This movie features an army of well-armed, leather clad Filipinas with shaved heads. If you know me, you know that alone qualifies this as one of the greatest movies of this or any generation.
There are three actresses whose presence in a movie exponentially increases its likelihood of being head-scratchingly bizarre. They are the high priestesses of Taiwanese weird fu.
Li has often been impressive, but rarely scary. This movie changes that, even as it clads him in a suit of armor I don’t doubt is historically accurate but looks ridiculous never the less.
With When Women Lost Their Tails, what we get is like the lyrics of a Gang of Four song acted out within the context of a slightly naughty fanfic version of The Flintstones. If nothing else, it certainly makes for unique viewing, and offers enough in terms of audacity alone to keep one watching until the end.
Alongside all of its surface froth, Who Wants to Kill Jessie carries a simple political message that’s pretty hard to miss – that authority’s attempts to suppress the dreams of its subjects have a tendency to force those dreams into the world of action, and that, once made manifest, those dreams tend to be a genie that’s pretty hard to get back into the bottle.
The Web of Death is one of those martial arts films in Chor Yuen’s catalog that is inessential, but nonetheless enjoyable. It provides a nice break for completists like myself, who have had to suffer through far worse in their mission to watch every single one of the man’s films.
But then, Fanck goes and does something like the shot of Johannes outside, smoking a cigarette while sitting on an old wooden fence with the whole of the Alps spreading out behind him, and it pulls you right back in. Silent films trade in images, by necessity, and Fanck manages on many occasions to capture scenes of iconic beauty.
If the world was just and kind, then the sentence, ‘It’s a movie where Vincent Price stars as a madman who rules over an underwater society of fishmen prone to kidnapping scantily clad beautiful women,’ would indicate the existence of probably one of the greatest films ever made.
But if you want to see the one film out of all of them that shows Bruce Lee at his finest in all ways, the one film that has the most Bruce Lee in its heart, the one film that, more than any of the others and despite its rough edges, defines where Bruce wanted to take the genre, then you have to see Way of the Dragon.