicing-and-dicing any number of opponents. Their inevitably doomed romance occupies a moral middle ground that, naturally, neither side will tolerate, with their respective rejected mentors eager to reclaim their undivided loyalty. In many ways the film is a rejection of all the intransigent moral codes of the fantasy swordplay genre, where even the "good" clan and their allies are so blinded by their own self-importance that they have no qualms about killing innocent peasants just to be on the safe side in case they're lying ("Better to kill a hundred innocents than let one guilty escape"). And just to add to the complexity, the film offers a truly unique villain ? a pair of male/female Siamese twins, the sister often goading her brother over his inability to understand the woman he loves. The finale is certainly unusually ambitious, and can be seen either as a fantasy battle or as a physical realisation of the hero's nervous breakdown: either way, it offers a welcome level of emotional weight to what could easily have been clichéd fare. It's a film that has a lot working against it, but it lingers in the memory long after it's over. A shame Tartan's UK DVD is such poor quality (and, aside from some good film notes, extras-free as well: a pity since the troubled shoot ? which apparently saw a few Triad bombing attacks on the studios to add to their woes ? could bear further examination).

I think this film would have got better reviews if it had been called something else. The problem is Ronny Yu made a great, almost perfect film with the original Bride and this has rather a rushed feel to it. The epic, mythological feel of the first film has been replaced by something else and Brigitte Lin has no real space to develop the tragic character until right at the end when she is reunited with Leslie Cheung in a not exactly happy ending, if perhaps fitting. But the photography is wonderful and Sunny Chan is, in my opinion, a better actor than some give credit for. Joey Man does what she is there for and provides the eye candy and some nudity. They are supported by the great Helena Law Lan and Christy Chung plays it for fun and dies a suitably tragic death. This is much bloodier than the first film and the feminist, even lesbian overtones are too obvious at times. The kung fu and sword play is minimal but I sat through the film really enjoying it and if you don't consider it a sequel then it is still better than many other films.

Plot Summary: Sonny Chiba takes it upon himself to protect the heiress of an oil company, resulting in him beating up a load of guys and spilling much blood.

'Streetfighter', aka The One Christian Slater Is Watching In True Romance, is without a doubt one of the greatest, most enjoyable martial arts films ever made. Set in twentieth century Japan, the film quickly sets Sonny's character up as one of, if not the toughest, most brutal antihero in the history of cinema. After going to great lengths to rescue a guy from being executed, Sonny meets the brother and sister who hired him for the assignment, and then kills the guy and sells the girl into prostitution just because they didn't keep their word regarding his payment details! As the film deals with Sonny's moral - free monster of a character, there is no time in between the awesome fight sequences for emotion or fortune cookie wisdom spouting. Only once, when we learn about the fate of Sonny's father, is there any emotion directed towards his character. The rest of the time the film is reliant on Sonny's charisma to give it any depth past the fight scenes. Thankfully, Sonny has bucket loads of it but as this is a martial arts film it wouldn't really matter if he didn't. He is without a doubt one of the coolest Asian actors ever.

Overall this is essential for any fans of Japanese chop socky cinema or martial arts in general. It has everything; an impossibly cool and tough lead, huge body count, swords, axes, guns, OTT blood spewing, people falling to their deaths, cars being tipped of bridges, a revenge subplot, people spitting out their teeth, gorgeous Japanese women and a guy being hit in the stomach so hard his last meal comes out his mouth! Oh and one of the coolest theme tunes in history.

This is one of my favourite kung-fu films and is regarded as one the most popular Shaw Brothers from the late 70's. The plot is interesting and twisty, the characters are cool each with their own style - toad, snake, lizard etc. The action is limited in comparison with other Chang Cheh / Venoms films but what is there is interesting with different kung-fu styles on display from the various characters. I recommend this film to those who think all Shaw Brothers especially Chang Cheh's films are the same, most of his films usually focus on the 10 tigers and Shaolin vs Manchu conflicts. This film is breath of fresh air in comparison.

Well here we go again, another Shaw Bros production with high impact and excitement written all over it. The story as most of you already know is about Fong Sai Yuk played by Hsiao Hou, only his portrayal is very different from Jet Li's incarnation. First he is very hot-headed and a trouble maker, and here he has 2 brothers.

Anyway Fong Sai Yuk gets into trouble and is sent to the Shaolin temple by his mother played by Li Li Li. Gordon Liu also returns as monk San Te. From here the movie goes from good to AWESOME. The choreography in this movie is nothing short of goodness. The end fights are always the best part, (not saying the fights in the middle were bad) plus there is always one person to watch out for to see what they can do.

That person would be the Governor, his Eagles' Claw style was second to none. In the end this is a very highly recommended film especially if you are a kung fu movie fanatic like myself. Hsiao Hou is a damn good martial artist, look for him in movies like Mad Monkey Kung Fu, Legendary Weapons of China, Dirty Ho, Fist of the White Lotus (small fight scene), and My Young Auntie all very good classics

This is possibly THE GREATEST Kung-fu movie ever made and being a fan of ENTER THE DRAGON and regarding that for years as the best, I took in a screening during a Martial Arts season at the NFT which showed the original language version with subtitles. It's sequel, RETURN TO THE 36TH CHAMBER, works both as a sequel and as an original film in it's own right, as it has the lead actor lampoon his original role.

The plot involves a petty criminal who hides away in a Shaolin Temple on the run and thus begins to learn the various skills that will turn him into a Shaolin Monk. The goal is the 36th Chamber, which participants have to endure a previous 35 to get to with a series of increasingly impossible disciplines. Naturally you can expect what is going to happen, but the payoff of watching San Te emerge from the Temple and take on people in the town nearby is a joy to behold.

Funny in a non-stereotypical way and with much to appeal to a Western audience, do catch the full two-hour version (UK versions were heavily reduced and I hope that the new version gets new screenings at some point.

The Way Of The Dragon had the potential to be Bruce's best film in my opinion but was bogged down by the dubbing and acting. But it still stands solid as one great Bruce Lee film and boasts the greatest fight scene ever in my opinion. Bruce plays Tang Lung who travels to Rome to help his family battle local gangsters who are trying to take over their resturaunt. Bruce almost plays a Charlie Chaplin type role here which would later be more fitting to Jackie Chan's slapstick style. Much like the Big Boss the first Bruce fight scene is way into the film but in my opinion this good because it creates a good build up, the nunchuka scene is second only to the one in Fist Of Fury or the uncut Game Of Death. The fight scene in the Roman Colliseum deserves the credit it gets because of one simple reason, its a simple fight, there are no gimmicks, sure its set in the colliseum and the fight is supposed to reflect two roman gladiators but there are no weapons and no sweet talk. It truly has epic scale. The thing that also makes this fight scene work is the end when Tang Lung out of respect covers Colt with his Karate jacket. There may have been better fights since on screen and I havn't seen many Hong Kong films with Sammo Hung, Jackie Chan, Donnie Yen etc but this is the first great one on one fight, therefore it set the standard.

There will indeed never be another Bruce Lee. I find it fascinating to imagine what Bruce would have done if he had lived, the 80's and 90's would have been very different if Arnie, Stallone, Wiilis, Seagal and Van Damme had Bruce to compete with, Bruce is sometimes critcised for being a bad actor, but i disagree, if anyone has seen his episodes of `Longstreet' or `Marlowe' they will see that Bruce could convincingly carry a dramatic scene given the right script and no dubbing and he oozed charisma, and he showed glimpses of good acting in Enter The Dragon.

Being a Bruce fan i kind of wish that Jet Li would do the films that bruce did or was planning on doing, Jet's early work in Honk Kong like the Shaolin Temple or more recent stuff like Fist Of Legend(remake of Fist Of Fury) and Once Upon A Time In China was very promising and it seemed he was the successor to Bruce but instead now he's doing crap in Hollywood with DMX and Jason Statham. Strangely the mediocre Lethal Weapon 4 is Jet's best Hollywood film, Maybe Jet should do a project with John Woo, it would be interesting and they'd probably get the best out of each other.

'Game of Death' is the equivalent of having your dog swallow a gold ring - you've got to sift through the cr*p to find the polished stuff.

Completely different to Bruce's original vision, the 1978 version is hugely controversial. To some, it's a shameless cash-in and insult, to others it's a curiosity. To me personally, it's a guilty pleasure. Obviously, with such limited footage of Bruce Lee to use, the film was always going to suffer. Not only that, but how do you incorporate the footage into a film and give it context? The stand-in's that are used to fill the time leading up to the Lee footage are never going to fool anyone. Even as a kid, I could tell it someone else. The techniques used to have Bruce Lee on screen range from awful (superimposed heads) to tasteless (his real funeral) to fairly good (quick cuts from old footage). The disguises that Billy Lo and Bruce's doubles wear throughout the film are hokey but nothing that we haven't seen in Lee's films before (Fist of Fury), so that didn't bother me too much.

Despite some awful dubbing and a poor script, 'Game of Death' is still watchable for it's action. Fight choreographer Sammo Hung makes the non-Lee fight scenes entertaining even if the doubles don't match Bruce Lee's speed or technique. However, they do capture some traits of Lee's fights including the slow motion finishing move. Also, the film's budget allows for a number of locations ensuring that Billy's quest for revenge keeps moving. In this regard, the Hollywood frills that are added give the film a degree of watchability, especially the classy score which appears throughout and heightens the final scenes.

But of course, the main point of watching 'Game of Death' is to see Bruce in action. Although criticised for cutting down the "pagoda sequence", I think it still contains enough to satisfy. You have to remember that this original footage included two companions of Lee's who don't feature in the 1978 film, meaning a lot had to be left out. The nunchuk duel is unique while the fight with Kareem Abdul Jabbar is bizarre but thrilling.

There are some moments of bad taste, but on the whole the film is a cheesy and quite fun attempt to build up to the final 20 minutes. Whether you think this was a cash-in or a tribute, you still need to see it in order to understand the 'Game of Death' phenomenon.

I'll just say that the film is constructed so poorly that it is outrageously funny. I watched it with friends, and I recommend everyone does the same. If you have even half of a sense of humour, you'll be laughing for literally 80% of the film.

Everything about the film is wrong: trying to resurrect Bruce Lee with scraps of footage and a guy that "kinda" looks like him; having a man dress up as a lion and go toe to toe with the lead character; having sets that belong in a star trek episode; having jesus play the bad duy. The best/worst parts are the "twists," which are so inconsequential they needn't have bothered. The makers could not have made a funnier film had they tried. Any film that includes the line: "I may be a kung-fu master, but I need cash!" must be essential viewing

This Jet Li Wong Fei Hung adventure must have served as inspiration for Jackie Chan's later and superior SHANGHAI NOON.The scenes where the hero fights Red Indians and the character of the blond cowboy sidekick who fights alongside the hero were almost duplicated in the Chan vehicle.What spoils this movie is the once again over prevalent use of wires in the fight sequences which always casts doubts in my mind as to how good a martial artist Jet Li really is.Let's face it,you could make a porker like Dan Aykroyd look like a fighting fury using this technique and I wonder why it is that Li relies on them so much.That said there is a great deal of well staged fight action in this otherwise entertaining movie courtesy of Sammo Hung and not too much of the excruciatingly poor comic relief that so often mars Hong Kong action movies.A downside is Li's awful bald apart from a ponytail hairstyle which frankly makes him look ridiculous and which is why I was unable to take him seriously until I saw him in FIST OF LEGEND(which remains his best movie).Some of the heavies in this movie and their dialogue is straight out of BLAZING SADDLES and this film really is only a showcase for fights and serves no other purpose(not that there is anything wrong with that)

The Empress of China decides to hold a Lion King competition as a show of strength to foreigners; rather than uniting her people, the impending event causes fights to break out between rival martial arts schools across the country. Out to ensure that as many potential winners are quashed before the contest even takes place, the nasty Chiu Tim-ba and his men attack the other competitors, including the father of the legendary Wong Fei Hung.

Wong (Jet Li) steps in to protect his old man, gets in a few scraps, and eventually becomes involved in foiling an assassination attempt on a high ranking governor, whilst at the same time trying to make sure that the ex-boyfriend of his sweetheart stays his distance.

As a big fan of Jet Li, I really have tried my utmost to enjoy the OUATIC movies, but, even with the incredible cinematography, lavish sets and costumes, powerful score, and welcome appearances from industry greats such as Yuen Baio and Donnie Yen, the series has left me rather unimpressed.

And Part 3 does nothing to change that.

This chapter moves the action from Canton to Beijing, but almost everything else stays the same. We get more xenophobia, more silly wire-work enhanced fight scenes, more playful romance between Wong and his girl (the gorgeous Rosamund Kwan), more lame comedy, and not enough memorable martial arts action from Li. And this time round we also get lion dances. Lots and lots of lion dances.

If the sight of men dancing and leaping about in brightly coloured lion costumes doesn't sound like fun to you, then I strongly suggest you do not watch this film (lion dance fetishists, however, will have a field day!).

I had always found the traditional Chinese lion dance rather interesting to watch, but this film has dampened my enthusiasm for them more than just a tad. OUATIC 3 starts with lion dances, has a few lion dances throughout, and end with lots of... you guessed it.... lion dances!!! Sure, some of the lions have booby trapped mouths which fire arrows, and another has blades attached to it, and there's a humongous lion at the end to spice things up, but there's only so much wiggling of lion bodies, jiggling of lion heads, snapping of lion mouths and fluttering of big lion eyes that I can take.

In fact, only the presence of the delightful Miss Kwan as Aunt (or is it cousin?) Yee kept me sane. Once again, she is a joy to behold and makes the whole lion-infested film worth enduring.

Taking up where the first part left off, this is effectively more of the same ? which is no bad thing. Li and Rosamund Kwan return, but Yuen Biao elects not to reprise his role of Foon. His replacement Max Mok does a great job in the role.

Most of the wire work action is left for the climax, giving Li a chance to demonstrate just how good he is at stylish (and FAST) kung fu earlier in the movie, when he takes on a mob intent on lynching his beloved 13th aunt armed only with a fan, and faces off against Donnie Yen in a great pole fight.

As for the plot, this time us dopey westerners are the ones in danger, rather than being the outright villains. After a raid on an embassy, Wong Fei Hung decides enough is enough and takes on the White Lotus cult, who are intent on rubbing out all western influences from China. Cue high-flying kicks, punches and leaps, and a crazy fight atop a construction of tables.

The climax, a memorable fight with Donnie Yen, is an absolute classic, with both giving their all. The speed and technique shown during the double-pole fight is staggering, and Yen's moves with his cloth staff are gob-smacking. It's a real treat to see kung-fu cinema of this quality.

The first time i saw this movie i hated it it was only with repeated viewing that i grew to love it. I think the reason why i initially didn't enjoy it was because i was expecting light entertainment and i just wasn't prepared for a multi layered film such as this. This film marks for director Tsui Hark the peak of his creative genius when he was making this film there was a lot of worry in Hong Kong regarding the 1997 hand over to China Tsui manages to transfer this tension and uncertainty into the film terrificly and he injects each shot with a passion for his nationality and his love for the chinese heros such as Wong Fei-Hung. The next element of this film that is truly magnificent is the cast each character is given sufficient screen time for complete character arcs Jet Li's acting is done with a level of honour and intensity that has been lacking in every performance he has done since. Yuen Biao has perfected playing these king of roles because he has played many similar roles in the past yet he still manages to bring something new to the role and gives it a fresh twist that is lacking in Max Mok's performance in the sequels. there are also strong performances by Jackie Cheung, Rosamund Kwan and Kent Cheng. overall the character that steals the show is master yim i would say he is better than the rest of the cast combined. Now to the point that most people watch kung fu films for the fights the great thing about the fights in this film is that each fight improves on the one before it so there is a visible progression before the end ladder fight which i consider to be the best wire enhanced fight ever put on film.

overall i would recommend this film to anyone who is looking for a great movie but if you are looking for realistic fighting i would point you in the direction of Bruce Lee's films and the Prodigal Son . please note to get the most out of this film it must be seen in its original language and in its original Widescreen format and it must be seen no less than five times to get an idea of its multi layered complexities

After being a little disappointed with Rumble in the Bronx, First Strike was a great comeback from everyone's favourite martial artist/wannabe comic.

As ever, it was the action and the jokes which moved the show along, and it delivered plenty - the huge fight scene in the aquarium and the ladder fight highlighting Jackie's infinite brilliance (and infinite pain tolerance, in the latter case - see the outtakes). And as for those koala underpants...well, some things you just need to see. A much better installment in the Jackie Chan legacy - not to mention that it was filmed Down Under, which as we all know is the greatest place on Earth :)

Depending on your whereabouts in the world, this film may go under any one of the following titles: Supercop 2 (USA), Once a Cop, Police Story 3 Part 2, Police Story 4: Project S, Police Story V, Project S (UK), Supercop (also UK). Whatever the title, do not be fooled into thinking that this is a Jackie Chan film; yes, he does appear in the movie, but only briefly and in a scene that has absolutely nothing to do with the rest of the film.

Michelle Yeoh, however, plays the same character as she did in Police Story 3 (which was known as Supercop in the US and did star JC?are you keeping up?), a hard-as-nails mainland Chinese cop named Yang. She is called to Hong Kong to lend her expertise and assist in the apprehension of a gang of Chinese criminals who are pulling heists right left and centre and peeing-off the local cops.

The police operations are going swimmingly until Yang recognises one of the criminals as Cheng Feng, her boyfriend from China who left for HK to find his fortune, and the two become reacquainted under somewhat difficult circumstances.

With a decidedly routine plot, Project S needed to be something special in the action department in order to compensate, but despite some cracking fight action towards the end, there is far too much quiet time spent between bouts. The action is also geared towards gun-play rather than martial arts, so those expecting a full on fight-fest will be disappointed. That is not to say that Yeoh and co-stars don't display some wonderful skills from time to time; the high kicking action is pretty good when it happens?it just doesn't happen often enough.

The final half an hour, which has the gang attempt a daring bank robbery, offers the best dose of action, with Yang going up against a foe twice her size (and kicking ass, of course!).

Director Stanley Tong and star Michelle Yeoh have both made far better films than this, but if your expectations are not set too high, you may find Project S a reasonable way to spend your time (although 105 minutes was a tad too long for me!).

Jackie is one of the key police officers in a bust that captures big time criminal Koo. As a `reward' he is told to guard Koo's secretary, who has turned states evidence. However Koo's men try to get to them before the trial - the least of Jackie's problems as his girlfriend May storms out when she sees him with Selina. When Koo is acquitted, he frames Jackie for the murder of a cop, forcing Jackie on the run to clear his name and get Koo.

The first film in the successful Police Story series is a fair example of a Jackie Chan film for those who have never seen one - reasonable plot, great action, average acting (potentially bad dubbing) and the comic scenes. However it is not as good as some of the sequels and, just generally, some of Chan's other films. Police Story opens with a great shoot out that culminates in a car chase through a shanty town and a fantastic series of stunts on a bus. From this point on it then focuses on the plot and quiet a few moments of comedy. This works reasonable well but it feels like the comedy and action have been divided up into separate sections. This takes away from the film a little bit.

The plot is pretty solid for a Jackie Chan film (by recent standards this is a masterpiece of writing!) although some of the dialogue doesn't quite fit. The moment where Jackie is forced on the run by the police is a bit hammy and the `you don't see us as people' rant just doesn't seem like Jackie. Of course part of the problem with this is the dubbing in the version I watched - I just don't understand viewers who would sooner see a really bad dubbing job than watch a subtitled version! The cheesy American voices here do detract from the performances and I found it difficult to judge some of Chan's comedy lines when they were being delivered by another person in a very flat way. However he still has presence and his physical work is great. Special mention to the stunt men here also, there are a lot of great falls (including a dive from a bus top) that must have hurt - I don't care who you are! Tung's Uncle Bill has fewer funny lines than I'm used to but he is still funny. The female cast are pretty wasted with both Lin and Cheung on screaming duty for the majority of the film (and most grating it is too!).

The film ends on a rather strange shot but set up an angry cop that Chan never really convinced me as - a personae that just seemed to be dropped in the later films in the series, but the overall film is still very enjoyable. The plot is good even if the acting isn't and the action involves plenty of amazing routines and stunts - it's just a shame that the action and comedy were very fragmented, it dispointed the film.

There is one detail, which is not very common for Jackie Chan movies, but which is present here. It has some very tough and serious atmosphere about it while the funny elements are present too. Jackie is menacing and psychotic here. He is not a hero who is attacked and only then fights back (in a usual laid-back pattern), but he is the one who can go and start the tumult. His manner of hitting that evil guy in the glasses is amazing. Every time it goes "crack!". I also especially enjoy the scene when Jackie goes to the pub and thrashes the villains who had fronted on his girlfriend. It's one of the best blitzkriegs put on screen. Besides, the whole scene is shot with the background of some action character painted on the wall (it also looks like a poster of "rabochiy" from our Soviet era) and some lines in Russian on the left (I noticed that quite accidentally). That looks terrific (and nostalgic for Russian people). I also like when the windows are being smashed in the movies. Here there's a lot of this stuff. It's quite amazing watching the characters falling/jumping/running/driving through all manner of panes.

All three movies are great. I had been preparing myself to see the down-slide of the quality but I saw a perfect trilogy with sense and incredible stunts (and not only Jackie Chan's character appears in all three movies - that's also excellent and keeps continuity up).

I would like to describe each movie just in a few words: No.1 - great (in all aspects - it is one gripping story from the very beginning to the very end) and funny (many scenes are ridiculous); No.2 - raging (Jackie is really *beep* off here) and painful (Jackie gets tortured); No.3 - unbelievable (the woman that fights alongside with Jackie is incredible) and bombastic (should I mention a lot of guns and explosions?).

As to the rest - much has been mentioned by the others.

It's a trilogy that can be watched over and over again (at least by me).

Normally I would open with a plot summary when I write a review ? not always but a lot of the time. With Ong Bak 2 I'm not sure I can be bothered or even that I should be because the plot here is so thin and so uninvolving that it is hardly worth the text. Essentially a child is rescued by pirates and grows up to be a great fighter, robbing and killing as they do. However when memories are triggered of his past he sets out for revenge , bringing secrets out into the open. In fairness, in those last two sentences I have made it sound more interesting than it actually is because I have suggested there is a flow to the narrative whereas in actuality the film is two of three "stages" that just suddenly move between one and the other. It is remarkably basic and, in terms of plot, remarkably poor. It isn't helped either by the fact that the entire film has a very serious dark tone to it ? making it almost a weighty revenge tragedy. Now, I have no problem with that in theory but the problem here is that it doesn't do anything to justify that tone, nor does it do much to make it fit.

It really needed the characters to be engaging and real for the audience to care but there are no characters to talk about. Amazingly even the main character of Tiang is poorly developed. A massive part of this is the small amount of dialogue in the film ? indeed by the time you have read to the bottom of this review you will have read more words than are spoken in this film. Of course silent films could still make a plot a character so it is not the end of the world but it does hurt the film because with a weak plot and weak characters the lack of dialogue is even more telling. Fortunately the one saving grace of the film fills the vast majority of the running time ? the action. Aside from the "sombre" moments between scenes there are plenty of great action sequences involving weapons of all types. They are impressive and quite exciting at times and the only rider I would put on that is that they are not as much "fun" as the action has been in some of Jaa's other films. That said, it is worth seeing the film for the action alone ? which, when you think about it, is just as well.

In terms of Jaa himself one really has to wonder what he is doing with his career because if films are to be his thing moving forward, then why does he appear to be going backwards in all of the aspects this involves excepting the action? In his previous films I have noted he is not very comfortable with lines and that any comic moment escapes him. Here it feels like those working with him have just given up totally and have allowed him to do little other than fight ? he barely has a line in the film and any "plot/character development" stuff is done by the child playing his character while Jaa himself looks into a fire in a "remembering" pose. It is weird but it is part of the reason the film doesn't engage as much as I had hoped ? because the main character is little other than a stunt man, albeit a very good stunt man. I'm sure fans will hate me for that and not see my point but the thing is, if he is going to continue making films in Thailand (far less films that can perform abroad) then he needs more than the impressive martial arts skills he has. He needs good vehicles, he needs to work on his many weaknesses as an actor and he needs to have a supporting cast that can fill the gaps that he cannot (such as in Ong Bak). At the moment Ong Bak 2 just looks like they are happy to film him fighting and leave it at that, which I think is a real shame because this only makes for great action ? not a great film. Although he did a good job directing the film in some regards, this is probably a mistake because he cannot do anything about his own failings as a performer.

Ong Bak 2 is a technically brilliant martial arts film with plenty for the weapons fan to love. However as a film it is really quite poor thanks to a thin plot, little dialogue and even less in the way of characters. The action makes it worth seeing but even fans will be hoping for a bit of a better product built around this. I continue to pay out to import Jaa's films because he is great at what he does but I hope that he can improve in other areas to make better total films rather than this type of thing again.

Tony Jaa is the new Jet Li and Jackie Chan with a thai boxing background. This guy moves as quick as Jackie, has the strength of Jet Li, put packs a more violent, deadly assault - he uses his knees and elbows for pure annihilation. Why does he use his elbow and knees so much? Because they are the hardest parts of the human body. And god damn in Ong Bak he proper messes up everyone he comes across. Thai boxing is proper hardcore, they don't mess about.In Ong Bak, the story is pretty non existent, basically some gangstas from the city come to our heros poor village and steal the Buddha's head statue, and so Tony Ja commits to bringing it back and restoring peace. Now with that out of the way, let's talk about the fighting as this is where the film excels. WOW, this IS the most realistic fighting you will ever see. The only thing I can compare it to is Ultimate Fighting, but ten times worse. Tony Ja will become a legend this is fact. His flexibility in fighting is so extreme, and this film is basically just crammed up with the biggest, most violent stunts you will ever see. For instance, in a scene where Tony and his newly met friends run away from a group of hoodlums, he gets away in style. This is done by jumping through the tiny gaps, either backwards sliding underneath cars, jumping feet and hands outstretched through a hope, running across people's heads, flippin, kicking, somersaulting absolutely everywhere. Remember when you first saw the matrix and you were like `woah', well this is so much better. For starts, the stunts in this film are REAL. Everybody gets injured. There are no wires, pulleys, fake punches, fake blood. This is how it should be. Hollywood take note. The best scenes come where there is a kinda of street fighter style arena, where the deadliest fighters compete to be champion. Tony gets accidently caught up in this, and doesn't mess around by defeating the champion with a single powerful knee thrust into the opponents chest as Tony bends forwards and twists to avoid the ensuing punch from the opponent then unleashes the killer blow. Everyone in the arena is stunned and Tony gets booed for bad sportsmanship.. But don't worry about that has the biggest fights of his life coming up.You need this film in your life. I haven't seen anything as violent and hardcore as this ever before. But even though its hardcore and low budget, the direction is slick. Double takes are often used for the incredible action so you can really appreciate, for example, taking out three men with a triple, twisting back flip and smashing their heads in with your knees and elbows at the same time with pure accuracy. I have watched this four times now and cannot get enough. Overall, the story line is weak and there are some hilarious cheesy moments, but this all works perfectly well as instead of going `god damn thats sick!' at the beginning, you will end up saying `ha ha! Did you see his elbow get torn backwards then snapped! Ha ha! This is genius!'. It's like CKY2 with all the accidents, but here it is intentional for someone to do themselves in. This is a film you will watch over and over again, and show your mates everytime they come round

This is one of my favourite kung fu films of all time. Woo Ping + Jet Li = quality and this is his best. The fight scenes are superb. I didn't think Iron monkey could be beaten until I watched this. The end fight is my favourite fight of all time and I've seen a few! I can't recommend this film enough. The film is a remake of the Bruce Lee film Fist of Fury which is a classic itself. This takes it to a new level though. There is a bit of poor acting in parts as you would expect in a 90's kung fu flic but the action more than makes up for it. The music also stays with you and builds the fights up really well. If your a kung fu fan and haven't seen this film I suggest you get hold of it.

The first of several movies directed by Lo Wei to feature up 'n' coming martial arts star Jackie Chan, New Fist of Fury was devised as a sequel to Bruce Lee's popular film Fist of Fury (which was also directed by Wei).

Chan plays Lung, a layabout thief in Japanese-occupied Taiwan who hates the Japs and enjoys a brawl, but has no interest in learning kung fu, meaning that he regularly gets his ass handed to him by his opponents.

After being discovered left for dead in a ditch after one particularly severe beating, Lung is nursed back to health by the students of a local kung fu school run by kindly Master Su and his pretty grand-daughter, Miss Lee (Nora Miao). Lung is invited to train at the school but refuses, unwilling to give up his freedom as a thief.

However, when Akumora (Chan Sing), the local Japanese official, takes his bully boy tactics too far, eventually causing the death of Master Su, Lung has a change of heart, becomes a highly skilled martial artist overnight (or so it seems) and kicks some major Japanese butt (before being shot to death in the film's closing frames!!!).

With the star spending most of this film as a punching bag for his enemies, and very little evidence of the innovative slapstick comedy/fight action that one generally associates with his later movies, New Fist of Fury is bound to disappoint many Chan fans. Unless you are a rabid fan of JC and wish to see all of his early work, you would probably be better off giving this one a miss (or watch either the Bruce Lee original, or the excellent Jet Li version of the story, Fist of Legend).

This film is a classic but then all of Bruce's completed films are classics. There are strong anti-Japanese messeges (including one Japanese guy having a tash similar to a certain German dictator) in the film but it has been over 33 years since the film was made and so this can be put down to it being dated. Ultimately it is a film about injustice and Revenge. The Bushido School's general evilness, the injustice against the Chinese in Shanghai and Bruce's (called Chen in this one) hot headedness create a circle of violence which escalates completely out of control. This is an intensely gritty Kung Fu film unlike Bruce's later films which were more escapist in nature and Fist Of Fury has the highest body count in terms of Bruce actually killing people with those fists. The legendary 'Sick Man Of Asia' scene is amazing and the end of Kill Bill clearly homage's this so any Tarantino fan's will get an added joy out of watching this beautiful sequence. DO get the uncut versión.

Throughout this film you see a constrained Bruce Lee. Lo Wei is deliberately holding him back in order to introduce him to audiences and to save the best of his fighting for the second film. What we see here is a humane Bruce Lee who has feelings, a sense of humour, enjoys sex and is in control of his temper. He strikes up a good friendship with Shu Sheng who life is eventually claimed by the antagonists. When Bruce witnesses the mistreatment of his family in the workplace, he still holds back. Until...they break his necklace. At that moment, he explodes into action with centrifugal force, picking off each opponent with pin-point accurate kicks. It is a work of art that is akin to 'Samson and Delilah'.

Enter the Dragon is simply the Best martial arts film ever released. Simply the Best Bruce Lee movie in his short career. Way of the Dragon was Bruce's Best Hong Kong Movie. For those who've seen this movie recently, it may not appeal to you, because of Jet Li's computerised Kung Fu. Bruce Lee is the greatest Fighter in History, what you see in the movies, is twice the speed he fights in real life. There is no one like him yet, Jackie Chan is great with stunts, but in no level. Jet Li is magnificent and fast, but not in his level. I'm not even gonna mention Van Damme and Seagel. Tony Jaa is fast and powerful, but there will be no one like Lee. His acting wasn't Superb, but that doesn't stop the movie from being a Non stop entertainer. The fight Scenes are terrific, remember this is a 70s movie. The rest of the cast were decent, in particularly John Saxon, who provides some of the humour. Watch out for Bolo Yeung in a younger role. This is an example of an Martial Arts masterpiece.

I'm a massive Jackie Chan fan. I have most of his films, and this has to be one of my absolute favourites.

The film is choc-full of memorable fights, and incredible stunts, some of which may cause you to yell out at the screen in mental anguish. The most incredible stunt has to be when Jackie is pushed onto white hot coals, and has to crawl backwards across the pit (apparently, he did this twice - ever the perfectionist).

The storyline is never the reason anyone would be gripped by a Chan film, but in this case, it's basic, yet more than acceptable.

The drunken boxing style is given a good go in this film, with Jackie demonstrating the style to magnificent effect. Watching this film, you certainly get a feel for Jackie's creativity and incredible ability to pull off some of the moves that simply no one else can perform. The sheer brilliance of some of his work in this film suggests that Chan never faltered from his quest for absolute perfection.

Overall, if you're a fan of Chan, then you'll probably adore this film. If you're a casual Chan fan (ie Rush Hour, Shanghai Noon) then this film will surely lighten up your knowledge of just how amazing this martial artist is.

This for me is Jackie Chan's finest, and is the film which propelled him to super stardom in Hong Kong. Whilst other martial artists were trying to be the new Bruce Lee, Jackie did something different. Why replace the irreplaceable when you could do something completely different? What Jackie did was introduce slapstick into the Kung Fu formula, the rest as they say is history.

Jackie stars as Freddy Wong aka (Wong Fei Hung) depending upon which dub you watch. A juvenile delinquent with a penchant for feeling up immediate female members of his family. His father, fed up of his delinquency hires Sam Seed aka The Drunken Master to teach him some discipline as well as his secret fighting style. Naturally the two get off on the wrong foot but learn to respect each other as the film goes on whilst of course getting into the obligatory scrapes and japes. There is of course a villain of the piece in this case its the Tae Kwan Do master Hwang Jan Lee as the underworld assassin "Thunderfoot" who in real life was just as badass as he is in the film.

So it's all pretty derivative then? Well yes and no. There is a genuine rapport between Jackie and Yu Su Tien as pupil and teacher. The martial arts is brilliantly choreographed and inventive (the scene in the restaurant is probably my favourite) and the whole thing has a "joie de vivre". Watching it, it seems to me that the actors had a ball making the film. Which is just as well as I had a ball watching it.