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Shaolin Invincibles

There was nothing about the old VHS box for Shaolin Invincibles that made us think we were renting anything other than a standard “kungfu orphans get revenge on villains who murdered their parents” story. We plucked it from the shelves because, well, why not? We were up for renting anything that wasn’t Unique Lama. By the time Ocean Shores video splashed that bright red “The End” graphic onto the television screen, we’d seen tongue-waggling ghosts, bug-eyed zombies, and that most treasured of kungfu film appearances — the kungfu gorilla. I won’t say that the impact of Shaolin Invincibles on our mental faculties was as pronounced as it was after watching Young Taoism Fighter for the first time, but that’s a pretty high bar to set.

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Master of the Flying Guillotine

Jimmy Wang Yu was one of the most colourful figures ever to emerge from the Hong Kong movie scene. He made his debut in Temple of Red Lotus in 1965, but it wasn’t until a couple of years later that he became a megastar. The vehicle was Chang Cheh’s film The One-Armed Swordsman, a movie that gave birth to a new, bloodier and more anti-heroic trend in Hong Kong movies. Jimmy played the main character Fang Kang, a man who loses an arm and then has to learn a devastating one-limbed sword style. The film was so successful that it spawned an official sequel Return of the One-Armed Swordsman in 1969, also directed by Chang Cheh. Then in 1970 Jimmy appeared as The Chinese Boxer, in a movie considered to be the first ‘real’ kung fu film, beating Bruce Lee’s The Big Boss to Hong Kong screens by a year. But the one-armed swordsman persona wouldn’t leave him, and in 1971 he appeared in Shaw Brothers’ collaboration with Japan’s Daiei Motion Picture Co. Zatoichi Meets the One-Armed Swordsman, the 22nd entry in the popular series about a blind Samurai played by Shintaro Katsu.

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New Legend of Shaolin

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.

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