In retrospect, I cant believe it didn’t happen more frequently. I mean, combining the obsession with ‘Nam movies with the obsession with ninja movies — that just seems like common sense
Little Big Soldier returns Jackie to the period setting of his older movies, something he hasn’t done often since the late 1970s. The Myth saw Chan trying his hand at the sort of sweeping period epics that became all the rage in the wake of Crouching Tiger, Hidden Dragon and Hero, and just not getting it right.
The Stranger paints a skintight black leather outfit onto martial arts bombshell Kathy Long and plops her down in the middle of a modern day High Plains Drifter, only with bikers.
Me and Benny Chan go back a ways, and our relationship has been stormy. Some of his directorial efforts, like Who Am I and Big Bullet, I really like. Others, like New Police Story and Gen Y Cops, I really dislike. So I guess I come out even enough that when Chan makes a new…
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.
Sheer craziness and dark tone compensate for the areas where the film could have been better – low-budget production value, the obvious arms stuffed inside shirts and the hokey special effects.
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.