By the time The End appeared on the television screen, we’d seen tongue-waggling ghosts, bug-eyed zombies, and that most treasured of kungfu film appearances — the kungfu gorilla.
This one, starring Jet Li when he was the undisputed king of being hoisted around on wires, is the epitome of mediocre 1990s wuxia. It’s a textbook case of by-the-numbers, don’t-give-a-shit Hong Kong film making from Wong Jing, the master of by-the-numbers, don’t-give-a-shit Hong Kong film making.
There are three actresses whose presence in a movie exponentially increases its likelihood of being head-scratchingly bizarre. They are the high priestesses of Taiwanese weird fu.
It’s time to start paying attention to martial arts movies again. We’re not quite out of the desert through which we’ve been wandering, but there’s definitely an oasis on the horizon.
Li has often been impressive, but rarely scary. This movie changes that, even as it clads him in a suit of armor I don’t doubt is historically accurate but looks ridiculous never the less.
If you liked the hilariously dumb, questionably plotted, but wonderfully choreographed Hong Kong action films of the early 1990s, then like me, you’ll probably be able to roll with Bad Blood and be relatively entertained.
A movie so ham-handed, misguided, and downright ludicrous that it should have been every bit as enjoyable as Chan’s previous movies. Unfortunately, whatever enjoyment might have been mined from the idiocy of the script is smothered under tons of truly horrendous melodrama.
It’s easy to dismiss a film like Naked Killer. But, to me, it’s only the subpar exploitation films that give sex and violence a bad name, while the ones like Naked Killer put sex and violence back on the pedestal where they belong.
It’s not surprising that one of the central themes to emerge in the movie is that you should keep trying, find ways to keep believing, and always try to keep yourself moving forward while, at the same time, not forgetting what came before you.
It’s cheap, shoddy, sloppy, and generally idiotic. But it’s not lazy, it’s not mean-spirited, and it’s not lethargic. This isn’t the kind of movie that will turn someone into a Hong Kong movie fan, but if you’ve been one for a long time, then you might, like me, find a movie worth enjoying amid all this nonsense.