During the first half of the 1990s, Hong Kong was wire-fu crazy. It seems like all you had to do to get your movie made was show up at a studio waving around a napkin with “guys in robes fly around, then there’s a fart joke” scrawled on it. Even if the studio already had ten movies exactly like yours in production, producers saw no reason they couldn’t add one more to the pile. New Legend of Shaolin, starring Jet Li when he was the undisputed king of being hoisted around on wires, is the epitome of mediocre 1990s wuxia. It’s bad but not enragingly bad. It’s fight scenes are terrible but not “really terrible.” And as was almost always par for the course, the tone jumps wildly and without any transition from slapstick fart comedy to atrociously overwrought melodrama. 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.
If you ever wondered what Jet Li would look like as a giant armored pine cone, this is the movie for you. Hong Kong, which I guess is now Hong Kong/China, has been on a “Warring States Period” kick for a couple years now, thanks in large part no doubt to the success Zhang Yimou has had internationally with the genre (and yes, I know his films were set long before the Warring States). I’m not one to complain. Hong Kong has always made a lot of period piece films; it’s just that now that have somewhat more historically accurate costuming and sets than they did in Half a Loaf of Kungfu. This sudden re-emergence of the period piece probably also has to do with mainland China’s willingness to throw money into the projects, not to mention actors and all the landscapes one of the biggest countries in the world can provide. Given the access, how can a filmmaker resist making a movie in which a guy in armor stands atop some impressively craggy peak and surveys a field of soldiers below him?