Tag Archives: Mark Dacascos

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Redline


There are those in the world who write about the career of Rutger Hauer in much the same way that other people write about the film career of Elvis Presley, the general approach being one of “ain’t that a damn shame?” Hauer made a name for himself in America when he appeared in Ridley Scott’s seminal dystopian sci-fi masterpiece Blade Runner as Roy Batty, the leader of a gang of renegade androids being hunted down by Harrison Ford, presumably because they kidnapped his family or were on his plane without first obtaining the proper permissions. Hauer was already a familiar face to the ten non-Dutch people who watch Dutch films, and among that small population, the five fans of Dutch cinema who would actually watch Paul Verhoven films. When he appeared as a ruthless terrorist in Night Hawks, people started to take notice. Here was something interesting about the guy. And something scary. When a screenwriter told you Rutger Hauer was a murderous madman, you believed them.

A year later, Blade Runner catapulted Hauer into even wider American consciousness, and it seemed like he was destined for great things. But Blade Runner wasn’t quite the hit then that it has become today. Shortly thereafter, he appeared in the fantasy film Ladyhawke, which while not a blockbuster, certainly earned its fair share of fans and let Americans see Hauer as something more than a scary cyborg who howls, drives nails through his own palm, and spends his spare time catching pigeons and jumping around on rooftops. Hauer went on to appear in a string of modest genre hits throughout the 1980s, including The Hitcher, where he fed Pony Boy severed fingers, Flesh + Blood, where he competed for screen time with the frequently nude Jennifer Jason Leigh, and Blood of Heroes, where he and Joan Chen got to slam dog skulls onto a stick in a post-apocalyptic wasteland. However, while each of these films found an audience, none of them became much more than cult hits. Hauer’s intensity, his on-screen charisma, and his scary-yet-hot look seemed to imply that he was going to be big, just as soon as he found the right movie. And then something weird happened.


Exactly when and where, I can’t say for certain, though I’m willing to say things started to derail round about Blind Fury, which casts Hauer as a blind swordsman fighting the Mob. The modern-day mob, that is, the one with guns and hand grenades and black Crown Victorias; the one that would probably be able to kill just about any swordsman, let alone a blind one. Couple that with the movie where Hauer played a rogue cop who doesn’t play by the rules, battling evil terrorist Gene Simmons, and things really start to wobble. His long-anticipated portrayal of the vampire Lestat (Apparently he was Anne Rice’s personal choice) never happened, and by the time the movie was made, Hauer was too old, and the role went to Tom Cruise.

Throughout the 1990s, Hauer appeared in a series of misfires coupled with small roles (usually as the villain) in films with cult followings, such as Buffy the Vampire Slayer (which wasn’t a hit at the time) and a role in the Most Dangerous Game inspired Surviving the Game, where he got to hunt Ice T. After initial excitement Hauer generated when he made the leap to America, it seems like studios lost any faith in him as a draw. Before too long, he found himself in direct to video film hell, and there he has remained alongside Seagal, Van Damme, and Mark Dacascos (actually, frequently alongside Mark Dacascos), emerging from time to time to appear in a supporting role in higher profile projects like Batman Begins and Smallville.

You could bemoan the state of his career and look at his appearance in things like Dracula III and Scorcher as something to be sad about as you think about what could have been. On the other hand, Hauer is one of that breed of actor who works consistently, averaging four or five movies a year, getting free vacations to whatever location is being used that week, and showing up for small roles in big films at least once a year. Most actors would be more than happy to fail in the way Hauer has failed.


Redline, which was originally titled Deathline, has nothing to do with the underground street racing circuit. For a movie about that, you will have to go see Redline — the one that features a car on the front cover, instead of Rutger Hauer. Both movies feature lots of hot ladies in really tiny mini-skirts. But the Redline we want is a movie that sees Hauer and his partners Merrick (Dacascos, who is Russian this week) and Marina (Yvonne Scio) as a trio of smugglers in the Russia of the near future, running some sort of biotech you would assume becomes central to the plot at some point. It never does, but it does give us an early opportunity for Merrick and Marina to betray Hauer’s Wade and shoot him dead, presumably over the lack of judgment he demonstrates in choosing his outfit from the Glenn Fry “Smuggler’s Blues” collection at Sears. Merrick then gets to be doubly evil, thus justifying his growing of a goatee, by betraying Marina as well. The corpses are picked up by Russian police, and for some reason Special Prosecutor Vanya (Randall William Cook) decides to use top secret military technology to bring Wade back from the dead. Thus revived, Wade promptly sets out to do two things: see some boobs, and kill Merrick.

Wade seems to have very little problem with the first task, as the Russia of the near future is much like the Russia of the present: full of hot chicks in skimpy outfits, dancing to bad techno music. Somehow, among all the aspiring models, porn stars, strippers, and prostitutes that Eastern Europe has to throw at him, Wade ends up meeting Katya (also Scio), who happens to look just like Marina. One would expect that this, a story about a resurrected man on a mission of vengeance encountering the a woman who is the spitting image of his deceased true love, would then go right into Rutger Hauer getting wrapped up like a mummy and doing that stiff-armed swat to the shoulder that has killed so many old British guys who dared disturb the tomb of Amon-Ra. Instead, it just continues with the second of Wade’s goals, which is to kill Merrick, who has become a player in the Russian mob, though one whose position seems tenuous. I reckon the Russian mob has a thirty-day trial period like any business thinking of hiring a contractor to a full time position.


Of course, if that was the plot, this movie would be far too simple. So we get layer upon layer of ulterior motives. Why did Vanya bring Wade back from the dead? Why do they keep cutting to random scenes of the Russian president (Agnes Banfalvi) giving speeches? Why is Katya helping Wade? Does Mark Dacascos own any shirts, and if he does, is he capable of buttoning the top few buttons? Is there going to be an ill-advised fight scene between Dacascos and Hauer? On the way to answering these and other questions the movie won’t make you care about very much, we get to see Rutger Hauer shoot a lot of people. He also gets beat up by a naked female body builder and a topless female boxer who seem to be hanging out in a mansion-turned-nightclub for no real reason other than all Russian mob meetings include a techno dance party and naked female boxers and bodybuilders, gets to have sex with a couple women in a shower (oh yes — there will be naked Rutger Hauer), gets to have sex with Yvonne Scio, and probably does it a few more times, but I lost track. So if you’ve been looking for a movie where most of the running time is devoted to Rutger Hauer shooting and screwing, this is your lucky day.

There not much in the way of redeeming factors for this film, but that’s never stopped me before. I seem to have a limitless capacity to appreciate dumb direct to DVD movies starring Rutger Hauer and/or Mark Dacascos. Couple that with my previously established weakness for what most of the world considers two-star sci-fi films, and I really had no hope of coming out of Redline as a member of the minority of people who actually enjoyed the film. It’s science fiction only in the most bare-boned sense. Hauer and his pals run illegal biotech, but that never matters. There are devices that let you have VR-style dreams, mostly about banging a couple hot Russian chicks in the shower, but we already have the internet, which is full of places where you can go to pretend you are banging two hot Russian chicks in the shower. The future looks pretty much like the present — which probably isn’t that far off from the truth — and the remnants of Soviet Russia that are littered around lend the film an interesting look. The sprawling mansions, underground dance clubs, and crumbling Soviet-era tenements afford the film a cheap but convincing setting that is a far cry from Blade Runner but better than, say, Flash Future Kungfu.


Hauer’s performances can be hit or miss, depending on his mood. He’s actually fairly engaging in this movie, even if he spends half of it on autopilot. There are moments when he actually acts, and you get to see a little flash of the magic that Hauer once possessed. He’s a little heavier these days than when he played the ultimate combat cyborg and ran around in little black leather biker shorts (obviously purchased from the same store Sting shopped at for Dune), but for a cat in his 50s, he’s still doing OK, and he certainly looks to be in better shape for this film that he was in a lot of his previous direct to video outings — possibly because he knew he was going to be in the nude, as they say, though not as frequently as his female co-star, Yvonne Scio.

Scio’s a beauty (I’d go with Kylie Minogue beets Anna Falchi), and she’s a far better actress than one usually expects from these sorts of films. Redline seems to be her first English language film after a career in her native Italy. Since then, she’s appeared in some bit parts, some television shows, and probably most notable to the sort of people who frequent Teleport City, the Sci-Fi Channel original movie A.I. Assault. I quite like her. She has natural charisma and energy, and even though she’s from the “skinny ass-kicker” mold I so rarely buy into, she handles the action scenes believably. The final revelation regarding her character is somewhat ridiculous, but then, pretty much everything about this movie is somewhat ridiculous. Plus, she’s an actual woman, born in 1969, not a teenager, and she’s kept her freckles. Yeah, I dig Yvonne Scio.


Completing the main cast is our man Mark Dacascos, the Don “The Dragon” Wilson of the 21st century. Dacascos got his start back in the 80s, with a series of bit parts and minor television roles. In 1993, he starred in a movie called Only the Strong, which tried unsuccessfully to convince people that a martial arts based danced practiced mostly by dumpy hippy chicks in dirty linen pants and white dudes with dreadlocks and devil sticks was somehow awesome and the preferred style of combat for all vicious street thugs in Rio, who apparently are more than willing to put their bloodlust on hold long enough for the resident dude with a boom box to find a song with the right rhythm for the fight. While that movie may not have been any more successful than Rooftops at convincing us that capoeira would ever defeat gymkata or Tony Jaa with big-ass elephant tusks strapped to his arms, it did convince a lot of people that Dacascos was someone on which they should keep an eye. In the early 1990s, a lot of Americans were discovering Hong Kong cinema and getting caught up in the films of Jackie Chan, Sammo Hung, and Yuen Biao (among others). So the folks prone to paying attention to such things wondered if there wasn’t an American star who could even come close. Exposure to Chan’s hyper-kinetic, stunt-driven action style meant that audiences were no longer going to buy into guys like Steven Seagal or Jean-Claude Van Damme.


The answer from the U.S. seemed to come in the form of one of two people: Brandon Lee or Mark Dacascos. But then Brandon died, and Dacascos just never clicked with audiences. He went on to star in Double Dragon, a movie that asked audiences to believe that Mark Dacascos would play second kungfu fiddle to a guy from Party of Five — the most unbalanced kungfu match-up since Bruce Lee fought Gig Young. Dacascos then became the go-to guy for direct to video action films now that Don Wilson was slowing down, and they were unable to fit anymore numerals after the Bloodfist title. Even in DTV hell, Dacascos managed to shine from time to time. He starred in both Crying Freeman and Sanctuary, two adaptations of manga drawn by Ryoichi Ikegami. When they adapted The Crow for a television, Dacascos played the role formerly inhabited by Brandon Lee (more or less — I know they are all supposed to be different Crows, but really — a vengeful kungfu ghost in mime make-up is a vengeful kungfu ghost in mime make-up). He appeared in the rotten Hong Kong action film China Strike Force, a movie that decided the final fight shouldn’t be between Dacascos and Aaron Kwok (two actors who know how to fight on screen), but should instead be between Kwok and Coolio…on top of a precariously balanced sheet of glass, meaning that 1) the fight consists mostly of the guys trying to keep their balance and 2) the fight would have stunk anyway, because it was Coolio versus Aaron Kwok. Shortly thereafter, he reminded people how awesome he could be when he showed up in Chris Gans’ Brotherhood of the Wolf as a silent native American bad-ass.


Since then, he settled into a comfortable and prolific career in movies only people like us would ever watch, including Solar Strike, The Hunt for Eagle One, Alien Agent, and of more recent infamy, I Am Omega, The Asylum film studio’s quickie rip-off of both The Omega Man and I Am Legend (Asylum being the people who gave us such films as Snakes on a Train, The Da Vinci Treasure, and Pirates of Treasure Island, among countless others). Although he usually ends up throwing a punch or a kick here and there, these days he relies very little on his athleticism and martial arts prowess, concentrating instead on his ability to sit in hot tubs, shoot people, and pass for pretty much ethnicity the screenplay calls for.

He also seems to appear with shocking frequency alongside Rutger Hauer, making them sort of the Bing Crosby and Bob Hope of crappy direct to video action and sci-fi films. The partnership that began here with Redline continued with Scorcher and not one but two Hunt for Eagle One movies. Here’s to wishing them a long and fruitful joint career as the lords of direct to video action films.


Speaking of the lords of direct to video, you can’t escape any discussion of Redline — and lord knows the world is crawling with people who want to discuss a sci-fi action film in which Rutger Hauer gets beat up by a naked female bodybuilder — without mentioning the director, Tibor Takacs. The man is responsible for at least one film a week that plays on the Sci-Fi Channel. He’s perhaps best known for directing the 1987 cult classic The Gate, but since then he’s blessed the world with a whole slew of horrible crap that I seem to watch with alarming regularity and joy: Viper, Tornado Warning, Rats, Kraken: Tentacles of the Deep, Ice Spiders, Mega SnakeMansquito! He gave the world Mansquito, for crying out loud! And somewhere in there, he managed to direct a Sabrina the Teenage Witch film. His relationship with Dacascos goes as far back as Sanctuary and Redline, both in 1997, and they worked together again on The Crow television series. You know, if you told me that as of tomorrow, all films were going to be directed by Tibor Takacs, star Mark Dacascos and Rutger Hauer (and hot chicks in short skirts), and involve fighting giant snakes and/or spiders, my only real regret would be that there would then be no more Uwe Boll films.

Come to think of it, why hasn’t Mark Dacascos been in an Uwe Boll film yet?

Takacs also wrote the screenplay for Redline, along with a guy named Brian Irving who seems to be Takacs’ frequent partner in crime. They collaborated together on Rats, Sanctuary, and Nostradamus. Like I said, turn on the Sci-Fi Channel any Saturday, and you are pretty likely to see a film these guys made.


I suppose that this being a work of speculative fiction, one could search for meaning amid all the chaos and scenes of Rutger Hauer killing people. Beneath the sci-fi and action film veneer, this ends up being a political thriller as well, possibly even a spy film. But to read too much meaning into anything is to ignore the greater body of work this writer-director has created. His vision of the future plays like a version of modern-day Russia with a a bunch of Strange Days grafted on to get the film put in the science fiction section. There’s absolutely no reason the mysterious Special Prosecutor needs to resurrect a dead Rutger Hauer in order to sick him on the members of a Russian gang as part of some convoluted plot to assassinate the too-friendly and reform-minded president. It seems like his method of planning is to never let anything be done in one step if it can be done in ten. The guy might have even succeeded with his coup had he spent more time figuring out how to just shoot the president, and less time bringing Rutger Hauer back from the dead and hatching assorted schemes with Mark Dacascos, in an attempt to manipulate Dacascos into crossing his mob bosses, so that…oh, really. You know what? Very little of it makes a lick of sense, and if you try and dissect it any further than “Rutger Hauer looks at boobs and tries to kill Mark Dacascos,” you are probably going to give up. At least Takacs didn’t make the future some totally dystopian Blade Runner meets 1984 (this being before The Matrix) cliche.

In fact, I like the whole idea of scifi films set in Russia and Eastern Europe. The 80s and 90s were dominated by the William Gibson-esque assumption that the future would be dominated by Japan, and everything would be controlled by steely-eyed yakuza in black suits, with a tendency to still use samurai swords even though the rest of the world moved on to guns a couple centuries ago. While Japan still enjoys the reputation of happening fifty years in the future thanks in no small part to their love of flashing cell phones and disturbingly realistic robotic love dolls, it turns out that the future is probably going to play out in places like Russia, China, and oh, let’s say India even though they don’t like science fiction. Russia certainly lends itself to easy sci-fi. You hardly even have to dress the set. Now all we need is a movie where the dejected future samurai corporate hitmen of Japan have to fight for their livelihood against a bunch of future Russian mob corporate hitmen.


So, what have we said? None of it makes any sense, right? The pace is awkward. Not exactly slow, because Rutger Hauer is always killing people or getting it on, or Mark Dacascos is always getting in or out of the hot tub, but there’s no real energy to most of the action. It’s a Canadian co-production, and Canadian films often have a weird feel tot he pace. But then, Canadian films are rarely this mean and scummy, so that compensates somewhat for the meandering clip. Much of the film feels like running in place, albeit fairly amusing running in place, because Rutger Hauer is walking around blowing the hell out of anything and everyone with almost no consequences at all (eventually, they put a bounty out on him, which delights the bloodthirsty hobo vigilantes to no end) and not the slightest concern. As far as we can tell, he was a smuggler, but not a killer, so for him to suddenly become a nonchalant killing machine who will just haul off and blow away anyone with even the most tenuous appearance of guilt or malice is…well, I guess if you were a dead guy walking around Russia looking to avenge your own murder, maybe that’s the sort of thing that makes you put less value on life. Or maybe Tibor Tikacs just didn’t give a shit and figured that watching Rutger Hauer shoot like a thousand guys is more fun than watching Rutger Hauer shoot one guy then agonize about the moral implications of his actions afterward.

All that negative stuff aired, it’s probably no surprise that I actually kind of like Redline. It’s a modestly entertaining, largely tasteless exercise in gratuitous sex, sleaze, and violence, and that’s usually all it takes to make me happy. Throw in some engaging actors, lots of skimpy outfits, big guns, a ludicrous plot, insane amounts of murder that never seem to attract the attention of the police, and Rutger Hauer getting the sleeper hold put on him by a naked bodybuilder chick, and you have the recipe for a decent if idiotic trip to the near future.

Release Year: 1997 | Country: Canada and The Netherlands | Starring: Rutger Hauer, Mark Dacascos, Yvonne Scio, Patrick Dreikauss, Randall William Cook, Michael Mehlmann, Ildiko Szucs, Istvan Kanizsay, John Thompson, Gabor Peter Vincze, Scott Athea, Attila Arpa | Writer: Tibor Takacs and Brian Irving | Director: Tibor Takacs | Cinematographer: Zoltan David | Music: Guy Zerafa | Producer: Brian Irving | Alternate Titles: Deathline, Armageddon, The Syndicate

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China Strike Force

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Stanley Tong sucks. I don’t make such sophisticated statements without some degree of deliberation and thought, and after years of giving him the benefit of the doubt, I’m left with no alternative than to pass judgement on this Hong Kong director, and my judgement is that I could never see another Stanley Tong film in my life, and I wouldn’t be all that upset. Any number of things about his work annoy me, but first and foremost is his ability to make even the most dynamic stars uninteresting and dull. I mean, this is the guy who had Jackie Chan, Michelle Yeoh, Ken Lo, and Yuen Wah together in the same film (Police Story III: Supercop) and made them all disappointing. Oh sure, Michelle did the stunt where she jumped the motorcycle onto the moving train, and that was cool and all, but ten seconds out of a ninety minute film hardly justifies the tedium. What kind of fool puts Jackie Chan and Yuen Wah in the same film and doesn’t think to stage a fight scene? Or Jackie Chan and Ken Lo? Or Jackie Chan and anybody? He might as well not have even been in that movie. Tong went on to make Rumble in the Bronx, one of the most ludicrous of all Jackie’s films but at least it was fun and Jackie fought a hovercraft. Tong then redeemed himself slightly with the above-average Police Story IV: First Strike. But then he made Mr. Magoo, and it was all over.

China Strike Force was supposed to be his big comeback film, his grand return to Hong Kong, and at least financially he was successful. The movie made a lot of cash at a time when Hong Kong films were still recovering from an industry collapse that sent everyone reeling for over a decade. China Strike Force had a lot going for it. First, there was Aaron Kwok. For years, Kwok was plagued by his pretty-boy teen idol image and questionable choice of unbuttoned shirts covered in metallic blue feathers. It held him back and kept him from ever being taken seriously as a legitimate action star. Then he got a few years older, the wrinkles started to show here and there, and while he may still be a handsome lad, he started to get the age and character that would enable him to finally break through. A few more pounds and a few more scars and he’d be set to join the Hong Kong action set without looking out of place among the traditionally grizzled veterans. For whatever reason though — probably his unwillingness to give up tight sequined shirts and boas and such — he never really clicked, or he hit at a time when the action star was a thing of the past.


And then this film has Norika Fujiwara. You’d have to try real hard to find more of a knock-out than this woman. She was a model and a television actress in Japan before getting her big break in this film, and in getting her break, we’ve all received a break as well because she’s gorgeous and not nearly as untalented as most other models-turned-actress. Throw in direct-to-video American action king Mark Dacascos, and you have one of the best-looking casts around. I’ve always thought Dacascos deserved to be a bigger star than he was. Why is a guy who moves this well, who can act at least halfway decent, and who is a striking guy to boot, going direct to video? It’s unlikely at this point he’ll ever catch his break. Instead he’ll be doomed to a life not unlike Don “The Dragon” Wilson, which is at least a good doom. I wish I could be doomed to be pretty damn rich after making an endless string of low-budget action films.

China Strike Force itself has a pretty typical plot. Dacascos plays your run-of-the-mill young gangster guy who is intent on taking over the business, does not care for the tradition of honor, etc etc etc. These guys have been in about every gangster movie ever made in any country, but some old fart always trusts them, only to get shot in the back when the time is right. Aaron Kwok plays Darren, a hotshot cop who is always annoying his superiors. He has a partner who barely does enough memorable stuff to result in anyone remembering his name. He’s only there to die, as in one of the most contrived scenes even for an action film, the movie takes a break from all sorts of shooting and jumping about to feature a scene where Darren and his partner go out for dinner, and Darren asks his partner “So your wedding is soon?” They might as well flash up a big red “This guy is going to die!!!” subtitle. Everyone should know by now that in a cop film, the cop who is retiring, getting married, about to have a baby, or just bought a boat is always going to get wasted. It’s a time-honored tradition. Handled properly, it can be kind of funny. Handled without any finesse whatsoever, as it is here, it’s just plain annoying. As if that wasn’t predictable enough, he’s also marrying the chief’s daughter.

While the cops pal around, we learn that Dacascos plans to increase his underworld power by selling drugs. As is par for the course in this type of movie, the aging gangster who took Dacascos under his wing hates drugs and vows that his organization will never be a party to the selling of such foul goods, since we all know the triad dudes of the 60s and 70s were basically saints. Extortion, murder, prostitution, slavery, gun smuggling — these are all noble ventures, but drug peddling is right out. This news irks Dacascos’ partner in America, played by hip hop star Coolio, who is apparently not a fan of Weird Al Yankovich. Coolio plays your very stereotypical jive-talkin’, cigar-smokin’ hustler who’s only task in this movie is to say “Holy shit!” and “Cuz” or however you spell the slang for “cousin.” He’s pretty good at doing that, and luckily nothing else is demanded of him. To no one’s surprise but the old guy, Dacascos plots with Coolio, who’s character is actually named Coolio, to off the old man and take the business over.


Also thrown into the mix is Norika, who is an undercover Interpol agent trying to get info on the old man’s operation. Of course, no one knows she works for Interpol, as that is the general idea behind being undercover, but even someone who is still surprised by the plot twists in a Girls Gone Wild video can tell from her first scene that she’s an undercover cop. One thing I like about a film like China Strike Force is that I don’t have to worry about spoiling it for anyone. It’s all so plodding and obvious that it’s impossible to ruin any surprises. An underworld assassination at a big fashion show gives the film an excuse for two important things: a lot of sexy women parading about in skimpy panties, and the film’s first action sequence, in which Aaron Kwok chases the assassin through the streets of Hong Kong using a variety of vehicles. At one point, Stanley Tong even has the gall to completely rip off his own “moving motorcycle” stunt from Supercop, though he manages to screw it up more this time around by using a lot of wires to make the whole think look goofy instead of cool.

The first action scene sets the stage for what you can expect from the rest of the movie: something just isn’t right about it. Sure, there is a lot going on, but it just doesn’t click. The wires are employed so they can go “over the top,” but it winds up looking silly. In a fantasy film I don’t mind wires and flying. In a reality-based action film, I think they look out of place but can still be used with great effect. In this, however, they are used very clumsily, and they detract greatly from the potential impact of what could have been cool fights and action sequences. Actually, now that I rewatch it, the first action sequence is the best one in the movie. It almost, but not quite, achieves a flow and if nothing else is kind of cool because the assassin guy gets run over, hit by cars, punched, kicked, thrown off moving trucks, and even jumps off a giant bridge — yet he still shows up later in the movie only to get killed in the most boring, mundane way. Way to give us a potentially cool character then treat him like an afterthought. Thanks, Stanley.


But far more than wires and missed character opportunities is the glaring problem that has plagued Stanley Tong’s films since he first stepped behind the camera. He has no sense of pacing or rhythm. Tong started his career as a stuntman, and while we all know he can dream up and even perform some cool stunts, being able to properly film them is something else entirely. Tong’s action sequences never find a groove. They always feel disjointed and, as a result, awkward and sloppy. Part of the problem here is that he’s trying to make a kungfu action film with a cast that doesn’t have much kungfu skill, but even that can’t wash away Tong’s own lack of directorial skill since he brought the same plodding sense of confusion to action scenes involving Jackie Chan and Michelle Yeoh, both proven commodities. What it boils down to, then, is that Stanley Tong just isn’t a very good director. Or rather, he’s an astoundingly mediocre director who makes astoundingly mediocre movies.

Anyway, lots of action film cliches follow. Rather than pay the assassin, who seems damn near indestructible and would seem to be a worthwhile investment, Coolio just kills the guy. Mark Dacascos does indeed kill the old guy and start selling drugs. Aaron Kwok’s partner does indeed die tragically. Aaron falls for Norika and, in an attempt to give us more T&A, has a pointless, out-of-place daydream about massaging her thigh. I’m all for T&A, male and female, but come on. Put a little effort into working it into the film. I mean, they had the T&A scene where Norika infiltrates Dacascos’ and Coolio’s gang by showing up in a tiny string bikini then stripping down to nothing to prove she isn’t wearing any wires or anything. That was an okay excuse for some T&A.

Eventually, Aaron and Norika close in on Coolio and Dacascos so they can have the big action blow-out. Just as Stanley Tong can’t direct an action scene, so too does he always blow the finale of his films. Supercop has both Yuen Wah and Ken Lo for Jackie and/or Michelle to fight, so they knock off both those guys in about one second in very offhand manners, and leave Jackie to face… an old guy. Police Story IV gives us an underwater fight scene — funny but fairly disappointing — before having Jackie slip around with a fake shark. Then of course Rumble in the Bronx completely forgot to even have a finale, so we just get Jackie Chan driving a hovercraft to a final showdown with… another old guy. This is worse than when the big final scene in Game of Death ended up being Bruce Lee versus… Gig Young. At least Gig Young was middle aged.


This time around, Tong tries to deliver an action-packed finale, but once again his own lack of skill as a director trips him and everyone else up. Mark Dacascos is a genuine martial arts bad-ass, or at least he can pull it off wonderfully on screen. So God forbid we include him in the final fight scene. No, let’s kill him off in the usual goofy, offhand manner. Let’s crush him with a purple pimp car dangling from a helicopter. Then let’s have a huge kungfu fight between the three people with the least amount of kungfu skill. Aaron Kwok versus Mark Dacascos could have been pulled off, and with a different director it might have even looked good. Coolio versus Aaron Kwok is about the stupidest damn fight scene I’ve seen in a long time, and that includes the fight scene in The Matrix where that woman jumps up in the air and strikes the most absurd looking “pouncing chicken” stance I’ve ever seen while she hovers and the camera pans around her.

Since Coolio and Norika are no martial artists, and Aaron Kwok is a passable on-screen kungfu star at best, that means we have to have a big gimmick to make up for the lack of interesting fight choreography. Tong’s answer? Have the whole fight scene take place on a teetering pane of glass dangling from a crane hundreds of feet up in the air. It might sound exciting at first, but think about it, and let me use this pro wrestling analogy. Many years ago, WCW had a pay-per-view match between the dull Dustin Rhodes and the even duller Blacktop Bully. The gimmick of the match was that the whole thing was going to take place on the trailer of a moving truck. It might have sounded cool at first, but the end result was two guys moving very, very slowly while trying to keep their balance as the truck poked along various lonely highways at speeds in excess of ten miles an hour.


This finale is that wrestling match. Norika, Coolio, and Aaron all scoot about very gingerly while trying not to fall off the glass. From time to time, one person or another will dangle off the edge or try to kick someone. And then Coolio finally falls, but only after one false change of heart. You know, where the villain is about to die, begs the hero to save him, and once being saved immediately reverts back to his dastardly ways. Heroes always fall for that shit. I mean, before you flew around with the purple pimpmobile dangling from a helicopter, he was selling crack to nine-year-old kids. Now all of a sudden he’s maybe not that bad a guy? They only do this so the hero can kill the villain without looking like a murderer. How many action movies end with the hero refusing to kill the villain, only to have the villain suddenly produce some weapon, thus justifying the hero turning around and offing the guy? It’s a weak cop-out. People want their bloodlust satisfied, but you also can’t just have a hero who hauls off and shoots people after beating their ass. In the end, Coolio falls off the glass and Norika and Aaron fall in love for no real reason. They were only together about two days, and most of that time was spent being hoisted around on wires and pretending Coolio knew kungfu.

The big problem with China Strike Force is how average it is. It’s impossible to completely blast it and say it’s awful, because it’s not. At the same time, it sure as hell ain’t a good movie. It’s just… bland. Poorly directed. Awkwardly paced. Horribly choreographed. Completely cliche. In the hands of a good director this could have been a good movie. In the hands of someone as incompetent as Stanley Tong, the movie never manages to rise above a mundane level. It takes a talented director to elevate poorly written action film nonsense into something memorable, and Tong does not have the tools for the task. As such, China Strike Force remains an unsatisfying, though not completely unentertaining, failure.

Given the uninspired direction, the film’s sundry flaws become impossible to ignore. The English language dialogue, of which there is quite a lot, is ludicrous. Who wrote this crap? I mean, it’s English. I recognize the words, but it doesn’t make any sense. It sounds like English that was spit out of one of those online translation things that can get the vocabulary but fails utterly to comprehend nuances and grammatical rules. It also doesn’t help that the dialogue was recorded at a level barely audible to dogs and mice, let alone humans. Whenever a hip hop song plays — and they play often — suddenly it’s like you have the volume on eleven, but when they go back to speaking, everything is silent again. Thus watching this movie is a constant battle with the volume control. And speaking of English, what the hell is up with Mark Dacascos’ character? How are you going to become the lord of a vast Chinese criminal underworld if you don’t speak a lick of Chinese? Even people of Chinese ancestry I know who grew up in America know at least a few words in their grandparents’ tongue, but this guy doesn’t know a single phrase. Surely the Chinese triads would not be overly accommodating of a new boss who murders other bosses, can’t speak any Chinese, and brings Coolio to all the parties.

The film’s other big short-coming is, of course, the pacing. Stanley Tong can do no right when it comes to figuring out how to pace and stage an action sequence. He cuts when he should stay still, he shoots in close all the time so we can’t see anything. He never finds a rhythm or a flow for the action. He loves to go over the top, but only in ways that are ludicrous rather than breathtaking. The many action scenes in this film range from pedestrian to lumbering. You spend the whole scene waiting for something to be done well, then all of a sudden it’s over, leaving you with an empty feeling and no sense of satisfaction. And then sometimes it’s all too ludicrous, even for a Hong Kong action film. When Dacascos and Coolio are down at the docks watching the boys unpack a Ferrari or one of them other fancy sports cars, Aaron shows up and spoils the fun, leading to a completely unbelievable scene where Dacascos takes off in the sportscar and Aaron luckily happens upon a passing truck full of forumla one race cars which, despite the highly explosive nature, apparently ship fully gassed and ready to go. Of course, this all happens after the part in that first fight/chase scene where he rides a motorcycle up the flat vertical surface of a delivery truck’s rear door. I think he repeats that nifty trick at the end of the movie as well.


The finale, which is by and large a ripoff of the helicopter finale from Tong’s earlier Supercop, is hardly the pay-off I was hoping for. It’s not cool or original. It’s just, well, stupid. From the whole “car dangling from the helicopter” bit, to Mark Dacascos being killed without ever facing off against the heroes, to the completely disjointed and uninteresting “fight” between Norika, Aaron, and Coolio, Tong certainly tries a lot of stuff, but none of it works. To add insult to injury, Tong’s reliance on the most obvious and awkward of wire stunts makes it impossible to enjoy even on a visceral level. On the plus side, however, Norika looks great in her leather fightin’ outfit.

The acting is passable, but the roles aren’t very demanding. Aaron Kwok was coming along, but as of this film he was not quite there physically or in his acting skill. Norika is basically there to look good and kick some ass, and she is OK at both. When she has to act, it’s only the shallowest of deals. Even a paperdoll could pull it off, so no complaints. Dacascos is alright, but if he’s going to be a Chinese gangster, even one from America, he should have learned to fake his way through some Cantonese. Coolio is playing a stereotype, and you have to be really untalented not to pull that off. Everyone else is pretty forgettable. Aaron’s partner is so bland that when he dies, you hardly notice. His fiance is every bit his match in blandness, so that even though she loses her future husband and her father (not the same man), it really doesn’t matter all that much. The movie punctuates this by completely blowing her off at the end in exchange for a kissing scene between Norika and Aaron, which of course comes out of nowhere.

The only thing memorable about this film is how good it might have been if someone else had directed. As has always been the case, Stanley Tong was given all the pieces for a great film and just couldn’t make them fit together. I should have come away beaming and saying “That was great!!!” Instead, I walked away slowly thinking, “Well, that was average… I guess.” Awkward drama, awkward comedy, and awkward action sequences are tenuously strung together in what proves to be a very average film. Sure, it’s better than watching a Mario Van Peebles film, but around the same time as this movie was made, guys like Johnny To were raising the bar and giving us enjoyable, well-made action films and making Stanley Tong’s lack of skill even more glaring. He has no style, and he has no substance. In the end, China Strike Force, like most of his movies, is a bland and somewhat tedious exercise in paint-by-numbers film-making on the level of some of your more uninteresting direct-to-video action films. I don’t hate it, but I don’t think I’ll ever feel the need to watch it again.

Release Year: 2000 | Country: Hong Kong | Starring: Aaron Kwok, Norika Fujiwara, Lee-Hom Wang, Ruby Lin, Coolio, Mark Dacascos, Ken Lo, Paul Chun, Siu-Ming Lau, Jennifer Lin, Benny Lai, Li Hsueh Tung | Screenplay: Stanley Tong, Steven Whitney | Director: Stanley Tong | Cinematography: Jeffrey C. Mygatt | Music: Nathan Wang | Producer: Andre Morgan, Stanley Tong, Barbie Tung | Original Title: Leui ting jin ging