Old Hong Kong movies use the presence of a Taoist priest as a license to print crazy, despite the real world practice of Taoism’s emphasis on quiet contemplation and equilibrium with nature.
Samurai films have a curious knack for expressing compassionate, humanist ideals via soul-crushing bleakness and violence. One would be hard-pressed to find a bleaker, more violent indictment of the romance of the samurai — and the culture of violence in general — than director Tai Kato’s blood-drenched and aptly named Brutal Story at the End…
The failure of A Chinese Ghost Story: The Animation wasn’t solely in the American arena, either. If Tsui Hark had been hoping to kick off an era of new Chinese animation, he didn’t pull it off.
The slower Jackie Chan gets in his old age, the more he has to figure out what the hell it means for him to still be making movies. He’s given everything for his art, everything to his fans. He’s broken down, beat up, and will be lucky if he can remember his own name or…
This isn’t really a Donnie Yen movie in the way Donnie Yen has been presenting himself in the last five or ten years. There is nary an open shirt, motorcycle jacket or MMA throwdown in sight.
I had to watch this movie more than once to verify that George Lazenby actually has more dialog than just, “Hmm? Hmmmmm,” mumbled with that smug chin-in-the-air look as if to say he has discovered something important and must now jut forth his chin and stroke it slyly. Who the hell does he think he is? Mr. Bean? He does have a few other lines, but for the most part, he just hums through the whole movie. I know this isn’t the best way to kick off a review, but come on! Speak, damn you! This isn’t Quest for Fire.
A movie that awkwardly tapes together a turgid underworld drama with a movie in which a laughing Caucasian thug and a Taoist priest use gyonshi to battle a dude who sometimes, for no reason that is ever explained, transforms into a space-helmeted, silver foil clad “Futuristic Warrior.” Oh, and also sometimes…ninjas!