# The Top 30, or so, Martial Arts films...



## D_Davis

Like kung fu?  Like the wuxia pian?  Like old-school, open-fisted combat, or new school wire-assisted acrobatics?  

Well, I do...a lot!

And so, it is with great pleasure, that I introduce....

D_Davis' Top 30, or so, Martial Arts films!

Let's kick things off with...


*The Lady Hermit (1971) - Dir: Ho Meng-Hua*







 This classic Shaw Brothers film stars the queen of swords, Cheng Pei-Pei, as the eponymous Lady Hermit: a butt kicking beauty who is enjoying a semi-retired/reclusive life away from the martial world. After suffering a debilitating wound at the hands of Black Demon, a ruthless tyrannical martial arts overlord and master of the Shadowless Claw technique, Lady Hermit hangs up her sword to become a caretaker for a security/delivery company (think ancient Chinese Transporter). However, like most famous kung fu masters who go into hiding, her cover is soon blown by a young upstart swordswoman, Cui Ping. The young swordstress wants the Lady Hermit to train her so she cane take revenge against the evil Black Demon. Add to this Lo Lieh, as Chang Chun, a mild love interest torn between the Lady Hermit and Cui Ping, and you have the makings of a classic wuxia narrative. 

The Lady Hermit is all about action, atmosphere, and, for lack of a better term, girl-power. Yeah, you better believe it, the two leading ladies in this film kick ass and look good doing it – okay, I admit, that was cheesy. However, I cannot overemphasize how great it is to see two such strong female fighters working together in a film to overcome the evil powers of an evil kung fu master. It is also a breath of fresh air to witness a love triangle between the three heroes that does not pander to juvenile male fantasies, or ask the charismatic leading women to compromise their strength and integrity. The narrative is very mature in that it develops the characters and their individual arcs in a way that makes sense; it makes the characters stronger and more heroic because the narrative treats them with respect. 






The first major brawl in the film is utterly fantastic, as is each consecutive clash of cold hard steel. This first major set piece transpires on an abandoned street, in a small Chinese village, as Cui Ping is trying to track down a group of killers who have disguised themselves as ghouls. Soon, she is overrun by the baddies, and who should show up in the nick of time? No other than the enigmatic Lady Hermit, clad in a white cloak and wearing a wide brimmed hat, the Lady Hermit looks like some kind of ghostly beauty poised to kill with her sharpened sword. Together, the Lady Hermit and Cui Ping take on the gang of thugs, and one by one, one spray of blood after another, they dispatch of their adversaries in a ballet-like fashion of beautiful violence. 






During the last big brawl, which just so happens to run almost 20-minutes, Cui Ping climbs a tall pagoda to reach Black Demon’s flag in order to slice it down in a symbolic demonstration of humiliation. She does not however use the stairs on the inside of the pagoda. No, she is too dang cool to use stairs. She scales the pagoda from the outside like a female kung fu-Spiderman, only stopping at each level long enough to kill a handful of lackeys. She climbs, spins, flips, pulls, jumps, and slices her way to the top of the dark tower in a display of prowess seldom seen. The entire sequence is something of an action fan’s dream, and is executed flawlessly. 

The Lady Hermit is a classic film in every sense of the word. Like Chang Cheh’s Return of the One-Armed Swordsman, I have to wonder why this film is not more well known or mentioned along side the likes of The Seven Samurai, A Fistful of Dollars, The Wild Bunch, or other high profile genre films. Everything about the film, from the music to the staging, from the script to the acting, and from the cinematography to the action choreography, represents a shining example of near-perfection. The narrative is engaging, the characters are endearing, and the entire film oozes with classic charm. When people say “they just don’t make them like they used to,” they are talking about films such as The Lady Hermit: a film that is among the best of the genre.


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## D_Davis

*The Tai Chi Master (1993) - Dir: Yuen Woo Ping*

Contained within the first 15-minutes of The Tai Chi Master is one of the most exciting and stunning action set pieces I have ever seen: the Luo Han pole-formation sequence. During this amazing demonstration of on-screen, wire-assisted martial arts, Junbao and Tianbao (Jet Li and Chin Siu Ho) take on dozens of Shaolin monks in what looks like the prototype for the “Burly Brawl” seen in the Matrix: Reloaded. 

After a sparring competition becomes too ferocious and serious, Junbao and Tianbao find themselves surrounded by their brother-monks, all of whom are equipped with wooden staffs. The monks stack up on one another's shoulders and flex their staffs, springing them into the air like projectiles. Junbao and Tianbao defend themselves against the onslaught of splintery bullets, and soon intercept weapons of their own, thus breaking down the wall of monks. 






The two brothers then focus their attacks on the low hanging lanterns, sending broken glass and gallons of slippery fuel spilling to the floor. With the floor slick with oil, Junbao and Tianbao dispatch of the attacking monks while using the fallen bodies as stepping stones and surf boards. In a series of expertly choreographed and edited shots, the monks soon discover that they are no match for the furry and skills of the deadly duo. 

As bodies fly and spin through the air, as legs are swept and tripped, as heads and chests are punched and kicked, and as limbs parry and counter-attack with great precision, Junbao and Tianbao eventually escape from the deadly Luo Han pole-formation. Only now, as disgraced and expelled students, Junbao and Tianbao must leave their familiar monastic life and join the secular world, thus the journey begins. 






Once on the outside, the two brothers soon part ways. Tianbao is quickly tempted by wealth and power, and pledges his servitude to the evil local official, a power-hungry eunuch (a man who has given up women, usually at the expense of his own testicles, to attain ultimate power). Junbao joins forces with a band of rebels fighting against the evil government and their oppressive ways, and is troubled by his brother's quest for power. Siu Lin (Michelle Yeoh) also joins the rebels, and together with Junbao they lead a small group of revolutionaries in an attack on the military barracks. 

After the rebels get pounded, and betrayed by Tianbao and his soldiers, Junbao goes into a state of deep shock and has a nervous breakdown. It is here that he develops his Tai Chi, a calming and powerful martial skill that focuses on mental and physical balance. With his new found power, Junbao, along with Siu Lin, once again challenges Tianbao and the evil unich in a final, action packed, and emotional showdown. 






The Tai Chi Master is simply overflowing with hard-hitting action and jaw dropping choreography. Bodies fly through the air like superheroes, and weapons are wielded with dangerous skill. Victims of the combatants' super-powered attacks are juggled through the air, dropping to the ground only after the life has been severely beaten from them. 

There is a wonderful action sequence in a tea house where Michelle Yeoh shines, as she uses tables, benches, and stools to attack her ex-husbands new lover. Then there is the famous scaffolding sequence, where Junbao and Tianbao face off for the first time as real enemies. Yuen Woo Ping's and Yuen Cheung Yan's wire work is stunning. Every move looks fluid, and even the more fantastic motions carry weight and have impact. 

The Tai Chi Master is entertaining from start to finish; it's an hour and a half of practically non-stop action - this film is an example of both quality and quantity. Yuen Woo Ping maintains tight control on the entire picture, and delivers an action film with a ton of heart and a ton of style. While it may be lacking a bit in terms of character development, when the action is this good, and the story this entertaining, it hardly matters.


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## tangaloomababe

I havn't seen heaps of oriental movies but those I have, I have enjoyed.  These being 
Crouching Tiger, Hidden Dragon, House of Flying Daggers and my favorite Fearless. But thanks for the tip Davis, The Lady Hermit looks and sound like a good one, don't know what my chances are of getting a copy, but I will see what I can do.


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## D_Davis

tangaloomababe said:


> I havn't seen heaps of oriental movies but those I have, I have enjoyed.  These being
> Crouching Tiger, Hidden Dragon, House of Flying Daggers and my favorite Fearless. But thanks for the tip Davis, The Lady Hermit looks and sound like a good one, don't know what my chances are of getting a copy, but I will see what I can do.



Every film on this list is easily available on DVD.  You can always check HKFlix.com: Asian, European, Cult & Specialty DVDs and Film Reviews.  These guys have great prices and they are reliable.  One of the best online retailers I've used.

CTHD will be making an appearance.

I hope you discover some killer flicks!


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## D_Davis

*The Prodigal Son (1982) - Dir: Sammo Hung*






The Prodigal Son represents everything the mid-school era is known for - great screen fighting, a strong narrative, broad comedy, and classy production values. It might be seen as a concentrated extraction of everything important to its director, Sammo Hung. Not only is the film Hung's crowning directorial achievement, but it is also an A-class example of the genre. It features enough traditional kung fu to appease martial arts buffs, and enough pure energy to please general fans looking for something exciting and well executed. The film also features the beautiful stage productions of Peking Opera, a ton of awesome acrobatics, and amazing performances by Yuen Biao, Lam Ching Ying, and Sammo Hung. 






The narrative here touches upon all the important elements found in the genre, and does not strive for originality - one might think of it as a 'best of' the genre. However, because of the near perfect execution of the various motifs and archetypes, the film feels fresh and vital. It is as if Hung and company meticulously studied everything that is necessary to craft the ultimate martial arts extravaganza, and then stopped at nothing to see each and every one of these ingredients mixed together in perfect harmony. Comparing this film to the excellent work found in Lau Kar Leung's Disciples of the 36th Chamber, and in Tsui Hark's Peking Opera Blues would be appropriate - as a matter of fact, these three films encapsulate all of the elements I look for in Hong Kong action cinema. 






Based off of the description of the narrative, one might think that this film is just another derivative example of the genre. However, upon viewing the film, it becomes evident that such is not the case. The concept of an 'X-Factor' is an interesting one. Some films have a certain something, something that is hard to grasp, something that separates them from other like-minded films. In a genre as over-populated is the martial arts genre, the concept of an 'X-Factor' is even more important - some films have it, while others do not. Now I am not talking about the differences between a really terrible film and a great one, I am talking about that something special that separates the great films from the truly amazing ones. The Prodigal Son has that something - and for the life of me, I just can't put my finger on exactly what it is - but I do have an idea. 






It is not just the amazing presence of the talented Yuen Biao and Sammo Hung - they made other films together - that makes this film stand out. It is not simply because of Lam Ching Ying's screen-stealing charisma - a trait that shines in all of his roles - that gives rise to this film's greatness. The film is not amazing solely because of the intricate and remarkably framed and executed fight choreography. What's more, the film's endearing qualities extend far beyond its concise and perfectly paced narrative, and well written characters. So what is it that makes films like this, and films like Disciples of the 36th Chamber and Peking Opera Blues, so good? Why are some martial arts films far more exceptional than the others, even though they share similar narratives and are made with analogous groups of filmmakers? 

I honestly think it comes down to the earnestness of those involved, and how much fun they had while making the film. While watching The Prodigal Son, one thing becomes abundantly clear - this film was made from the heart. This film is like a love letter to kung fu cinema and its fans, written by a group of people who truly understand the language of the medium. I believe that The Prodigal Son is a film that can win over the hearts and minds of the genre-detractors - it is a film to be evangelical about! It is not only a great martial arts film, but it is simply a remarkable film regardless of genre. It should be seen by all who like to witness a perfectly executed narrative, including sincere characters, real drama, and a tangible and powerful flow of cinematic energy.


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## D_Davis

*Shaolin Temple (1976) - Dir: Chang Cheh*






Shaolin Temple is a very special film. It is a wonderful representation of the best its director had to offer during one highly prolific era. Between the years of 1970 and 1976, Chang Cheh made more than 14 films, and many of these are considered bona fide genre classics. There are two that stand above the rest though, and Shaolin Temple is one of them. For a kung fu film it is epic, and, at almost 2-hours in length, there is ample time for some wonderful character development and genuine human drama, two traits sometimes missing from lesser films of the same genre. It also serves as the foundation for the Shaolin Cycle, a series of films based in, around, and about the Shaolin Temple and its warrior monks. 






Shaolin Temple assembles an ensemble cast that is something of a dream-come-true for martial arts fans. It features major stars from all three of Chang Cheh's different stables: there's Ti Lung, Johnny Wang, and David Chiang, along with Alexander Fu Sheng, and some of the Venoms, including, Philip Kwok, Lo Meng, and Chiang Sheng. By bringing together three distinct groups of actors, skilled in different areas, Chang Cheh's film benefits from each of their unique strengths. David Chiang and Ti Lung bring their established charisma, becoming like noble surrogate fathers to the younger stars. Alexander Fu Sheng brings his boyish good-looks and cocky attitude to his character's story of personal revenge. The Venoms, along with Johnny Wang, bring their amazing acrobatic and screen fighting skills. Shaolin Temple really is a “best of the best.” 






The narrative is also incredibly strong, and it is classically paced; the film contains more than simple wall-to-wall fighting. As a matter of fact, it takes about 30 minutes for the first real fight to surface, and each subsequent action set piece is perfectly paced from this point forward. By focusing on the various characters, and their desires, Chang Cheh's film carries with it real human drama. At its core, it is a “training film,” but it is also a film about the Shaolin Temple, and the political turmoil during this historic time. 

The story focuses on the first small group of non-monk students allowed to train at the temple. It follows them as they learn the various animal techniques - the Tiger, Crane, Dragon, Leopard and Snake styles - while completing seemingly mundane tasks such as stoking fires, stirring rice, jumping out of pits, and airing out the pages of books. There is also a great deal of political intrigue and mystery on hand, as well as suspicion, treachery, and deceit. 






The action itself is quite spectacular, but more importantly, it serves a narrative purpose and is not there just because this happens to be a kung fu film. There are a variety of various styles on hand, and each one is executed with great skill. Ti Lung's Wing Chun technique is especially remarkable, as is Fu Sheng's Crane and Tiger styles. The weakest action link is, like usual, David Chiang. Even though I am quite fond of his acting, he has never sold me on his screen fighting ability. I find it lacking, at best, and sometimes it is down right laughable. 






One of the action-highlights is when Fu Sheng and Chi Kuan Chun challenge the Shaolin Temple's “wooden men.” This legendary final test consists of a series of deadly mechanized traps peppered throughout the interior of a large labyrinth. This maze of death is the only way out of the Shaolin Temple, and it must be navigated with skill and iron-man-like endurance. This sequence is well shot, suspenseful, and action packed, and adds another layer to a narrative already thick with drama and intrigue. 

More than anything, Shaolin Temple is just a grand production, one that is made stronger by the endearing characters, the classic narrative, and Chang Cheh's skills as a director. Shaolin Temple is solid old school kung fu, and is a true representation of Chang Cheh's directorial abilities. It really is one of those classic films that is easy to see why so many people think so highly of it.


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## D_Davis

*Kung Fu Hustle (2004) - Dir: Stephen Chow*






God bless Stephen Chow, or maybe Buddha should administer the blessing – I am not privy to the protocols of cross cultural/religious exaltations. Actually, I don’t care who blesses this man, as long as he gets blessed and continues to create films as massively entertaining as _Kung Fu Hustle_.  Seeing _Kung Fu Hustle_ is akin to having your face kicked in with creativity while being sucker punched with a plethora of personality and side swiped with whimsical wackiness. This film is at once a send up to the classic Golden Harvest and Shaw Brothers productions of yesteryear, while simultaneously being a launching point for a whole new era of martial arts mayhem. 






In the film, Chow plays Sing, a wannabe hooligan who’s false bravado and faux fu, finds him in a heap of trouble with the evil and blundering Axe Gang as well as the occupants of Pigsty, a run down apartment complex managed by the bad ass cigarette smoking landlady and her fey hubby. Amidst the populace of this unpleasant abode is hidden a handful of kung fu masters: The Coolie, who has legs like a horse and can kick up a storm, The Tailor, who might be gay but is doubtless a master in iron-ring armed combat, and The Noodle Maker, whose wooden staff technique creates whirlwinds of destruction. However, these three are not the only masters-in-hiding, for the chain smoking landlady and her chicken-like husband just so happen to be two of the most powerful kung fu warriors in the world. 

The only thing these hidden-masters desire is some peace and quiet, as they desperately try to leave the world of martial arts behind. So, imagine Sing’s, and the Axe Gang’s, surprise when they both nefariously try to bully around the occupants of Pigsty and wind up becoming human punching bags. As one attempt after another to become a member of the Axe Gang backfires on Sing, he sets in motion a plot full of failed assassination attempts (introducing two magical musician-assassins who truly rock the martial world), Loony Tunes-like chase sequences, and the unleashing of a monstrous kung fu baddie, known only as The Beast, which all culminates into a no holds barred maniacal melee of flying fisticuffs and tomfoolery. 






What sets _Kung Fu Hustle_ apart from other like-minded martial arts cinema is its pure sense of reckless abandon. In typical mo lei tau style, Chow lets lose with a flurry of send-ups, parodies, and non-sequiturs, and yet still achieves a coherent narrative that remains somewhat original while barrowing from sources across the globe. This is all in testament to Chow’s genius behind and in front of the camera, as well as at the writer’s desk. Written and Directed by Chow, _Kung Fu Hustle_ represents a very personal look at just what lies beneath the surface this beloved genre, as Chow examines the tropes and cliché often found in these films. He pokes fun at gender-bending masters, a young upstart becoming “The One,” and the evil seemingly unbeatable ghastly miser, while also examining the heroic bond of kung fu masters, and what true love really means to someone who can command a metric ton of ass kicking power. 






I was actually surprised at how little screen time Chow allowed for his own character, but it does make sense in the grand scheme of things. Ultimately what _Kung Fu Hustle_ is, is a love letter from the writer/director to all of the old actors, directors, choreographers and filmmakers who created the classics of the genre he loves so dearly – a genre that in many ways shaped an entire country’s pop-culture and cinematic industries. By giving the starring roles with more screen time to the aged legends of generations past, and by instead focusing on characters with some years behind them, Chow’s love letter hits kung fu film fans like the giant palm of the hand of Buddha. _Kung Fu Hustle_ is a film that can be loved by all, but is loved and adored even more so by viewers steeped in the martial arts genre. It is a near perfect film full of top notch action, great comedy, and a sense of style and personality all too often lacking from genre cinema – it is neither dark nor gritty, mean or cynical, but is rather a film full of whimsy and exuberance.


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## D_Davis

*Mr. Vampire (1985) - Dir. Ricky Lau*






For those of you unfamiliar with Chinese hopping vampires, consider this film homework - you will gather a great deal of understanding about these legendary creatures, and the men who controlled them and fought them. Although this came out after Sammo Hung's seminal hopping vampire film, Spooky Encounters, I think that Mr. Vampire is the better film because of the entire package - it just feels more complete to me, and I feel much more satisfied after having watched it. 






Mr. Vampire truly is the “Hong Kong Evil Dead 2.” This is not to say that it is simply a rip-off of Raimi's amazing flick, but that it is equal parts comedy, horror, and action, and that every part fits within the whole. Mash-up films constructed of differing tones and genres often feel disjointed, the seams are frequently too clearly visible. However, these are exactly the kinds of films the Hong Kong film industry excelled at creating during the 1980s. They truly did make films for everybody, and they made them fantastically well. These mid-school Hong Kong filmmakers treated their films like variety shows, and made sure that each “act” was executed with precise skill. That is to say that Mr. Vampire is a genrebusting film, and this is a very good thing. 

The comedy, while broad, is actually pretty funny, and there are a handful of drop dead hilarious sequences that allow Ricky Hui to do his thing. Hui's comedic timing, facial expressions, and physical abilities are amazing, as is expected from one of the famous Hui Brothers (perhaps the most famous comedy family in the Hong Kong film community). Whether he is bumbling his way around a Chinese mortuary, controlling a romantic rival through possession magic, or dancing on uncooked sticky rice to keep his blood moving so as no to turn into a vampire, he maintains an earnest demeanor and his sad-sap looks. Hui has an “awe shucks” look perpetually plastered on his face, and he plays up this persona to comedic perfection. 






With Hui handling the comedic side of the film, this allows Lam Ching-Ying and Chin Siu-Ho to focus on the action and acrobatics. Lam Ching-Ying's portrayal of the Taoist priest is one of the most iconic performances of the Hong Kong film industry, rivaling even Gordon Liu's turn as the bald headed Shaolin monk. Lam's stern look, goofy hair cut, unibrow, and frustrated persona define this role. This role would be one that Lam would return to time and time again, and was often emulated by other actors. Chin Siu-Ho also brings the goods with some of the best tumbling and acrobatics ever filmed, all captured with some expertly timed slow motion and precise framing. With physical skills rivaling Yuen Biao's, Chin does some amazing stunt work, and in the film's amazing action set pieces he totally steals the show. 

While the action is great, there isn't a lot of it, and in this department, Mr. Vampire is an example of quality and ingenuity over quantity. There are three main action set pieces: the jail house rescue, which has some amazing acrobatic work by Chin and Lam, the final dual between the heroes and the master vampire, and, my favorite sequence, the battle between Lam and a lustful spirit who has fallen in love with Chin's character. 






In Chinese mythology, female ghosts often tempt living males into loving them, and with each passing physical touch, they steal a little of the poor sap's life force. In this short, but amazing, action sequence, Lam battles a spiky-haired flying demon-head with his magical dagger; it's a classic and memorable fantasy-based martial arts fight. The cheesiness of the effects, complete with an a unintentional visible wire, adds to the endearing and earnest quality of the film. Fan's of genre cinema often lament this age of digital, CG effects, disparaging their lack of personality and character. Mr. Vampire is as good as argument as any for dodgy, practical effects, and their ability to amaze and entertain. 






Mr. Vampire is solid, well made entertainment that stretches itself beyond mere genre conventions. In addition to the great comedy and well choreographed action, the film offers an interesting story, and some beautiful cinematography. Mr. Vampire really is a complete package, it works on a number of levels. It is also a great launching point for a neophyte's journey into the genrebusting films from Hong Kong. Mr. Vampire contains within its 90-minute runtime almost everything the fans of mid-school Hong Kong cinema enjoy, and it executes each morsel of cinematic goodness with panache, skill, and passion.


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## D_Davis

*Zu: Warriors of the Magic Mountain (1983) - Dir: Tsui Hark*






Zu: Warriors of the Magic Mountain is the quintessential Tsui Hark film. It contains everything he is known for, both the good and the bad, amped up to an absurd degree. It features the ferocious creativity and breakneck pacing, but it also has a narrative that requires massive leaps in logic and fails to convey exactly what the heck is going on. The action is frantic and wonderfully filmed, but once again it feels as if Tsui is trying to cram too much innovation into one film. Often, while watching a Tsui Hark film, one gets the impression that the director is afraid of not being able to make any more movies, and so he stuffs as much as he can into each and every film, plot and sanity be damned. No where is this more readily apparent than in Zu, and the film is unique, marvelous, and frustrating for it. 

 Zu is both a high flying, special-effects ladened extravaganza, and a film teeming with political allegory and subtext. The narrative begins smack dab in the middle of the most colorful civil war ever filmed. Five armies - red, green, orange, red, and blue - face off in a giant melee of swords and fisticuffs. After escaping the violence of the battleground (with comical cowardice), Ti Ming Chi (Yuen Biao) finds himself in a strange and magical land - the mountains of Zu. While shirking his fate in one war, Ti Ming becomes embroiled in a much more important battle: the ultimate struggle of good and evil, on which the fate of all mankind rests in the heroes' ability to vanquish a foe that represents the diabolical threat of communism itself! 






Tsui's films often deal with feelings of isolation, and being lost in one's own country. His characters often find themselves feeling like fish out of water, even though they are still in water - its just an altogether different fish tank that they have unwittingly fallen into. His characters often struggle with their identity, and their place in the world they find themselves in, two traits reflected in the bustling, metropolitan, city life of modern day Hong Kong. Because of their colonial past, Hong Kong natives have found it difficult to identify with their own Chinese heritage - they are Chinese, but not part of China, and while they aren't British, they were once part of Great Britain. This kind of nationalistic identity crisis helped to give birth to many of the post New Wave Hong Kong films, and it gave Tsui a way to imbue his fantasy-epics with socio-political subtext. 






The land of Zu is both totally alien, and yet strangely familiar to Ti Ming. Imagine going to Disneyland only to find it has been redesigned by the Mad Hatter after a particularly long night of pill popping and nightmares. While you might see things you thought you recognized, hints of the familiar, the sights and sounds would also be new, frightening, and astounding, and the sights and sounds in the magical mountains of Zu, doubly so! Tsui takes all of the staple martial arts archetypes, and puts them into a blender set on “phantasmal.” There is the white-browed, wise priest, only now his white hair is able to grow at will and be used as a trap for an evil demon. The strong warrior-women are here as well, but in Tsui's world their feminist power is so strong they have absolutely no need for men, or society at all. 

Perhaps the biggest change of all is how the various weapons are portrayed. Martial arts films have a long history of showcasing strange and exotic weaponry, but in Zu the weapons are totally out of this world. There are magical Taoist cymbals, capable of flying-saucer-like flight and multiplication. Then there is the incredible power of the black and white swords that can be sky-surfed on while at the same time they are able to shoot multiple blades out of their hilts. Most mystical of all though are the Jade and Purple swords, two blades that are conjured from the very souls of the heroes, spiritual blades that envelope their users and imbue them with superhero-like powers. 






Yes there are a ton of creative moments peppered throughout the film, moments that defy description, and are truly stunning. However, the backbone of the film, the ever important “narrative,” is not so special. As a matter of fact, it's kind of a mess. The worst part is that Tsui never establishes a sense of geography in the mystic mountains. The film feels like a collection of set pieces, and not like the epic fluid story it needs to be. At its heart, it is a simple quest story, but all the questing has been cut out and we are only left with the punctuation. I normally enjoy brevity and concise story telling, but here Tsui takes it to the extreme and the film suffers for it. Another problem is the characters themselves. While they are totally fascinating and often entertaining, they are also totally vapid and undeveloped. We never learn anything about why these mystical heroes are the way they are, and for a film dealing with such an illustrious mythos, this is a crippling misstep. 






What it comes down to is this: Zu should be approached on a purely aesthetic level; It looks great. As an exercise in early special effects work and a showcase for a director who would continuously push the technical boundaries of the medium, it is exemplary. It also works as a new school martial arts action flick, one full of crazy weapons, exotic techniques, and a ton of magic. It's just too bad the film comes up short almost every where else. While the film is far from perfect it still possesses an endearing quality that is almost impossible to ignore - its got character oozing from its pores, and there really is nothing else like it on the planet.


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## D_Davis

Unfortunately, this review doesn't really work with the 5 screencap limit here.  If you want to see the full thing, go here:

http://genrebusters.com/film/top100_77themaster.htm


*The Master (1980) - Dir: Lu Chin-ku*






There really isn't much to say about this amazing old school kung fu flick. It is on my list, and ranked this high, simply for two things: the action choreography and the physical prowess of the performers. This is a film to be admired, and respected, purely for the craft of filming and choreographing kung fu. The Master is, quite simply, a kung fu fan's dream come true. While the story itself is not amazing, at all, it's about as cliche as they come, the frequent bouts of fisticuffs peppered throughout are stunning and jaw dropping. Narratively speaking, The Master tackles the age-old, “you killed my master, prepare to die” story so frequently told, and does so in a decent manner, but does nothing to distinguish its cloned narrative from the plethora of similarly plotted films. 

However, when it comes to the action, and the performances of the combatants, The Master is a work of brilliance. The action is choreographed by Hsu Hsia. Even though Hsu is not as well known as Corey Yuen, or Yuen Woo Ping, or Lau Kar Leung, he's still one of the best. His filmogrpahy includes Drunken Master, The Boxer From Shantung, The Chinese Boxer (the very first open handed, “kung fu” film), The Boxer From the Temple, and many others. Yes, he has a very respectable resume. From the films I have seen, The Master stands above when it comes to the action. Of course it also helps to have Chen Kuan-tai , Johnny Wang, and newcomer Yuen Te, who was also Jackie Chan's classmate, and went on to become a respectable action director himself. 

When the film is not showcasing some of the best screen-fighting imaginable, it is merely okay. It's full of all the old standbys: broad physical comedy, cross-dressing shennanigans (with some welcomed topless cuties), tons of tom-and-kung-foolery, and all manner of standard genre conventions. So, even if you watch this film with remote in hand, the good stuff is simply brilliant, and totally memorable. These kinds of kung fu films are often called “shapes films,” because of how they focus on the shapes the martial artists “throw” at each other. There are strict forms they utilize, and each form is depicted with certain bodily shapes. The Master is a perfect example of this kind of film. And now, for a bunch of screen-caps, detailing exactly why this film is so awesome. 

  1. The downtrodden, underdog hero (with the worst hair cut ever) who has to take revenge for his... 

2. Master... 

 3. Who is killed by the Three evil masters, each who specialize in a difference weapon and style.  






4. Broad, often juvenile humor that is funny and silly...  






5. Amazing choreography (many of the fight sequences features dozens, upon dozens of exchanges before a single cut or edit - sometimes more than 40!)...






6. Physical performances of outstanding prowess (you won't believe your eyes)...


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## D_Davis

*The Sword (1980) - Dir: Patrick Tam*






  “Fame and glory is nothing but a mirage.” 

Violence begets more violence in Patrick Tam's poetic examination of the jiang hu and the obsession, passion, mystery, and sadness of its inhabitants. Part romance, part revenge flick, and part murder-mystery, this wuxia pian is an A-class example of the Hong Kong new wave movement, and is a masterpiece of its genre. By breaking free of the confines of the Shaw Brothers back lot, and embracing influences stemming from European, Japanese, and American filmmakers, Patrick Tam's film is a mesmerizing landmark of martial arts cinema. From the very first moments it is clear that something is different, and like Tsui Hark's The Butterfly Murders, The Sword represents a fresh start. 






While the film itself was a rebirth of sorts for Hong Kong genre cinema, its narrative represents the desolate, murky world of a subculture on the cusp of extinction. It's as if the film is depicting the final few hours of the “swordsman,” the last remaining moments of glory and adventure before the curtain falls, and notions of a time far more romantic and innocent are put to rest. The world portrayed in the film is an empty one, inhabited only by the last few remaining hold outs, vestiges of their era. Gone are the typical street-merchants, crowded thoroughfares, and alleyways often seen in other martial arts films. The world of The Sword is a phantom one, one that is slowly, but surely, fading away into non-existence. 






Adam Cheng stars as Li Mak-Yin, a young but mature swordsman, who wants nothing more than to test his skills in combat against the great and legendary swordsman Wah, played by Shaw Brothers alumni Tien Feng. Li is also pursued by Lin Wan (Norman Chu) and Ching Ti-Yi (a very young Eddy Ko), two evil swordsmen who frame Li for murder. Thrown into the mix are three beautiful woman who form the emotional anchors which the men both embrace and strive to break free from. Unlike the convoluted casts of dozens found in most wuxia films, the relatively small ensemble in The Sword allows the narrative to be executed with brevity and precision. The film is short, concise, and not a single moment is wasted. 






Patrick Tam's direction is exciting and fresh, and even though this was his first film, it looks, sounds, and feels like one made by a seasoned filmmaker. Tam keeps tight control of the narrative, and sets up some truly stunning shots and sequences, while never losing track of the human drama. With Ching Siu Tung handling the action choreography, coupled by cinematography from an award winning DP, Bill Wong, The Sword exudes a sense of class and style vastly superior to many films from the same era. The music too is a bellwether for the genre, and the score offers up a wonderfully haunting theme with instrumentation ranging from traditional acoustic instruments to analog synthesizers. Every facet of the film is executed almost perfectly, and even today, 27-years later, The Sword is still one of the best martial arts movies ever made.


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## Quokka

I enjoyed_ Kung Fu Hustle_ similar to what you said there's a kind of fairytale charm to it (almost akin to _The Princess Bride_) that draws you into the world and it's people more than most action flics. I haven't seen many martial arts movies (though I grew up on _Monkey_) and I should, the way fight scenes are depicted in most western 'action' movies is at least part of why I don't really enjoy many of them any more so I'll be stopping in to get some ideas on where to start. Of the few I've seen I hope _Police Story_ or _Drunken Master_ gets a mention


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## D_Davis

Quokka said:


> Of the few I've seen I hope _Police Story_ or _Drunken Master_ gets a mention



Hate to disappoint...

Not a big fan of Jackie Chan's films.  I like him, but I don't care for many of his films.  There is one Chan film on the list though, and it is brilliant.

You really can't go wrong with any of the films on this list.  I've seen probably around 300, or more, martial arts films, and I think I've really picked the best of the best of the ones I've seen.  Of course, I haven't seen them all!

And I agree with you about Western action cinema.  While there are some pretty awesome Western action films, I do prefer the Hong Kong touch.


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## D_Davis

*Crouching Tiger, Hidden Dragon (2000) - Dir. Ang Lee*






The first time I saw Crouching Tiger, Hidden Dragon, I was disappointed. The hype machine behind this film was unprecedented, and both print and online publications were all too quick to declare it, “the greatest martial arts film of all time.” I was expecting something extraordinary. I was expecting something groundbreaking. I was expecting something that would be instantly be more amazing than any of the dozens of new school, post-Once Upon a Time in China wuxia pians I had already seen. In all actuality, I had already seen it dozens of times; where was the greatness? While other people were blown away by how the swordsmen flew through the air, I was all too quick to point out that they've been doing this for decades. My own appreciation for the genre kept from totally enjoying the film, because my eyes were tainted by one of the most ugly of all things - fandom. 






However, a curious thing happened during a second viewing of Crouching Tiger. I started to notice the subtleties of the characterizations, and the intricate editing found in Yuen Woo Ping's action choreography. The haunting melodies of Yo-Yo Ma's score seeped into my system, and completely engaged me. The sweeping, epic love story carried real emotional weight, and I began to notice Ang Lee's masterful control of each and every moment of the film. While I still wasn't ready to declare it the best martial arts film ever, my appreciation for the film grew and grew, and upon each subsequent viewing, the film's endearing qualities softened my heart and I enjoyed it more and more. 






At its core, Crouching Tiger, Hidden Dragon tackles a theme all too important to its director: forbidden love. Where Lee's newest film, Brokeback Mountain, is a story of a forbidden love in America's rugged west, Crouching Tiger, Hidden Dragon is a story of forbidden love in the ancient underworld of the martial arts, the jiang hu. The concept of the jiang hu is not something that is easy for westerners to totally understand, but Lee's film does a wonderful job at explaining, through great characterizations, its intricacies. The jiang hu is like a parallel world to our own, one that is inhabited by martial artists and other characters important to their survival. The jiang hu represents the milieu of the martial artist, and only those submerged in the underworld are able to comprehend its existence. While a laymen may look at a beggar and only see a pox on society, a member of the jiang hu may look at the same beggar and instantly see through the man's disguise, and recognize that the beggar is, in fact, a great martial artist. 






Mu Bai (Chow Yun Fat) and Shu Lien (Michelle Yeoh), are members of the jiang hu, and they are also secretly, and passionately in love. However, they also know that their status within the jiang hu prevents them from fully embracing one another: they must uphold their chivalrous duties. They live with one foot in one world (the normal world), and one foot in another world (the jiang hu), while their hearts hover somewhere in between, constantly being pulled by internal and external forces. The passion these two characters have for one another, and for their martial duties, is expertly conveyed through everything they do. From the tranquil moments of quiet contemplation, to their mastery of various weapons and open-handed fighting techniques, Mu Bai and Shu Lien exude great understanding, passion, patience, and admiration for everything that surrounds them; they are true masters, and Ang Lee captures this brilliantly. 






There is so much more I could say about this film; to say I could write volumes on the intricacies of the plot, the nuances of each characterization, and on the craft behind the filmmaking would be a great understatement. Crouching Tiger, Hidden Dragon is not a great martial arts film, it is a great film. While the action is breathtaking, and is expertly edited and framed, it is the emotional anchor cast by the characters that truly engages. And while the narrative is full of adventure, deception, political intrigue, and tension, it is the passion and maturity of the characters that makes it all worthwhile. There are countless other martial arts films I turn to when I want great action and a fix of awesome kung fu, however, when I want a moving and epic love story more than fisticuffs and bloodletting, it is Ang Lee's extraordinary film that grabs my attention.


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## D_Davis

*Big Trouble in Little China (1986) - Dir. John Carpenter*






Big Trouble in Little China is John Carpenter's fusion of western action convention and eastern mythology. It is a modern day wuxia pian, set in the west, featuring characters out of their element doing battle against forces from an altogether foreign land and distant time. While the action itself is not up to par with the true martial arts films of the time, it totally works as a whole package. It is an American film that truly does capture the gonzo genre-mashing attitude of its mid-school Hong Kong contemporaries. It's funny, reverent, well-written, and endlessly entertaining. 






In a wonderful twist on stereotypical roles, the true hero of Big Trouble is not Kurt Russell's Jack Burton, it's Dennis Dun's character, Wang Chi. This is an incredibly brave move and adds a novel element to the film's narrative. Kurt Russell had previously been the heroic star of two Carpenter flicks, The Thing and Escape From New York, and so many, erroneously, assumed that he would be the hero of this film as well. In truth, however, Jack Burton is a bumbling idiot full of false bravado, good intentions, and a decent heart. He's a lucky ******* who, through sheer perseverance, stumbles into victory and into the arms of the ladies. 






Wang Chi, on the other hand, is the true action hero of the film. Because the film takes place in Chinatown, Wang is in a familiar place - this is his 'hood. Chinatown represents his world enveloped inside of a larger foreign one; Chinatown is a microcosm of his own culture. Once Jack Burton steps off of his semi-truck, and places his foot on Chinatown soil, he becomes the fish out of water and the blind man needing a lead. John Carpenter totally turns the tables on the audience, and his film is all the better for it. Far too often in western martial arts films, we find a hunky “American” (Usually Jean-Claude Van Damme or Steven Seagal) being the hero in their home country and while abroad. This notion that the westerner is always the bad-ass hero-type, even when in a foreign land, is rather insulting and played out; its an example of cultural-imperialism in its most base form. 

In many ways, this film was far ahead of its time, or perhaps it completely missed the boat - I tend to believe the earlier. The kung fu craze in the west, started by Bruce Lee, had long since passed, and the next wave of martial mayhem was still a few years off. In this regard, Big Trouble stands as a proud and brilliant beacon of light in the dark caves of genre cinema. That it plays everything relatively straight, this is not a film poking fun at kung fu cinema, also adds to its anomalous stature. It opened in theatres in 1986, and there just wasn't anything else like it at the time. In many ways, I think it is Carpenter's bravest film. To follow up a series of strong horror and thriller films with a fantasy martial arts comedy is either a stroke of genius, or the signs of a madman gone off the deep end. 






Speaking of madmen, I cannot fail to mention the great Lo Pan, played by the amazing James Hong , a truly memorable villain if there ever was one. Who can forget Lo Pan's evil, scratchy voice, or his light emitting eye balls? Or how about his long, razor-sharp fingernails and his ghost-like visage? Lo Pan simply kicks ass, and Hong's portrayal of the ancient, evil sorcerer is one of the all time great genre performances. Hong is funny, frightening, and memorable in the role, and totally nails each nuance of the character. 






More than anything though, Big Trouble in Little China is entertaining. From beginning to end, it moves with a great pace. It has a creative and exciting narrative, and the film is overflowing with inventive set pieces, characters, and situations. John Carpenter, Kurt Russell, Dennis Dun, James Hong, and a young, and very gorgeous, Kim Cattrall, all come together to craft one amazing picture. Add in a bevy of rockin' special effects, some killer action, and the absolutely amazing Carter Wong as Thunder, one of the four elemental martial-wizards, and you have the blueprint for ass-kickery, and kick ass it does.


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## D_Davis

*The Blade of Fury (1993) - Dir. Sammo Hung*






Within the walls of a small, remote, rundown village hides a once-great warrior, a man who has turned his back on the Jiang Hu after witnessing the death of his entire force, the legendary Black Flag gang, at the hands of Japanese invaders. Now living the life of a blacksmith, Wang Wu (Yeung Fan) wants nothing more of the martial world. However, he is quickly drawn back into the fray when a group of blood-thirsty bandits ambush a government convoy in the dusty, barren streets of his village. Also lending a hand in the battle are two wandering scholars and martial arts masters, Tan Szu-tung (played by the great Ti Lung), and Nine Catties (played by Cynthia Khan). These three martial heroes align themselves with Shi-kai, a well-intentioned government official, and embark on an epic and heroic journey. 






The Blade of Fury is Sammo Hung's brilliant entry into the new school wuxia sub-genre. It is simply a gorgeous film that deals with complex characters displaying authentic emotions, as well as dozens of amazing and effective action sequences. Like Patrick Tam's The Sword, or Leone's Once Upon a Time in the West, one gets the feeling that this film is about the death of an era, and there are strong feelings of sadness, nostalgia, and mythology stirring in the air. At its core, The Blade of Fury is an action packed allegorical examination of China, its people, its ideals, and the corruption of political power. 

Wang Wu's martial mastery is introduced in an extraordinary action sequence. As the leader of the Black Flag gang, Wang Wu devises a plan to attack a Japanese encampment. However, things go totally wrong, and Wang Wu is left as the only surviving member of this legendary force. This sequence is executed with a violent and poetic beauty, and encompasses a common duality often found in HK action cinema. Because of the film's wuxia roots, the warriors jump and fly around like sword-wielding superheros, and the cinematography conveys feelings of high-fantasy. However, the very real, and somewhat brutal, violence anchors the flights of fancy to a somewhat harsh and gritty reality. Heads are lopped off and kicked like soccer balls, limbs are divorced from their bodies, and the flashes of steal, cleave, chop, and pierce the blue-tinted night. From this struggle, we see that Wang Wu represents the common people, a people left with only two options: violent confrontation, or surrender. 






Tan Szu-tung and Shi-kai form the other two sides of this heroic/political triangle. Both of these characters are introduced in the aforementioned village-ambush sequence, and both of these men are great warriors and idealists, although they don't often see eye-to-eye. Szu-tung is a political reformist, a scholar, and a great warrior, and does not like to use violence as an option. He uses his great martial skill to aide those in need, but abhors killing. Shi-kai is also a good man, although his loyalty is entangled with that of a corrupt government. These two characters often spar, verbally, as they expound upon their own ideas for positive reformation. They also know how to throw down, and in a torrent of high-flying kicks, fists, elbows, swords, and projectiles, these two heroes are a force to be taken extremely seriously. It is always easier if one can enforce radical ideas with physical prowess, the ability to appear strong and righteous is needed to lead a down-and-out people into better times. 






That Sammo Hung hangs his action-packed wuxia narrative around the frame of political and social idealism is a stroke of genius, and lends the film a strong feeling of importance. Every brutal, violent, and well-choreographed action sequence is balanced by a moment of tranquil beauty, or philosophical pondering. There are two sequences that perfectly exemplify the film's thematic duality. This first is the martial arts tournament that Wang Wu is conned into joining, thus setting in motion a series of brutal conflicts. Wang Wu steps into the ring while trying to protect a fighter from the vicious onslaught of a ruling warlord's bratty son. The warlord is insulted, and thusly challenges Wang Wu to a fight. This action sequence is nothing less than extraordinary, as the two mature warriors fight atop the face of a giant kettle-drum, onto some umbrellas set up to shade the audience, and back again. 

This sequence is balanced by one of extreme beauty and tranquility. While coming to terms with his reintroduction to the Jiang Hu, Wang Wu stumbles upon a beautiful and mysterious lute-playing woman (Rosamund Kwan). The woman recognizes Wang Wu's inner turmoil and tells him that “a sensible man will be full of sorrow for his country.” The two converse for a short period of time, reflecting upon their sorrow and their personal convictions, before Wang Wu insists upon hearing a song, and reflects in mature silence while listening. This short but tranquil scene is expertly crafted by Sammo Hung, and the way he is able to capture both high-tension action, and quiet drama is a testament to his skills as a director. 






The '90s were simply overflowing with high-flying wuxia films. This decade represents a second golden age of martial arts cinema, and there are many fine examples to be found. However, , as an example of pure cinema, The Blade of Fury stands among the very best. It is a film to admired for its great action, complex characters, and sweeping, epic narrative. After seeing this film, it is of little wonder that Wong Kar Wai would enlist Sammo for his own epic wuxia, Ashes of Time, however, that film pales in comparison to this new school classic. The Blade of Fury represents genre cinema at its finest, and is a showcase for a director and an industry full of creative verve and cinematic elegance.


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## D_Davis

Here is a very special film...

Again, I hate being limited on the screencaps, but oh well...

*Shaolin Intuders (1983) - Dir. Tong Gaai*

There's corruption in the Shaolin Temple. From the top on down, the temple has been infested with conniving rats, hellbent on the destruction of the Jiang Hu. One of the head abbots is in cahoots with the surviving members of the 6 Demons of Gaundong (an evil group of outlaws who use to terrorize the land), and together they are killing off the province's renowned martial arts masters one-by-one. It's up to two ragtag heroes, Lei Xun, the wanderer, and Qiao Yidou, the gambler, to reveal the treacherous secrets of the Shaolin Intruders.

In many ways, Tong Gaai's mind-blowing, frantically-paced, martial arts masterpiece can be seen as a metatextual commentary on the end of an era. Made in 1983, while the Shaw Brothers were beginning to turn their backs on cinema and focus on television, Shaolin Intruders is a more cynical examination of the legendary martial arts haven, and depicts the once-heroic monks as less than righteous. Their ways have been corrupted by greed, and their once pure motives suffer the taint of their impure leaders. Like all institutions, even the Shaolin Temple must face becoming obsolete and outmoded. 

In Tong's film, it is not the monks who are heroic, or chivalrous. Tong's heroes are the outsiders, two men who can see through the facade of deceit surrounding the once upstanding institution. I don't mean to make this film sound more high concept than it is, however it is interesting to examine this insane action flick in a light that reveals more than just a ton of awesome action. Not that it needs anything more mind you, because when a film is this exciting, entertaining, and jaw-dropping, anything extra is just an added bonus. 






One thing comes to the mind of kung fu fans when they hear or see the name Tong Gaai, and that's top-notch, A-class choreography. Shaolin Intruders stands as the pinnacle of Tong's career, and only further exemplifies the audacity of Tang's anonymity outside of the hardcore audience. Tong, an honorary member of the Yuen Clan (Yuen Woo Ping, Yuen Wah), was introduced to kung fu choreography on the sets of the Wong Fei Hong series which began in the 1940s. He started working for the Shaw Brothers in the early 1960s, and along with partner Lau Kar Leung, he co-choreographed just about every major martial arts film the studio made throughout the 1970s and into the '80s. However, he only ever directed three films, and this is, by far, his most amazing work in any capacity. 

The bulk of Shaolin Intruders is taken up by three trials the heroes must endure to win the Shaolin's respect. After Lei and Qiao discover the dirty deeds of the corrupt monks, they go to the temple and accuse them of this treachery. Needless to say, the accusation doesn't sit well with the abbots (who are not all evil), and so they challenge the heroes to a series of tests; if they pass, the heroes can continue their investigation. 

The first trial features Qiao, fighting the Shaolin spear-men in the Spring and Autumn formation. His goal is to reach the rear of a room while the spear-men thwart his progress at each and every step. The fight transcends astonishment, as the combatants traverse up and down pillars, fight across the ceiling, and even wind up using an entire rack of spears as the ultimate weapon. However, when Qiao busts out his secret weapon, a set of large, explosive dice attached to a whip, the monks find themselves at the mercy of a weapon they can't even comprehend. 

The second test finds Lei doing battle with the Twelve Jingang formation. This sequence is irrevocably one of the greatest action set pieces ever filmed. The Twelve Jingang formation consists of twelve monks, each armed with a copper-plated staff. The monks form various shapes and stances, including a human wall and a deadly enclosed circle, while trying to keep Lei from reaching the end of a long, sand-dusted hall. However, as if twelve badass monks with copper staffs isn't cool enough, Tong Gaai takes the fight straight through the stratosphere and blasts it off into the reaches of astronomically-awesome. 






At one point, when it looks as if the monks are about to lose, they reveal their secret weapons: the staffs separate and become three-sectioned staffs, undeniably the coolest weapons ever.From here on out, it is pure martial mayhem, as the twelve monks try ,with all of their might, to keep Lei from reaching his goal. This sequence looks incredibly dangerous, and maintains a sense of barely-controlled chaos for minutes on end. 






However, if you think those two tests sound cool, and they most definitely are, just wait until you see the third, final, and most awesome test. This test pits the two heroes against one, old, gray-haired, feeble-looking elder. But as we all know, the more feeble-looking the martial arts master is, the harder he's going to kick your ass. This test is simply too amazing to describe, and so I will let a series of screenshots do the talking: 






 And then, on to the final showdown with the evil abbot!






Here's the thing about Shaolin Intruders: there is nothing minor about it. Every fight is huge, and every action set piece is a masterpiece. You could rip any of the action sequences from any point in this film, splice it into the climax of another, and have a show-stopping, masterclass action sequence. Minute for minute, weapon for weapon, fist for fist, and leg for leg, Shaolin Intruders may be the most action packed film ever made. Even upon subsequent viewings I am always shocked. Shocked at just how much action there is, and at how amazing each conflict is presented and executed. But here's the thing: it never wears out its welcome, ever. It consistently pushes the boundaries of kung fu cinema at each and every turn, and remains thoroughly enjoyable from beginning to end. To put it simply, Shaolin Intruders is a film that is so awesome, I wouldn't be surprised if I woke up to find it nothing but a dream.


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## D_Davis

*The Odd Couple (1979) - Dir. Lau Kar Wing*






What do you get when you take a double-dose of Sammo Hung, mixed together with a double-dose of Lau Kar Wing (sibilng of the great Lau Kar Leung), a dash of Lee Hoi-Song, and a hearty pinch of Jackie Chan and Yuen Biao working behind the scenes as fight choreographers and as stunt doubles? Well, besides being a mid-school kung fu fan's ultimate dream-come-true, what you get is simply one of the greatest kung fu-comedies of all time: _The Odd Couple_. If you have never seen the insta-classic, let me cut through the crap and say one thing: go now, buy the DVD, watch it, and love it - that's all there is to it. This could be the shortest review yet on the Top 100, because, honestly, that's all that really needs to be said. 






What's that, you want some more? Well you see, it's like this: Sammo Hung plays the King of Swords, and Lau Kar Wing, his on-screen rival, is the King of Spears. I'll let you figure out which weapons each one of them specializes in. Once every year, these two masters meet for a duel to test which of their techniques is the best - needless to say, every single one of these duels ends in a draw. They are just too perfectly matched, and, of course, utterly stubborn; they will not rest until a victor is determined. Unfortunately, no matter how good their kung fu is, and it is remarkable, the King of Swords and the King of Spears must succumb to the ultimate of all rivals, old age. 






To remedy the threat of old age, the two masters devise a great plan: they decide to each recruit and train a student to continue their martial arts tradition. And it is here that the genius of the narrative kicks you upside the face. Sammo Hung and Lau Kar Wing also play the students, only their roles are reversed. So, now we get to see Sammo Hung train Lau Kar Wing in the sword technique, and Lau Kar Wing train Sammo Hung in the spear technique. How freaking cool is that? Even if the entire narrative focused solely on the training of the two students and their ultimate clash, the film would still be an A-class example of the genre. However, in typical mid-school fashion, the filmmakers throw in a bevy of slapstick humor, wild shenanigans, and a ton of prime examples of what I like to call, kungfoolery. 






The filmmakers from the mid-school era of Hong Kong cinema had their thumbs on the very pulse of pure entertainment.  With _The Odd Couple_, it's as if Hung and Wing scientifically extracted the very essence of every moment that defines an awesome genre flick. There are enough action set pieces to satisfy even the most jaded kung fu fan, and the martial arts on display during the many kung fu sequences is astonishing - jaw dropping even. What's more, the film also contains enough quirky moments and characters, and bizarre situations, to entertain those who may not be enamored with the physicality of the genre. The humor in _The Odd Couple_ is broad, and yet still dang funny, while the dramatic tension is tangible. The narrative is paced to perfection, rarely does a dull moment go by, and even while the film shovels on a ton of crazy stuff at the screen, it is still a cohesive experience. 






There is no question as to why the films from this era are often the launching point for many a Hong Kong film fan's adoration, and _The Odd Couple_ is at the apex of this era. It doesn't happen very often, but when all of the elements involved in crafting a genre film come together in perfect unison, it is a very special thing to witness. All too often, we are left saying, “If only that was left out!” or, “If only they had done that!” Well, such is not the case with _The Odd Couple_. Everything rings true, and every moment hits its mark like an expertly thrown shuriken. I am so thankful to have seen this film, and now I can join in with the masses who have already declared it a martial arts masterpiece.


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## D_Davis

I forgot about this thread.

Not too many comments, but if you all were enjoying reading it, I'll continue...


*Martial Arts of Shaolin (1985) - Dir: Lau Kar Leung *

_Martial Arts of Shoalin_ is a love letter straight from the heart of master-director Lau Kar Leung to his endearing fans, and to fans of cinema in general. It is a grand tale of revenge, including real kung fu and wushu experts, and just so happens to star a very young, and incredibly fast, Jet Li. This film is also historic in many ways, for it was the only Shaw Brothers film to feature Jet Li, and it was also the only Hong Kong/Mainland co-production directed by Lau Kar Leung that I am aware of. The cross-cultural production opened up new realms of possibilities for the director, as he was able to take his vision out of the Shaw Brothers back lot and onto real locations including the Imperial city and the Great Wall of China. 

The film is often compared to the large golden-age Hollywood musical productions, a comparison that is readily apparent.  _Martial of Arts of Shaolin_ has an incredibly large cast of hundreds of extras, and it includes an extensive musical sequence involving lion dancing and Peking opera. On the action front, it consists of massive large-scale kung fu battles, as well as smaller more intimate combative challenges between determined opponents. Throughout this all, the film maintains an overall light hearted tone, made all the more enjoyable by its upbeat musical score and endearing cast of characters. The film feels huge, massive even, much larger than any of the director's previous work, and yet his unique vision of martial chivalry is never lost in the exuberant production. On the contrary, the director's vision is heightened by the upscale nature of the film. 






Historically, the narrative exists before the burning of the Shaolin temple, but during a time of great political and social unrest. This film fits within the Shaolin cycle not so much for its narrative, but for its themes, and how it focuses on a duality inherent to the Buddhist way of life. Buddhists, in general, abhor the killing of any living creature, but as this film proves, sometimes certain things must die in order for more to live. The monks in the film learn that by upholding justice, a tenant important to the Shaolin, they must at the same time destroy an evil man so that the righteous may survive - they must kill for others to live, a simple yet confounding prospect. 






This theme is first demonstrated on a personal level through Jet Li's character, Zhi Ming, a novice monk. While practicing his lightning quick punches against a tree, he inadvertently knocks down a bird’s nest containing a handful of baby chicks. He vows to care for the chicks, but soon realizes that in order to feed them he must in turn kill another life – a worm. Insert some quick comedy relief, and soon an elder monk finds himself in care of the little birds, and he too ponders this Buddhist quandary. This theme is then transposed to the film’s central plot of revenge, and the role the virtuous and righteous monks must play in the secular world. Lord He Sou, an evil ruler, has taken control of the imperial city. We soon learn that Zhi Ming has been wronged by Lord He Sou whose evil ways have plagued the land. Ming and the other monks must come to terms with what justice really means, and learn that sometimes evil must be destroyed in order for righteousness to prevail. 






The beautiful setting that creates a sense of grandeur often lacking from other Shaw Brothers productions, augments the relatively basic and cliché revenge narrative. The picturesque locations and wide-angle shots really help to create an epic atmosphere, and the huge cast of extras goes a long way in making the film feel really grand. What’s more, the personal conflict the other monks face anchors the epic feel and affords the viewer some empathy for the dire situations. The filmmakers do a wonderful job at striking a fine balance between a personal story and an epic production, as the central story is never lost in a sea of pretty pictures or faces. 






However, when it comes to a Lau Kar Leung and Jet Li film, we all know what we want to see: some tightly choreographed action, and this film never fails to deliver. It must be said though, that Yue Sing-wai who plays the Lord He Sou, may in fact upstage Jet Li. Sing-wai was a master-class swordsman and so, like Li, he possesses real skill. His performance in the amazing mainland swordplay film _Yellow River Fighter_ is a testament to this fact, and the jaw dropping last duel with Li in this film is equally as impressive. Lord He Sou wields a thin bladed sword, that must be close to, if not over, five feet long, against Zhi Ming and his two combatant comrades: the fighting female Sima Yin, and her husband to be, Chao Wei. 

During the last sequence, an entire school of Shaolin fighting monks joins these three fighters of justice, and again the unique location allows Lau Kar Leung to expand his amazing choreography to a much larger scale. Without the confines of the Shaw Brother soundstage, he is able to craft battles involving dozens and dozens of combatants in huge melees across wide opened fields and rivers. He even showcases a show-stopping sequence on and off a large slow moving barge. Here, the action is filmed with wide angles and long panning/tracking shots that allow for great views of every move. And, with the inclusion of the Chinese National Wushu team, the fighting looks authentic and the moves are as fluid as one could wish for. 






Like most of Lau Kar Leung’s work, _Martial of Arts of Shaolin_ maintains a positive tone, even amidst the many action sequences: the film as a whole is just a joy to see and hear. At its core, the film has a lofty theme steeped in Buddhist and Shaolin philosophy, and yet it remains a purely fun and visceral ride throughout. As part of the Shaolin cycle, it adds to the legend of the monk’s teachings, and shows an important aspect of their self-imposed duty to uphold justice in a land in turmoil, even if this justice might compromise their own personal belief system.


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## BookStop

I second the wish for _Drunken Master_ to get a spot. What about _Zatoichi_? The 2003 film is brilliant.


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## D_Davis

Like I said earlier, not a fan of too many Chan films. 

I like Jackie Chan, I just don't like many of his films.

Many of the Zatoichi films are awesome, and Beat's 2003 film was really good, but it is not on my list.


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## D_Davis

*The Magic Blade  - Dir. Chu Yuan*







After defeating Master Yu and becoming the number one swordsman in the underworld, Fu Hung-hsueh is told that wealth and power await him as the leader of the jiang hu. To this, Fu calmly states, “save it for those looking to die,” turns his back on the new found fame and glory, and walks away. Director Chu Yuan, the undisputed master of the wuxia pian, and the filmmaker to most fully grasp the themes of the great martial arts novelist Gu Long, directs The Magic Blade with a skilled hand, and delivers an accessible adaptation of Chinese genre literature. Everything on display is expertly crafted. The martial arts mystery which unfolds is captivating, punctuated with a bevy of hard-hitting action scenes, exotic set pieces, and a cast of characters ripped from a nightmarish world of assassins, double crossers, and ne'r do wells. 

Wuxia pians are often typified by convoluted plots, unfolding like murder-mysteries, populated with dozens of outlandish characters, each with his or her own motive and agenda. The films based upon these narratives are often hard for the outsider, those not familiar with the source material, to comprehend, and can lead to rampant confusion and bewilderment. Chu Yuan possessed an uncanny ability to excavate the essence from these novels while keeping the plots intact, and was able to craft films that were more accessible than most. The Magic Blade is such a film, and can easily be enjoyed by the neophyte and wuxia pain veteran alike. 






The plot itself is deceptively simple, and is only made murky because of information purposely withheld to heighten the mystery. The incredible and stoic Ti Lung plays the hero, Fu Hung-hsueh who is challenged to a duel by Yen Nan-fe, played by Shaw Brothers baddie Lo Lieh. The two quickly join forces once they discover that the entire underworld wants them both dead. It appears as if the seams of the underworld are on the cusp of bursting, for everyone Fu and Yen come across is either an assassin, a thief, or a swordsman possessing some strange weapon or power. The two men soon find themselves on the trail of the legendary Peacock Dart, a weapon so powerful that it alone can upset the balance of power. Through a series of double-crosses, romantic interludes, exotic traps, and ruminations on the martial chivalry of the swordsman, Fu Hung learns the truth about the jiang hu, its rulers, and the hearts of the men and woman populating its milieu. 






What is most entertaining about the film are the increasingly absurd and outlandish set pieces. The action begins in a fairly mundane manner, except for the strange spinning blade used by Fu Hung. However, the swordplay quickly escalates as the set pieces become more and more absurd. There are numerous run ins with one particular character named Devil Grandma, a cannibal dead set on killing, cooking, and eating Fu Hung. Fu Hung and Yen Nan are almost poisoned to death multiple times, and almost every safe haven they stumble across is found out to be a top secret hideout tainted with trapdoors and henchmen waiting to kill them. Then there is the human chess match played on a giant make shift chess board, in which the heroes become the living pawns in a game played to death. All in all, The Magic Blade contains enough creative set pieces and action sequences for a handful of lesser films. 






The film also possesses an alluring, otherworldly quality to it, made all the more prevalent by Huang Chien's cinematography, Tong Gaai's action choreography, and Chu Yuan's deft eye as a director. I am ashamed to not know more about Huang, because based upon the beauty of this film it is clear that he possesses a masterful eye behind the camera. Often times the view becomes partially blocked by items in the foreground, thus rendering the film with a voyeuristic quality. It feels as if we are being shown something that should not be seen, a tableau of wicked taboo and conspiracy. Tong Gaai's choreography also captures this quality. Much of the action transpires in the darkness, and the hits of hilts and blades are punctuated with flashes of light and smears of blood. Tong's work here also showcases his amazing ability to introduce creative and outlandish weapons into the mix without becoming too cartoony. With Chu Yuan lording over every detail of the film, the entire production rings with an air of authenticity, and class. Chu's resume is brimming with amazing wuxia pians, and The Magic Blade is a masterful example of this auteur's craft.


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## D_Davis

*A Chinese Ghost Story (1987) - Dir. Ching Siu Ting*






    “A Chinese Ghost Story, out of all the genre mash-ups in the world, you're the genre mashiest.” 

A Chinese Ghost Story truly does offer something for almost everyone, and in this regard it is a perfect example of new school Hong Kong filmmaking. It is the product of one of the most prolific and exciting partnerships to be birthed on the small, densely populated island: director Ching Siu Tung and producer/writer/co-director Tsui Hark. The film is a unique experience, and reeks of Hongkie idiosyncrasies, benefiting from Tsui's gonzo production and Ching's panache for crafting outlandish action and situations. There is just no way this film could have come from anywhere else in the world. It exists as a perfect encapsulation of everything that makes Hong Kong genre cinema so maddening, exciting, entertaining, endearing, and alluring. 

At its most reductive state, ACGS can be described as a romantic ghost story. However, it also contains many subtle and bombastic comedic moments, a memorable song and dance number, a ton of high-flying fantasy-tinged martial arts, and some moments that are more than a bit creepy and kind of gory. Even with all of these individual motifs and parts, the film never feels like a collection of poorly juxtaposed pieces. On the contrary, Ching's and Tsui's work here melds the film into a stew-like concoction the deftly hides the seems of the various genres and styles it's built from. The transitions between sequences of differing tone feel natural and effortless, and the film greatly benefits from each individual ingredient. 






ACGS tells the story of, Ning Tsai-shen (Leslie Cheung), a naive, wandering official sent to collect taxes from various merchants located in a small, remote village. Unpopular with the locals, and totally broke, Ning is forced to find refuge in the Lan Yeuk temple, a haunted place full of evil spirits. It is here that the beautiful fox-spirit, Nieh Hsiao-tsing (Joey Wong), finds Ning and falls in love with him. But is her love true, or is she only a temptress trying to lure Ning into the clutches of the evil tree-demon? Ning also meets up with an adventurous Taoist priest/swordsman/ghost buster, Yen (Wu Ma), who is trying to rid the word of evil spirits. And thus the stage is set and the characters are assembled for an adventure of outrageous situations, B-grade horror, and A-class set pieces. 






For sheer action, horror, and comedic moments, comparisons to Evil Dead 2 are not too far off base. There are moments of exhilarating action, like the climatic battle for hell, that would be right at place in one of King Hu's classic wuxia pians. Yen, the Taoist butt-kicker, fights with magic, fist, and sword, as he flies around like some kind of ancient Chinese superhero. Also on display are a number of classic comedic moments, all made more immediate by the outlandish set pieces. One such instance finds the naive Ning unknowingly thwarting a group of stop-motion-animated zombies. However, unlike Evil Dead 2, ACGS also features moments of high-romance and sweetness. Joey Wong's performance as the fox-spirit is alluring and affecting, and more than a little sexual. It is so good, in fact, that after this film she was almost exclusively cast as a ghostly-vixen, which ended up impacting her career; some superstitious filmmakers became suspicious of her ghostly-visage and would refuse to work with her. 

If anything, ACGS is charming. While the production is obviously limited by a modest budget, Tsui Hark and Ching Siu Tung work their magic in spades, a filmmaking-magic that many other genre filmmakers lack. The entire production is brimming with character and energy, and the end product exudes a tangible affability. This film is a wonderful example of the kind of films Hongkie filmmakers made during this second golden-age of Hong Kong cinema. It's simply an incredible mix of genre pastiche, including high-concept action, low-brow humor, and off-the-wall antics to this gonzo style of filmmaking endemic to Hong Kong filmmakers.


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## Connavar

Even if you arent a Chan fan Drunken Master 2 is a blast.   Its almost impossible to see such hardcore fights,choreography.


Do you dislike all his movies ?  Not one you thought was good ?


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## D_Davis

Connavar said:


> Even if you arent a Chan fan Drunken Master 2 is a blast.   Its almost impossible to see such hardcore fights,choreography.
> 
> 
> Do you dislike all his movies ?  Not one you thought was good ?



Jeez people, DM is not _that _good, especially compared to the films on the list.

It's not the best Chan film, it's not the best Yeun Wo Ping film, nor is it even the best martial arts comedy.

It's good, but not cream of the crop IMO.

I'd rank it in the next tier down.



There will be one Chan film on the list, and it is glorious, loads better than DM.

And this is, of course, my list, so it is full of films that I like.


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## D_Davis

*Samurai Fiction (1998) - Dir: Hiroyuki Nakano *






Samurai Fiction is both a celebration of the artistic expression of film, as well as a quiet reflection on an important era in Japan's cinematic history. The film possesses a tangible and infectious energy that oozes from the screen, an energy ignited by passion and reverence. In many ways, SF is a love letter written by Hiroyuki Nakano, addressed to the directors whose films helped to identify a nation and its people. What's more, the film is totally accessible, and can be enjoyed by both genre-veterans and neophytes alike. It stands with its arms outstretched ready to embrace all who allow themselves to fall under its charm. 






SF is part send-up, part homage, and part serious study of the jidaigeki: its influences and its themes. The jidaigeki can be seen as Japan's national genre - like the western is to America, so too are the samurai films to Japan. They exist to examine Japan's history, its folk-heroes, its nation, its mythology, and the very things that make Japan, Japan. At the heart of the genre is an artery of Japanese essence, the mono no aware, the examination of the tranquility and Japanese-ness of things. SF encapsulates everything important to the genre, and then adds a unique post-modern spin on the themes, characterizations, and memes. 






The film was partially inspired by Pulp Fiction's anachronistic genrebusting. While SF's narrative is fully established in the past, there is a fascinating juxtaposition of modern audio and humor. Electric guitar, piano, synthesizers, rock 'n roll, and electronic music are used to build the film's audio foundation: all instruments and genres anachronistic to the narrative's time period. While some filmmakers and composers might choose this kind of instrumentation without a lot of thought, or just because its how things are done, in SF it is done to add a tinge of modernity to the genre. The film's composer, and one of its stars, Tonoyasu Hotei (who also composed the piece Battle Without Honor or Humanity made popular in Kill Bill) and the director worked to craft a film possessing attractive elements from the here and now and the past; they create a perfect marriage of things important to their generation, as well as the things important to the films of yesterday. 






The humor, too, is more modern, and it is also self-referential, but it is not a lazy spoof. While the director's fourth film, Red Shadow, a send up to the ninja film, dives head first into the spoof-pool, SF is graceful and distinguished in its approach. It pokes fun at some of the genre's conventions - the hamster-like ninja school and the proud, naive anger of the main character - but it still remains reverent towards its subject. It also incorporates some comedic gags found in Japanese animation: see the I'm-in-love-nose-bleed as a specific example. The humor never feels forced, but instead it works in perfect tandem with the narrative and the characters; it feels natural, and is not lazily used to craft a simple parody. The humor is there to offer more insight into the genre, and to foster a breeze of aloofness and affability to the film. 






Filmed in black and white, with a few punctuations of color, Samurai Fiction exists as both an impassioned homage to an entire genre of cinema, as well as a singular film possessing its own unique voice. Nakano fully understands all of the things that make the jidaigeki so important to his country, and, along with the other filmmakers, he has crafted a film that contains elements of the past and the present. The film is sweet without being sappy; has conflict without relying on too much action; is humorous without being silly; uses music to strengthen the narrative's modernity; and offers up a cast of endearing and memorable characters. It is also, simply, an entertaining film bursting with earnestness and powerful charm.


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## Connavar

I have seen several of this list.  Mostly Hung,couple of the shoalin movies.


Let me guess which Chan you will have on your list.   Project A ?  Police Story 2 ?


 At least you have the good taste to like Sammo Hung, he is great


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## D_Davis

You'll have to wait to see 

Psst...you guessed it...


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## Connavar

Heh it was easy because IMO Police Story 2 is one of the best hardcore fight movies i have seen.  Chan doesnt have much comedy there.  It was good to see that good fight movie outside Wuxia setting.   


Project A is his funniest work.  I saw it last year with hole of my family, we laughed like fools.


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## D_Davis

Connavar said:


> At least you have the good taste to like Sammo Hung, he is great



I enjoy far more Sammo flicks than I do Chan flicks.

Sammo is amazing.  He's just an all around talented dude.

Plus, he choreographed the spectacular, one of a kind, super-film, the one and only, *Knock Off*, directed by my favorite director, Tsui Hark.


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## D_Davis

*We're Going to Eat You (1980) - Dir: Tsui Hark *






 Anticipation can be like a double-barreled shotgun, held by a hyperactive child all hopped up on goofballs, pointed straight at your face – a precarious situation to be sure. If you happen to live through the moment, the exhilaration can be euphoric, and nearly orgasmic, but usually, the spastic kid's trigger finger twitches and – BLAMMO – you've got a bloody-nubbin spurtin' gore where your head used to be. Tsui Hark's _We're Going To Eat You_ is a film that I anticipated for many, many years – almost nine to be exact - ever since I was first exposed _Once Upon a Time in China_, back in 1993. I had heard about, and dreamed of seeing this legendary film, but up until last year (2005), it had been completely unavailable in a subtitled, official, remastered capacity. So, it is with great relief, and honest excitement, that I am able to say this film far surpassed my heightened anticipation – yeah, it is really dang good. 

_We're Going to Eat You_ is the finest kung fu-cannibal-comedy you will ever see – perhaps it is the only film in this rarest of sub-genres: the kung-can-com. The film perfectly strikes a balance between the outrageously funny, gory, scary, and action packed sequences with skill and style not often seen. The way Hark and the actors expertly straddle and execute the shifting tones and styles is masterful, and offers a scrumptious treat for the senses. The film stars Norman Chu as Agent 999, a man sent on a mission to investigate some strange occurrences in a remote village deep in the heart of an Asian jungle. Upon arriving at the village, Agent 999 soon discovers an entire gang made up of Leatherface-wannabes, that kidnap unsuspecting victims to be killed, carved, and eaten by the village's bizarre inhabitants. 






Tsui Hark and action-choreographer Corey Yuen create some truly memorable set pieces. While the action isn't quite up to snuff, or comparable to best from time period, they make up for the lack of martial-skill with style and frenetic pacing to spare. Norman Chu moves quite well, and keeps his cool, while dispatching cannibal after cannibal in a variety of wacky showdowns. One moment in particualr that will surely leave jaws on the floor, and fans scrambling for a pause-rewind-slow-mo-retake, is when Agent 999 takes a brief break in the middle of a chaotic bout of fisticuffs to roll a cigarette on a goon's face. He then lights it, and continues to fight while smoking his face-rolled ciggy – perhaps the only time this feat has ever been attempted on screen! And oh yeah, make sure you're prepared for some amazing roller skating antics. 






There are a ton of little moments like this peppered throughout the film, moments that demand strict attention – blink and you might miss something awesome. There is almost always something cool happening on screen, and Hark captures it all with the grace of a camera-equipped ninja. Whether laughs, gasps, groans, or cheers are elicited, one thing is certain: the pacing never lets up – the film is full of Hark-patented kinetic energy. The entire thing is framed like some kind of live-action comic book, and I mean this as the best of possible compliments. Each shot looks like an expertly laid-out comic book panel, as the utmost attention to detail, lighting, and composition is used in almost every frame. Just as there are moments of physical action, and comedy, that will be remembered far after the film is over, so too are there shots that will continue to haunt the mind's eye after the end credits roll. 






_We're Going To Eat You_ just oozes with style. It is a grotesque, bizarre and gonzo journey into the heart and mind of a filmmaker that loves to let it rip. It has the action martial-arts fans demand, the comedy to shake things up, and the gore and scares to quench the horror fan's thirst. However, under Hark's watchful gaze, all of these elements fit together like a well designed puzzle – nothing feels forced or out of place. The quickly-written and balls-out style of the narrative is perfectly complemented by the zig-zagging work of the camera, and it all comes together due to the wonderful cast and crew. It truly is a rare film – a film that is fun, exciting, and nearly perfect, and a film that lives up to its legendary status.


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## D_Davis

*Holy Flame of the Martial World (1983) - Dir. Lu Chin-ku*






Holy Flame of the Martial World is one wicked kung fu film. Imagine the zaniest most bizarre thing you have ever seen, all hopped up on goofballs, with many moments of sheer brilliance sprinkled about a gaggle of freaked out fisticuffs and enough crazy weapons to fill a museum. Now imagine something even crazier and more fun than that: if you can’t fathom a film so full of awesomeness, (and I fear for those who can) then just click on over to hkflix.com and order yourself up a helping of Holy Flame. This is a premier example of what I like to call, WTF-Cinema. 

Holy Flame is a tough film to describe because so much of what makes it so damn amazing is in the unique visuals. The blazing colors pop off the screen, the sets are a gaudy kaleidescopic mess of neon nick-nacks, and the pure visceral aesthetic energy is a treat for the eyes. At its core, the film is a simple kung fu tale about the ultimate weapons in all of the jiang hu, The Holy Flames, and the quest to find and utilize said weapons. The film also uses the old two-twins-separated-at-birth-one-raised-by-good-the-other-by-bad trope that seemed to be oh so common during the glory days of my beloved genre. 

So we’ve got two twins, each looking for a magic sword called the Holy Flame, and each must battle their way through a motley crew of the craziest bunch of kung fu masters this side of a Robert Tai film. I know, it sounds like a clichéd disaster just waiting to happen – but here’s the thing: it’s not. The two main characters, however, are not the most memorable characters in the film. As a matter of fact, they are actually quite boring, and their personalities are rather passé. Luckily for us, the rest of the cast of madcap players is brimming with some of the most bizarre and outlandish kung fu fighting, back flip flipping, high jump jumping, snake controlling, green suit wearing, zombie conjuring characters you will ever lay your eyes on. And, just to prove my point check out these examples: 

Er Mai - Man, this chick is crazy and really pissed. Just look at her scowl in the mug shot and you can see what I mean. She’s got this really cool gray hair, and to tell you the truth I am bit baffled by her appearance. You see, I am not sure if she is playing a woman who is disguised as a man (a common trope in the wuxia genre) or if she is playing a woman being a woman who just happens to look like a man. Anyhow, I bet she wishes she were a man, because she is the leader of a school full of nothing but hot assassin chicks who really kick ass. 

The Phantom - Alright, this guy wins the “Freaking Insane Laughter” award, and as all of you long time Shaw Brothers fans know, there are a ton of crazy-laughing kung fu masters – but this guy’s laugh truly dominates the martial world. One laugh to rule them all and in the darkness bind them, and all that jazz! The Phantom uses his Ghostly Laughter as a weapon to create a sonic wave of sound that causes people to go crazy. It also causes the wind to blow really violently. Oh yeah, and did I mention he is played by none other than Philip Kwok, Venom and fight choreographer extraordinaire? So yeah, he pretty much rocks the world. 

Crazy Green Corpse Zombie WWF Robot Fighting Guy - Eeven without a proper name, this guy still kicks ass and he is totally memorable. Green Corpse is a fighter that is under the control of the poison clan's crazy master. He wears skin tight green pajamas, and constantly pounds his chest and screams and yells a lot, while kicking a ton of butt. He fights like some crazy robotic WWF fighter with stiff arm techniques and a ton of drop kicks, throws and grabs. So basically, he is really, really freaking awesome. 

The best fight in the film, and there are quite a few, takes place right after Wan, one of the main twins, finds his Holy Flame. He teams up with Duan, a pupil of the master named Monster Yu, and together they attack the poison clan’s fortress. Man, this sequence is so cool it hurts my brain. First of all, the evil cult master uses his evil Taoist magic to animate four zombie-skull fighters from some hanging tapestries. The zombie skull-fighters are birthed from their cotton-womb, and proceed to bust some heads. This fight is straight out of a crazy-ass comic book ,with the six combatants jumping, flying, dashing, swinging, slashing, punching, kicking and generally beating the crap out of one another. 






Once the four zombie-skull fighters are dispatched, the Taoist cult master unleashes the above-mentioned Green Corpse Zombie fighter guy. Our two heroes and Green Corpse fight a battle that is so loopy, and so over cranked, that it turns into pure action-comedy gold. The camera work during this fight is brilliant, as the DP utilizes super quick zooms and pans, and really makes the fight seem chaotic. This is pure wuxia magic here folks, and should not be missed. 

There is one set piece that without a doubt is truly remarkable. It occurs after Wan enters the Moonlight cave to obtain his Holy Flame. In the cave there is a secret room (behind a, wait for it, waterfall! Who would have guessed?) with a large drum at one end sitting in front of a huge yin-yang symbol on the floor. Around the symbol are a series of buttons, that once pressed unleash – okay are you sitting down? – giant Chinese words that attack the protagonist. Yeah you heard me, Wan gets the beat down from a sentence, a real grammar assassin, and a group of ruthless letters. 

The killer-calligraphy flies around the dark Tron-like, neon-lit room, spinning and dashing at Wan as he nimbly avoids contact, jumps, ducks, and eventually even rides one of the characters like the Monkey King on his nimbus. Wan proves to be the master of the sky surfing killer-calligraphy and smacks each one down in order to display the answer to the riddle of the cave. If you thought the cool cave scenes from the Indiana Jones films were awesome, trust me, compared to this crap they are less so. 






If you haven’t guessed by now, Holy Flame of the Martial World is one long series of great lasting impressions. The film is just so wacky and entertaining that it’s hard to believe how much crazy crap they crammed into this cinematic-wunderkind. 1983 was a pivotal year for the kung fu and wuxia genres, with the focus then on new special effect techniques and extravagant wirework to lure back the genre's shrinking fan base. Holy Flame, along with Tsui Hark’s groundbreaking Zu Warriors, helped to usher in a new era of kung fu cinema, while changing the landscape of Chinese action films. 

If any thing, Holy Flame is almost too gonzo, as everything in the film is designed for ultimate sensory overload. The colors are garish, the sets are overly decorated, the characters are boisterous, and their actions preposterous. After watching this film for the first time, I actually had a really freaking strange dream. I dreamt that the characters in the film were all played by the cast of the British television show The Office. They all spoke in their British accents, but performed the entire film totally straight in my dream. As weird as that sounds, it’s really not all that bizarre when compared to the actual film.


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## Fried Egg

Wow, I only just noticed this thread.

I do really enjoy martial arts movies and must confess to having seen far too few of them. I appreciate the effort you've gone to in this thread D.Davis. Cheers.


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## D_Davis

Fried Egg said:


> Wow, I only just noticed this thread.
> 
> I do really enjoy martial arts movies and must confess to having seen far too few of them. I appreciate the effort you've gone to in this thread D.Davis. Cheers.



Thanks.

Although, it's not much of an original effort.

Just copying and pasting from my top 100 and my website.



Glad you like reading though, thanks!


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## D_Davis

*Project A (1984) - Dir. Jackie Chan *

 Note - I wanted to include better screenshots, but my DVD kept on crappin' out.






Project A is Jackie Chan's best film, and the best film co-starring his Peking opera brothers, Sammo Hung and Yeun Biao. Project A is a swashbuckling, high-flying, tightly-paced, entertaining adventure yarn complete with pirates, kung fu, comedy and action sequences galore. In other words, it totally rocks, and delivers a non-stop series of laughs and action in a way that only a Hong Kong film can. And, as good as everyone else in the film is, Jackie Chan totally steals the show. It has often been said (even by the man himself) that Jackie is his own special-effect, and this film proves the notion true. 






Like a live action Lupin III cartoon, Project A is a boy's own film that preys upon the desire for grand adventure and action. It approaches its action and adventure with an innocence and lightheartedness, and even when the violence erupts it maintains a sense of fun and naivety. In many ways, the film reminds me of the imaginative adventures I had as a kid, and it is this quality that I admire most. Its “awe-shucks” earnestness and tangible energy bolster each other, and the filmmakers use these qualities to craft a film that is highly endearing, memorable, and effective. 






While the film does come up pretty short in the plot and character departments, it more than makes up these shortcomings with pure energy. The film benefits from the stars' unique personalities, youthful charm, grace, and energy. Project A was Chan's first major, and financially successful, directorial effort, and it is clear that he approached the film with the exuberance of kid free of adult supervision in giant toy store. Jackie and his “brothers,” Sammo Hung and Yuen Biao, create some of the most fun and memorable action pieces of the era. 

Key sequences include a musical-like bar brawl, complete with food-in-face gags, broken chairs, prop-assisted action, and Yeun Biao's signature tumbling, a siege of a pirate's hidden cove, a restaurant fight, with Sammo and Jackie cracking wise, and an amazing sequence that begins with an incredibly inventive bike chase and ends with Jackie facing off against my favorite bit-player, Lee Hoi-San, in, and on, an imposing clock tower. This clock-tower set-piece contains one of Chan's most famous and deadly stunts: a nearly 5-story free-fall, broken only be a series of flimsy awnings, at the end of which Jackie lands painfully on his melon. And oh yeah, he does the stunt multiple times to get the best take for the film. 






The film's setting is also unique, and helps the film break free from the plethora of old-school martial arts flicks churned out by the Shaw Brothers and Golden Harvest studios during the previous decade. Set in the nineteen-thirties, against the backdrop of civil unrest, the film comically examines the impact of British Naval control in Hong Kong. Gone are the typical kung fu masters, training sequences, and tournament style battles. Also gone are the pangs of vengeance, the classical weapon combat, and the Shaolin-style open-handed combat. Project A approaches its action and drama in an all together different way. The city in which the film is set is more modern, and the milieu feels more alive and vibrant. Everything is on a much grander scale, and the tangible surroundings make for many memorable sights and sounds. 






There are a few films that typify the mid-school era of Hong Kong action cinema, but none do so as well as Project A. The nineteen-eighties were a time of incredibly creative output from this small Island, and spearheading this cinematic-advancement was Jacki Chan, Sammo Hung, and Yuen Biao. Like a perfect mix between the Three Stooges, Fred Astaire, Harold Lloyd, and Bruce Lee, these three young men helped to define a nation's cinema, and Project A is a premier example of their creative output. It is a joy to watch, contains many moments of breathtaking stunt work and action choreography, and is simply far too much fun to look away.


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## D_Davis

*The Bride With White Hair (1993) - Dir. Ronny Yu*






Asian film directors are able to create worlds, situations, characters and action traditionally limited only to animation. One of the greatest examples of this phenomena is Ronny Yu's The Bride With White Hair, starring the late Leslie Cheung and the incredibly gorgeous and talented Brigitte Lin Ching Hsia. Like the classic Romeo & Juliet, The Bride With White Hair is a tale detailing the doomed relationship of two lovers from warring political factions. The film is made of visual and poetic dualities; it is both a beautiful, touching and poetic romance, and a tragic, violent, and gruesome action film, often at the same time. Ronny Yu, Peter Pau, the cinematographer, and David Wu, the editor, craft a world that is visually dark, yet alluring, violent, yet peaceful, and so full of visual imagery that it can easily cause vast sensory overload. From the opening scene of a swordsman protecting a flower whose power might restore his lost love's humanity, to the climatic bloodshed of action, every moment of this film is worthy of framing and displaying. 






Leslie Cheung plays, Zhuo Yi-Hang, a Wu Tang student who is fed up with the traditions and "pleasantries" of his martial discipline. He doesn't want to be involved in the day-to-day politics of the jiang hu, and lives, instead, for romantic adventure. Brigitte Lin plays, Lian Nichang, a top assassin of an evil cult hell-bent on the total destruction of the various martial schools. Leung and Lin have a link in their past, and are drawn closer to one another while also manipulated byu the political corruption of their warring schools. Zhou, a romantic at heart, wants nothing more than the love of Lian, however, the more realistic Lian knows that this love cannot be. She ultimately becomes so full of rage and hatred, stemming from and directed towards her brain-washing cult, that she becomes the spirit of lost love incarnate, the Bride With White Hair, a hateful, beastly woman destroying all who stand in her way, including the only person who ever loved her, Zhou Yi-Hang. 






After seeing Tsui Hark’s Once Upon a Time in China for the first time, I needed more, and I will be forever grateful to the video store clerk for suggesting this film to me. I could not have asked for a better follow up to Tsui's mind-blowing epic. Upon repeated viewings, The Bride still stands up, and I am often surprised at just how effective it is. There is a magical quality at work in the film, a magic that Ronny Yu never quite found in any of his other Hong Kong productions, and a magic lacking from many other films of the era. The film seems to exist completely in its own world ,and we the audience are some how privy to view this world through the eyes of the director. 






Ronny Yu generously opens up the window to his imagination and allows us a glimpse of the greatness within. The Bride With White Hair is a superior genre film, and a film that transcends genre conventions and boundaries. It contains moments of hard-hitting action, a musical interlude, sadness, depravity, violence, and elements of horror all, wrapped around a narrative of passionate romance. It is a film that would be perfectly at home on the DVD shelf of an avid kung fu junkie or an admirer of art house cinema. This is one of those rare films that really does get everything right, and a film that Ronny Yu should be eternally proud of.


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## sunnye

yeeh!
I love it ! 
I'm Chinese!


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## D_Davis

*Disciples of the 36th Chamber (1985) - Dir: Lau Kar Leung *






_Disciples of the 36th Chamber_ literally begins with a punch to the gut, and the film continues to assault the senses at each and every turn. The film, in a word, is grand: the production values soar, the action is sophisticated and expertly choreographed, the humor - while broad at times - works within the narrative, and the story itself is simple yet moving. For Lau Kar Leung's last Shaw Brothers outing, he executed what might be considered a "best of" approach, as Disciples features everything that made his previous films so outstanding, polished to near perfection. We get the human drama from _Executioners of Shaolin_ and _Challenge of the Masters_, the pageantry from _Martial Arts of Shaolin_ and _The Martial Club_, the humor from _Return to the 36th Chamber_ and _Mad Monkey Kung Fu_, and the jaw-dropping action from _Heroes of the East_ and _8 Diagram Pole Fighter_.  This film only proves and solidifies Lau's standing as the premier force behind martial arts cinema. 






In the film, Gordon Liu once again dons the robes of the monk San Te, and Hsaio Ho plays legendary shaolin rebel, Fong Sai Yuk – a dual force to be reckoned with for sure. The narrative begins with the hotheaded and angst-filled Fong Sai Yuk causing a ruckus in his school, and being a total punk at home - a true rabble-rouser full of disrespect and misplaced anger. Fong Sai Yuk takes his shenanigans one step too far when he insults and challenges an evil Manchurian governor, and finds himself being hunted by the Manchu-oppressors. Fong Sai Yuk's mother begs the shaolin temple's monks to take him in as a layman, and under the mentoring eye of the monk San Te, Fong Sai Yuk begins his apprenticeship. 






In the original _36th Chamber_, Lau Kar Leung defined what would come to be known as the "training sequence," and a good portion of that film was devoted to the training of the young San Te. In _Disciples_, less of the running time is devoted to the training of Fong Sai Yuk, but it works well within the narrative. Because Fong is already such a rockin' martial artist (his mother trained him at an early age), he constantly blows through the training exercises and mocks the other trainees and monks. 

However, San Te notices Fong’s poor attitude and portentousness, and is present at every turn to beat some humility and level-headedness into the young rebel. Every time Fong thinks he can outsmart or outmatch San Te, he learns that he can't - the hard, painful and embarrassing way. During one such training sequence, Fong talks a ton of smack about his own tea-bench fighting skills, and San Te calls him out – oh yeah, it’s on. This particular sequence features prop-assisted choreography that even Jackie Chan would be proud of (or perhaps jealous of), as San Te and Fong lock hand and foot, as they deftly spin around, on, over and under the twisting and twirling tea-benches. 






_Disciples_ is not filled to the brim with action per se, but it is never boring. There really are only a few actual fights peppered throughout, but everything is handled with such aplomb that it really is a joy to behold – the film is a testament to the expertise of its makers. Structurally, the film resembles _8 Diagram Pole Fighter_, in that the entire narrative is presented as a build up for one final and epic confrontation - only here the action is even more jaw dropping, as if that is even possible. Never ones to take the easy way out, Lau Kar Leung's and Gordon Liu's work in the final showdown is something of a true marvel, and Hsaio Ho's physical skill here is the definition of the word awesome. For the last 12 or so minutes, all hell breaks lose as monks and apprentices are jumping, diving, fighting, dodging and making fools of the Manchurian officials and their warlords. San Te busts out his super-custom three-section staff and lays some serious hurt down on those sad sap Manchus. Every inch of the screen is used to optimal effect, as fists and legs and bodies fly from the foreground to the background, and tumble from rooftops to the floor. The action during this sequence feels immediate and chaotic and the tension is as palpable as the rebel’s purpose. 






It really is amazing to think of Lau Kar Leung’s career, and the work he did under the Shaw Brothers banner. It is safe to assume that the mark he left on genre cinema is second to no other filmmaker, Eastern or Western. I will rest easy when Lau’s name is mentioned casually along side other great directors like Leone, Scorsese, Kubrick, and Spielberg, but until then, his name must be praised by those of us who get it. Lau Kar Leung’s films are as hard hitting and spectacular today as they were over 20 years ago, and will continue to be an inspirational beacon of light for filmmakers and fans to come. _The Disciples of the 36th Chamber_ is a perfect film to top off a perfect era of one of the all time great filmmakers.


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## Connavar

Wow thats the sequal to Master Killer which i loved.

Chia-Liang Liu is how i know Lau Kar Leung  i understand much better now .  

Since he is the director of 3 of my favorit  martial art movies.  Master Killer,Drunken Master,I,II.

Thats his name in imdb when i check out who made the movies.


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## D_Davis

Connavar said:


> Wow thats the sequal to Master Killer which i loved.
> 
> Chia-Liang Liu is how i know Lau Kar Leung  i understand much better now .
> 
> Since he is the director of 3 of my favorit  martial art movies.  Master Killer,Drunken Master,I,II.
> 
> Thats his name in imdb when i check out who made the movies.



Yeah - in the States is more known as Lau Kar Leung, while in Europe he is more often known as Chia Laing Liu.  Which is confusing, because his adopted brother/student, Gorden Liu, uses the Liu pronunciation in the states. 

So when people speak of the Lau or Liu family of martial artists, they are speaking of the same family.

Master Killer is originally called 36th Chamber of Shaolin


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## Connavar

Yeah i saw that in imdb that its also called 36th Chamber of Shaolin but when i rented it last year i knew the DVD name which was The Master Killer.


Easy the best Shaolin movie i have seen, i loved the training and the choreography was one of the best i have seen from shaolin,monk type movies.  Specially for a 1978 movie.

I didnt knew about a sequal, i must have it now 

Gorden Liu is totaly unknown to me too.  Since i didnt know his english sounding HK name.  Hi Liu something i read in imdb, i call him H Liu for short


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## D_Davis

*Return of the One-Armed Swordsman (1969) - Dir: Chang Cheh *







Return of the One Armed Swordsman tells the continuing story of Feng Geng (Jimmy Wang Yu), and how he is pulled out of seclusion back into the Jiang Hu, or the underground world of martial arts. After enacting his revenge in the first film (getting back at the people who robbed him of his arm), Feng leaves the life of chivalry and martial arts behind and sojourns to the country with his new wife Hsiao Ma. Together they live their lives as simple farmers and have little contact with the outside world. Since forsaking the way of the swordsman, Feng has hung his broken-bladed sword on a mantle: it's presence and that of his missing arm serve as reminders of his previous life. But all too soon, Feng Geng is reluctantly called back into action, as the 8 Demon Swordsmen threaten the other martial clans across the land. With some gentle and, eventually, coarse prodding from a group of young masters and his wife, Feng once again wields his broken blade and sheds ample amounts of enemy blood 






The action in this film is not as technical as it is in many of Cheng Cheh’s other films. It is not necessarily even kung fu, as this film has more in common with the Japanese chambara genre than it does with a typical Hong Kong kung fu picture. This is a wuxia pian, and an early one at that. However, whatever the fights may lack in technical prowess, they more than make up for it with bloodshed, abundance, and chaotic energy. 

Perhaps the most intricately staged fight sequence is when Feng Geng and the young masters, take on Hell’s Buddha, one of the 8 Demon Swordsmen, and his band of thugs. Hell’s Buddha specializes in ninja-like abilities, as he and his cohorts zip and fly around a bamboo thicket, hiding and vanishing and bursting out of the ground with blades swinging. This sequence is fast and furious, and the editing is top notch. Although some primitive wire work is used, as well as some not so special effects, through the power of editing and the skill of those involved, the bamboo thicket quickly and beautifully becomes a collection of lost limbs, and small geysers of blood. 






Return of the One-Armed Swordsman should be considered a top-tier film, genre or otherwise. Why this film isn’t talked about with the same enthusiasm or respect as the films of Kurosawa, Leone, Peckinpah, Scorsese or other great genre filmmakers is a mystery to me. Sure, it is made on a smaller scale than the film's of these other masters, but such were the times at the Shaw Brothers' studios. RotOAS is classic cinema, period. The film is mature, undertakes a complex character study, and has beautiful cinematography, a wonderful score, and breathtaking action. The writing is multifaceted in that it competently touches upon elements that make it entertaining as well as showcasing the emotional depth of a multitude of characters. 






Not only does RotOAS have intact all of the elements of “great cinema”, but it also manages to be highly adventures in its narrative while offering pure entertainment. I often feel that many film critics and self proclaimed Internet film buffs are afraid to attach such accolades to genre cinema. To them I ask this question: what more does a film need to be considered important or a great work of art? So far as I can tell, RotOAS possess these elements, and more. I would argue that well made genre films are often the most artistic of films because they not only contain the elements that make films great art, but they also do something else - they entertain and have the ability to engage a wider audience. 






Well made genre films require the filmmakers to be ultra-creative. After all, they are not working within an established reality, but instead, the filmmakers must create an entire world with logic and rules and physics of its own. The only limiting factor of great genre cinema is the limits of the imagination of its creators. Chang Cheh’s name should be mentioned with the rest when anyone talks about the important filmmakers. Hopefully as we champions of genre-cinema preach and inform the uninitiated, Chang and filmmakers like him will get the credit they really deserve and films like Return of the One-Armed Swordsman will be discussed along side other films deserving of the “great cinema” title.


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## Celeritas

good picks.

i'd add "my father is a hero" with jet li and tse miu. 

and my son adores the same actor combo in "legend of the red dragon" 

wonder is there is a martial arts film gene.....??


oh and "deadly china hero" of the wong fei hung movies with jet li where he does his angry drunk version of drunken style and fights a giant centipede dressed as a chicken. priceless.


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## D_Davis

A martial arts film gene, eh?

Probably explains it...



Deadly China Hero is ridiculous, and oh so much fun.  Totally irreverent and gonzo.

Up next...

Not so much a review, more of an essay on how this film changed my life.

*Once Upon a Time in China - Dir. Tsui Hark *






  While I have enjoyed, and loved, many films throughout my life, there is one film that stands out because of the doors it opened for my cinematic journey. This film opened my eyes to a whole new way of looking at genre cinema, and led me to discover countless other films, directors, actors and filmmakers. It also opened my eyes to seeing, and appreciating, an entire country's cinematic output in a way I had never done before. This film is Tsui Hark's landmark martial arts epic, Once Upon a Time in China. 

Being a child of the '80s, I grew up loving karate and ninjas. I've said it before, but it deserves repeating, the '80s were in fact the “just add ninja,” era, and ninjas were about the coolest things ever. G.I. Joe had two awesome ninjas (and we all loved G.I. Joe), and the home video retailers always had a plethora of cheaply made ninja movies ready to be consumed by our VCRs and mimicked on the playgrounds at school. I was also quite fond of Black Belt Theatre, my weekly escape into the kung fu genre that wowed me and entertained me for many years. I would watch, and wanted to watch, anything that had anything to do with ninjas and the martial arts – that's just the way it was, it was meant to be. 

After the 1980s and the death of Black Belt Theatre, kung fu cinema, and ninja-cinema, kind of fell off of my radar. These, of course, were the dark days of home cinema – great foreign genre cinema was almost impossible to come by on VHS. That is until around 1993, when a young Blockbuster clerk pointed me in the direction of a local Asian-video retailer called 5-Star Video, and I discovered Once Upon a Time, Jet Li and Tsui Hark. Upon my first viewing, I had no idea what to expect, and I thought the film might offer up the same kind of cheesy revenge-narratives and hokey dubbing found in the kung fu films I devoured as a youngling. Well, I couldn't have been more wrong. My mind was fully blown – glowing from my television was a film that not only contained some of the best and most outrageous action I had ever seen (I'll never forget my first experience seeing Jet Li move), but the narrative on display was far more complex and involving than any other martial arts film I had seen up until this point. 

Once Upon a Time is awash in political intrigue and civil unrest, and depicts Hong Kong during a time of great change and turmoil. It is a story of a great Chinese hero, Wong Fei Hong (Jet Li), and how this hero led the people of Hong Kong to stand up against the imperialistic western invasion of the British colonizers. The story told in this film opened my eyes to the true abilities of Hong Kong filmmakers. I mean, I knew they could make some highly entertaining martial arts films, but I just never expected to see a film offer up such a moving and epic narrative. This wasn't because I didn't think Hong Kong filmmakers were capable of making “real” movies, it was just because I never even knew to look past the caliber of films shown on Black Belt Theatre. For this I am most grateful, this film opened my eyes to a whole new way of looking at world-cinema, and also opened the doors that have led to a lifelong passion for Asian filmmakers. 

From the moment the film was over, I knew I had to see more: I wanted more Tsui Hark, and more Jet Li, and, not to mention, more of this wicked wire-assisted action. From here my cinematic endeavors gravitated towards the films of Ching Siu Tung, Jackie Chan, Jing Wong, and Yeun Woo Ping, and films such as Butterfly and Sword, The Flying Daggers, New Dragon Gate Inn, and A Chinese Ghost Story. It was like discovering a whole new section at the video store – a section that happened to contain some of the greatest, most beautiful, most action packed, and amazing films I had ever seen. I truly felt alive, and like I had discovered some great cinematic secret-treasure. I became a young man on a mission, a mission to unearth as many of these films as possible – I dug through the dark and dusty shelves of video stores clearly on the wrong side of the tracks, and worked hard to gain the trust of the retail clerks who wanted nothing to do with a gweilo such as myself. 

But alas, it was all worth it. All of the strange looks, and mispronounced titles and names, and all of the driving around looking for the next best flick – it was all for my passion. The seed for this passion may have, in fact, been planted with the help of Stormshadow, Snake Eyes, American Ninja, and Black Belt Theatre, but it was Tsui Hark and Jet Li who really fostered and nourished my love for Asian cinema. And because of this fact, I will always hold Once Upon a Time up in the highest regard. This film is my mythological herald, calling me on my journey to seek out, discover, and understand all of the great films from Hong Kong, China, Korea and Japan


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## MontyCircus

I've been living in China for 2 years and I've seen...a lot...of Chinese films.  Unfortunately, I have to say...I don't remember liking any of them 

Before I got to China I fell in love with Stephen Chow's *Shaolin Soccer*.  Very funny, crazy, and I like soccer so it was pretty much perfect for me.

Then, when I heard out he had a new movie coming out I was itching to see it.  Heard Ebert, et.al. absolutely GUSH over the thing, so I was there opening day.  That movie was *Kung Fu Hustle*, and I was pretty disappointed.  Then again, I pretty much went into the film expecting the second-coming.

Anyway, skip ahead and I'm in China.  I picked up some Stephen Chow DVD collections (who I now know as Zhou Xing Chi).  I find myself really struggling to watch them.  Literally, like I'm forcing myself to keep my eyes on the screen.

The man has been in over 60 films (I think), so maybe that's part of the problem.  Quality control.  At the same time though, my friends will suggest this or that "classic" and after a half hour either my mind is wandering thinking about my next credit card payment or I'm tearing my hair out.

It's not just because Chinese films made in the 90's look as if they were made in the 70's...

It's more to do with:

1.) The translation.  Trying to translate crude Hong Kong slang and cultural in-jokes is pretty much impossible.  Worse yet, it's often "cleaned up" for the english translation.  So we have to pause after my friends are rolling around on the floor so I can find out what was actually just said.  It's depressing.

2.) They seem to drag on forever and are often completely incomprehensible.

3.) There's always a love story plotline thrown in that almost never works at all and doesn't even seem like it's part of the same film.

It's not the sub-titles that bother me.  Like I said, I loved *Shaolin Soccer* and other stuff like *Ong Bak* and *Crouching Tiger* and *Iron Monkey*.

I guess once my Mandarin improves I'll have a better shot at enjoying them (then again it seems 99% of them are filmed in Cantonese...).

Maybe I should try and steer clear of the comedies for a while...

I'll try and track some of these down, hard to find english subs sometimes though.  Thanks for the suggestions!  Luckily ass-kicking doesn't need much translation! 谢谢你！


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## sloweye

All i can say is 'Nice list' mine would probly be alot differant but then so would everybody's

(Will have to compile a top 30 of mine)


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## nj1

What about LONE WOLF AND CUB, (can't remember the original title), its about a samuri who's beeen betrayed by his master and so he flees with his young son afer his family is attacked, and sets out for revenge. It's my fav martial arts even though it hasn't got some of the extended fight scenes like others of the genre.

After doing a search the one i'm talking about was Sword of Vengence where he faces the Ronin. heres a link to the wiki page http://en.wikipedia.org/wiki/Lone_Wolf_and_Cub


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## MontyCircus

nj1 said:


> What about LONE WOLF AND CUB, (can't remember the original title), its about a samuri who's beeen betrayed by his master and so he flees with his young son afer his family is attacked, and sets out for revenge. It's my fav martial arts even though it hasn't got some of the extended fight scenes like others of the genre.
> 
> After doing a search the one i'm talking about was Sword of Vengence where he faces the Ronin. heres a link to the wiki page Lone Wolf and Cub - Wikipedia, the free encyclopedia



I've seen all the Lone Wolf & Cub movies.  Lots of gore and cool samurai-ness.   They were fun, but by the end of each I couldn't be too excited about them (I'd give them passing grades though), I think because they might have been too slow.  I've heard that *Shogun Assassin* (which is, I think, an edited down version of the first 3 films combined) is a classic to most people.  Haven't seen it but I'd like to.  Would love to see these re-made on a big budget.

Actually I tracked down a lot of flicks that inspired *Kill Bill* (loved it), they were usually pretty interesting, but all of them are pretty dated and a few were just jaw-droppingly awful.

Anyway, Lone Wolf & Cub is a pretty cool story, I ended up buying one of those little graphic novel books.  But at $11 a shot, something you can read in an hour...I'm not about to pick up the other 10 or 12 in the series! (Edit: Apparently there are 28!  Hello poorhouse!)


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## D_Davis

nj1 said:


> What about LONE WOLF AND CUB, (can't remember the original title), its about a samuri who's beeen betrayed by his master and so he flees with his young son afer his family is attacked, and sets out for revenge. It's my fav martial arts even though it hasn't got some of the extended fight scenes like others of the genre.
> 
> After doing a search the one i'm talking about was Sword of Vengence where he faces the Ronin. heres a link to the wiki page Lone Wolf and Cub - Wikipedia, the free encyclopedia



I like these films (seen them all) but not enough to include them in a top 30 of all time.

I guess I should continue this list since people are actually reading and commenting!


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## Connavar

montycircus said:


> I've seen all the Lone Wolf & Cub movies.  Lots of gore and cool samurai-ness.   They were fun, but by the end of each I couldn't be too excited about them (I'd give them passing grades though), I think because they might have been too slow.  I've heard that *Shogun Assassin* (which is, I think, an edited down version of the first 3 films combined) is a classic to most people.  Haven't seen it but I'd like to.  Would love to see these re-made on a big budget.
> 
> Actually I tracked down a lot of flicks that inspired *Kill Bill* (loved it), they were usually pretty interesting, but all of them are pretty dated and a few were just jaw-droppingly awful.
> 
> Anyway, Lone Wolf & Cub is a pretty cool story, I ended up buying one of those little graphic novel books.  But at $11 a shot, something you can read in an hour...I'm not about to pick up the other 10 or 12 in the series! (Edit: Apparently there are 28!  Hello poorhouse!)




Trust me you cant read 200+ pages of Lone Wolf GN in a hour.  I have the books and it takes time.  Great art,plus adult themed manga takes time.

They are one of the classic mangas so i think they are worth it.  Its the Kurasawa in his samurai movies of manga that series.  Those two creators created Gekiga ei adult manga in their times.  Sure action but alot more things happen than that.  Samurai cultures,codes,religion etc is the important theme.

Where did you get the movies ?  Dvd or vhs or internet downloading ?


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## D_Davis

Connavar said:


> Where did you get the movies ?  Dvd or vhs or internet downloading ?



The entire series is out on R1 DVD.  The TV series is also being released now.  Not sure what region you're in.


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## Connavar

D_Davis said:


> The entire series is out on R1 DVD.  The TV series is also being released now.  Not sure what region you're in.



The region that cant watch RI DVD.

Sometimes its a real disadvantage living a country so small and near the north pole.

Plus my books,comics/mangas make me broke already i cant afford dvd collectiong too.  Time to go pirate on this


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## MontyCircus

Connavar said:


> Trust me you cant read 200+ pages of Lone Wolf GN in a hour.  I have the books and it takes time.  Great art,plus adult themed manga takes time.
> 
> They are one of the classic mangas so i think they are worth it.  Its the Kurasawa in his samurai movies of manga that series.  Those two creators created Gekiga ei adult manga in their times.  Sure action but alot more things happen than that.  Samurai cultures,codes,religion etc is the important theme.
> 
> Where did you get the movies ?  Dvd or vhs or internet downloading ?



Alright, maybe it was longer than an hour.  But certainly much shorter than a normal book.  And maybe they are fantastic.  But $300 for the series?  Just doesn't seem right to me.  Glad I don't still collect comics!

I rented them on a Canadian version of Netflix Zip.ca

You said you can't play Region 1 movies.  Can't you get a region-free player?


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## mutate

Davis, just want to tell you I'm enjoying the list and trying to see as many of them as I can.  Should I just watch them in the order you list though?

I saw "chocolate" the other day and loved it - much prefered it to ong bak, which I found a bit bland.


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## fabio0069

Great list D Davis. There are some on here that I haven't seen and will have to hunt down pretty soon. One of my personal faves, although purely for the comedy factor, is _Shaolin vs. Lama_. I just love the idea of peaceful monks beating the stuffing out of each other!

Peace


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## D_Davis

Thanks guys.

Glad you like the reviews, and the films.

As far as order goes, it doesn't really matter - you can't go wrong with any of these.

There are many more to come, I've just been swamped with other stuff lately.

Shaolin vs. Lama is a fun little flick.  Not top 30 worthy, but fun none-the-less.


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## aadalia

Interesting list. I just recently taught a writing class at Boston University, "Paradox of the Hero/Heroine in East Asian Cinema and Fiction", which featured seven films - a number of which just happened to be on your list. I will check out your list for candidates for future classes - thanks!


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## sooC

Mr Vampire is one of my favourites. Interesting thread, I'm gonna chase down the ones I haven't seen.


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## Anne Spackman

I saw Jet Li in a few films, starting with "The Enforcer" or "My Father is a Hero" and also in "Hero" also some Jackie Chan films which were all right but not really my favorite ("Twin Dragons" and "Wheels on Meals") I also saw "Crouching Tiger, Hidden Dragon". We had a Hong Kong cinema night at my university so I saw other martial arts films whose titles I can't now remember.  Some I liked, and others not so much.  Which would be your absolute favorite martial arts films, say the top five, so that I could rent them as I do like martial arts films and wouldn't mind seeing some of the best ones.


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## Raman biot

I'm not really into martial art films any more, but when I was my favourite was Crippled Avengers aka Return of the Five Deadly Venoms. It's kind of a shame that I'd probably struggle to watch it start to finish now though.


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## Steven Sorrels

I'd have to add* Ip Man* and its sequel to the pile. Donnie Yen kicks untold amounts of a$$ in these movies, and the story is fairly well-developed, being inspired by his (Ip Man's) actual past.


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## Judderman

Very interesting thread. Unless I'm blind I didn't see any Bruce Lee films on the list. Enter the Dragon is a classic! Very 70's but still good.


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## Nick B

My favourite Kung Fu film of all time is Barefoot Kid with Aaron Kwok
Incredible fight choreography and a well directed film with quality actors. Also stars Maggie Cheung.


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## WaylanderToo

has any mentioned any of these yet:

Ong Bak
Ong Bak 2
The Raid
The Raid 2
Ninja Assassin


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## Posidriver

I have to add. Reign of Assassins is possibly the best all rounder. Difficult to find in uncut version though.


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## AlexH

I'm a Stephen Chow fan, but have only seen a few of his films. My favourites of his are:

Kung Fu Hustle
From Beijing With Love (the best Bond spoof I've seen)
Shaolin Soccer

He also wrote, directed and starred in one of the worst films I've seen, CJ7. I can't remember if there was any martial arts in it.

Other favourites:

Chocolate (2008) - probably the least well known of my favourites. A Thai film about an autistic girl, with some brutally good fight scenes.
Kill Bill
The Good the Bad the Weird
Yojimbo

I've only seen a few Jackie Chan films. I thought Drunken Master was okay. My favourite is probably Twin Dragons, also starring Maggie Cheung. The twins have never met - one is a classical conductor and the other a mechanic. They get mistaken for each other with hilarious consequences. I loved the orchestra scene.



WaylanderToo said:


> has any mentioned any of these yet:
> 
> Ong Bak
> The Raid
> Ninja Assassin


I've seen those three. The first two were good, but I found Ninja Assassin a bit boring.


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