Tag: kung-fu

Fighter

  By

★★★
“If you see only one Danish/Muslim action-heroine kung-fu film this year… It’ll be this one. Almost for sure.”

Certainly one of a kind, this coming-of-age film tells the story of Aicha (Turan), a Muslim girl born of Turkish parents, who is obsessed with learning martial arts – the last thing her father wants. This thoroughly unfeminine interest, in the eyes of her community, is carried out in secret, but Omar (Banissi), a friend of her brother’s fiancee’s family finds out, and is thoroughly unimpressed. “I don’t fight girls,” he says dismissively, when ordered to spar with Aicha, and this leads to his ejection from the club by their teacher (Xian). When he confronts Aicha at the engagement party, the resulting argument becomes a brawl, and leads to the breaking off of the engagement – which is doubly unfortunate, as the bride-to-be is discovered to be pregnant. Meanwhile, Aicha has to prepare for an upcoming tournament, alongside her training partner, Emil (Melville) – and for which Omar has also signed up as a contestant.

There’s a good deal of this which feels borrowed from The Next Karate Kid, and if you can not predict how the tournament unfolds, you definitely need to watch more movies. However, the cultural backdrop gives this a freshness not found in the actual storyline. While women may have made huge strides in many parts of the world, it’s clear that there are still societies where subjugation is almost a norm, and female members of such societies have to struggle to obtain rights and freedoms taken for granted in many places. Here, Aicha’s fondness for martial arts is bad enough; but her presence in a mixed class, in close contact with those of the opposite sex, is enough to get her labelled a cheap slut. This is not an exaggeration: recently, here in Arizona, an Iraqi immigrant ran over and killed his daughter, allegedly because she was becoming “too Westernized.” In the light of incidents such as this, the film seems almost to understate the situation if anything.

Turan is a martial-arts expert with no professional acting experience and that’s occasionally apparent. While the fight sequences are put together and executed with grace and power, she does seem to struggle when asked to deliver more than the shallower emotions. The rest of the cast are up to their tasks, even if the roles are perhaps not much more than broad stereotypes. Still, it’s different from the norm, and is definitely worth a look, as a reminder that action heroines are not only found in the most obvious of locations or cultures.

Dir: Natasha Arthy
Star: Semra Turan, Cyron Bjørn Melville, Behruz Banissi, Xian Gao

Raging Phoenix

  By

★★★★
“Want another piece of Chocolate?”

If you’ve seen Chocolate – starring the same lead actress, though confusingly billed under a different name here – you’ll know what to expect, and the film delivers much of the same. Which would be stunning, brutal fight scenes combined with moments of mind-numbing tedium. The plan for Yanin’s career seems to be to contrive methods by which she can avoid acting: last time it was autism; here, it’s a drunken style of kung-fu which helps mitigate a voice that might charitably be compared to broken nails on glass. She plays former rock-star(!) Deu, who is on the edge of being kidnapped, when she’s rescued by Sanim (Tang). He and his fellow masters of alcohol-fu have all lost ladies in their life to the kidnappers – who, it turns out, are doing this because… No. You wouldn’t believe me even if I told you – and are trying to locate their lair. Deu joins the team, and agrees to act as bait, to see if the kidnappers will go after her again.

After a brisk and entertaining start, this drags badly in the middle. At 111 minutes, it is simply too long, and needs to lose at least a quarter of an hour. However, as with Chocolate, the action makes up for any such deficiencies, with the final reel featuring an escalating trio of fights, any of which would be entirely credible climaxes for any other movie. This culminates in a battle against female body-building champion Roongtawan Jindasing, the leader of the kidnappers, which is the most savage, knockdown, heroine vs. villainess brawl I’ve seen in… Ever? I can’t think of anything to match it immediately. Jindasing’s raw power pitted against Yanin’s devastating flexibility makes for a fabulous contest, and this is preceded by some great “pairs martial-arts” [when you see it, you’ll understand], when Deu and Sanim try to take out the villainess.

A fractional complaint is that the spotlight, action-wise, is not solely on Yanin, especially in the first two-thirds of the film. While the co-stars are by no means incompetent, it’s a step down from Chocolate, where the focus was squarely on her, and going into the last turn, this one getting a seal of approval seemed unlikely. However, the movie found an entirely new gear – one apparently just not available to other film-makers – and surged over the finish line. Just as Chocolate was the best action-heroine film of 2008, it looks like Raging Phoenix will be right up there in the 2009 contest.

Dir: Rashane Limtrakul
Star: Jeeja Yanin, Kazu Patrick Tang, Nui Sandang, Sompong Lertwimonkasem

Lethal Panther 2

  By

★½
“If I could somehow peel off the half of the disc this is on and dispose of it, I would.”

While there’s no denying the quantity of action in this film, the result feels more like an all-you-can-eat ticket to Taco Bell than anything else: you find yourself yearning for some quality rather than the Grade-D battles we get to see here. The bar is set remarkably low after two sentences, literally, of exposition. We are hurled into a long battle between two groups, about whom we know little and care less, running around an abandoned building, firing weapons with complete abandon and engaging in really poorly-staged wirework, in lieu of actual martial-arts. Y’see, the point of using wires in a gritty urban flick like this, is to enhance the impact of the moves, not to turn the players into Peter Pan and Wendy. Having endured a couple of his movies, I am forced to the conclusion that Ko is definitely in the lower tier of action directors in Hong Kong.

And his talents in other cinematic areas seems hugely in doubt too. Shot in the Philippines – where film-stock is cheap – it only marginally qualifies as a girls-with-guns flick, and is largely included here as a warning to anyone who is expecting anything like the original movie. While that was a guilty pleasure, for its “anything can happen” vibe, this one is simply dull. It’s mostly about a local cop, Albert (Del Rosario, I presume), hunting down the criminals responsible for the death of his wife. Oshima plays a Japanese Interpol agent, sent over to target the same gang, but she is sadly wasted: she’s got enough talent that she doesn’t need to fly-by-wire, and there are just enough flashes of her athletic ability to make you wish there were more.

Huge chunks of this don’t make any sense, and you’ll soon find yourself tuning out and not caring as things career from one badly-executed fight or chase to the next. Things blow up, people fight, and large numbers of rounds of ammunition are expended, to little or no actual impact on the viewer. It’s films like this that drove a stake into the heart of the genre as far as Hong Kong was concerned, in the first half of the 1990’s.

Dir: Phillip Ko [as ‘Cindy Wong’ – don’t ask me why]
Star: Monsour Del Rosario, Gabriel Romulo, Yukari Oshima, Sharon Kwok

Lethal Panther

  By

★★★½
“And then there’s the (Godfrey) Ho…”

Things we learned from this movie:

  • Being a prostitute is a healthier career for women than being an assassin – “unless the men have AIDS”.
  • Your neighbours will never call the police, even when a lengthy gun-battle breaks out on your property.
  • The CIA operates openly on American soil, and has apparently replaced the Secret Service in investigating counterfeit money.
  • The best way to give a woman an orgasm, is to fill a condom with milk, prick a hole in the end, and squirt it onto her panties. Who knew.

Any questions? In the loopy world of Category 3 Hong Kong films, which cover pretty much every bizarre scenario imaginable, Lethal Panther remains on the outer edge. I’m not quite sure how the makers got someone with a decent track record like Sibelle Hu to appear: I suspect she was sent a script for a completely different movie, probably entitled Lady Super Cop Goes to Manilla or something, since she only has about two scenes with the other lead actresses. I would imagine that her reaction, on seeing the finished product, must have been something similar to that experienced by Helen Mirren at the premiere of Caligula – and was presumably followed by a stern note to her agent the next morning.

The story centers on two assassins, one from Vietnam (Yuen), the other from Japan (Miyamoto), hired to come to the Phillippines and kill the head of an underworld gang that’s making a killing with counterfeit dollars. They’re employer is the boss’s nephew, who wants to take over operations: when that mission is accomplished, he then turns the two hit-women on each other, to tidy up the loose ends. They end up injured and recuperating at the home of a friendly prostitute, where they discover they are not so different. However, fate intervenes, in the shape of one’s brother, who returns from France. Meanwhile, a CIA agent (Hu) is looking into the funny money, and when her target is gunned down at a wedding, switches her attentions to the killers.

The formula here is straight-forward: an action scene about every ten minutes and some gratuitous nudity every twenty. And when I say ‘gratuitous’, I mean it; the last item listed in the first paragraph counts as the most bizarre use of dairy products Chris or I have seen in a very long time [Chris is floating Carmen Electra’s milk-bath in The Chosen One as a credible contender, but I don’t recall the specifics there]. None of the other sex scenes reach quite the same level of insanity, but they give the film a sleazy quality that it probably would have done better without.

The action is even more copious than the nudity however, and not bad, though one suspects a fair amount of doubling for the main actresses is going on. Despite Ho’s reputation as a complete hack [some of his films consist entirely of footage spliced together from other movies], he knows the right buttons for action heroine fans, and how to push most of them. On what I strongly suspect was a poverty-row budget – you don’t go to the Phillippines for the scenery – the movie delivers an impressive quantity of action, mixing firearm-toting and martial-arts battles to decent enough effect. All of the actresses get their moments to remember: a massacre in a restaurant and a supermarket shoot-out stand out in particular, as well as the roof-top fight between Hu and Yuen.

Y’know I just mentioned the poverty-row budget? Perhaps the area this stands out in most is the soundtrack, which appears to be a combination of stock music, and cues ripped wholesale off from other movies. Ho is far from the first Hong Kong director to do this [I still remember my jaw dropping when a chunk of the Heathers soundtrack showed up in Flying Dagger], but you really wonder, at what point did it seem a good idea to lob John Carpenter’s theme from Halloween into the mix for one scene? And, no, the moment in question does not involve a masked maniac stalking sexually-active teens – albeit probably only because Godfrey Ho didn’t think of the idea. Or, more likely, stored it away for an entire feature on this theme.

It would be easy to dismiss this as exploitative crap. Very easy, and you wouldn’t necessarily be wrong, either. But it kept us entertained, even if a good chunk of the amusement was to be found in the steady stream of sarcasm directed at the screen by Chris and I, as the more ludicrous aspects unfolded. Still, Ho clearly possesses absolutely no pretensions to be anything above what he is, and delivers a B-movie experience that we likely will remember for some time, especially when we head past the milk in the supermarket.

Dir: Godfrey Ho
Stars: Yoko Miyamoto, Maria Yuen (as Maria Jo), Sibelle Hu, Alex Fong
a.k.a. Deadly China Dolls

Chocolate

  By

★★★★
“I tried to come up with some cute pun on “chocolate bar” but couldn’t quite work one out.”

We couldn’t wait for this one to get an official American release, so off to Ebay we went for a copy of uncertain origin. This was something of a double-edged sword. It means we get to tell you that this is, hands down, the action heroine film of the year, with fights the like of which I haven’t seen since Yuen Wo Ping was working with Cynthia Khan in Hong Kong. However, it also means that we had to suffer the worst set of English subtitles I think we have ever seen, which appear to have been pushed enthusiastically through Babelfish several times, with feeling; this culminated in a line which will live forever in my memory. It is, and I quote the subtitle in its entirety, “Wang monkeys.” You’ll thus forgive me if the subtleties of the plot were perhaps lost on us, though by most accounts, this likely improved our enjoyment of the endeavour overall.

Zen (Vismistananda) is the autistic daughter of a Japanese gangster and a Thai woman (Siripong), who betrayed her local partner, a rival boss (Wachirabunjong), to be with her lover. When her mother gets cancer, it’s up to Zen and a chubby friend (Phobwandee) to collect on debts owed. Fortunately, Zen has a sponge-like ability to learn martial arts, be it from Tony Jaa movies on TV, or the school next door, and proves herself adept at “encouraging,” shall we say, repayments from those who are reluctant to pony up. The bad news is, this attracts the attention of her mother’s former employer, who has not forgotten the past and is unwilling to let matters lie. Which, inevitably, leads to a showdown where Zen takes on an apparently infinite line of henchmen – it’s somewhat reminiscent of Kill Bill, Volume 1, in the same way an earlier ice-house battle reminded me of The Big Boss, However, the final fight, on a series of balconies, is bone-shatteringly unique.

If Vismistananda isn’t yet quite up to the level of Jaa – there’s nothing quite like the five-minute, single shot fight scene in The Protector – she is amazingly lithe and powerful, quite belying her waif-like physique. There is some use of undercranking and wire-work that occasionally distracts from her natural talent, as much as it enhances it, and I have to wonder if the ‘autism’ plot-device was a cunning plot to cover for lack of actual actimg talent, though this angle is not played anywhere near as exploitatively as it could be. Still, if the dramatic aspects are somewhat perfunctory and uninteresting, the fight scenes more than make up for these shortcomings, and the result is quite the kick-ass action flick.

Return of the Sister Street Fighter

  By

★★
“Maybe she shouldn’t have bothered.”

The third in the series loses a lot of the loopy insanity that made the first one such a classic. Shiomi is still as kick-ass a heroine as ever, but I have to say, it was a severe struggle to remain conscious throughout, despite the brief 77-minute running time. By most accounts, the story is largely a re-tread of the second film, with Koryu Lee (Shiomi) going from Hong Kong to Yokohama, to track down a missing woman, only to find herself crossing paths, swords and a variety of other weapons, with local organized crime – since the target of her search is now the mistress of Oh Ryu Mei (Yamamoto). He pits wannabe warriors against each others in death matches, to decide who is fit to become a minion, only to find Lee is more than up to taking them on. He turns to freelancer Kurosaki (Kurata), who agrees to take out the unwanted snooper for twenty million yen.

While certainly possessing its surreal moments – such as the sudden realization that the sexy tune being played in the background at a strip club is, er, Danny Boy – there isn’t the same sense of unfettered imagination. And while the lack of editing during the fight sequences is a refreshing contrast to modern techniques, the alternative favoured by Yamaguchi involves a lot of hand-held camera. Unfortunately, it does not appear that the steadicam had yet made its way to Japan, and the results are disjointed, with Shiomi shining despite of, rather than because of, the presentation. Her skills with the nunchakus are particularly impressive, even if the fight in which she uses them largely consists of a pose-off with the weapons. It’s a significantly less-entertaining piece of work than the original, and that’s a shame.

Dir: Kazuhiko Yamaguchi
Star: Etsuko Shihomi (Sue Shiomi), Akane Kawasaki, Yasuaki Kurata, Rinichi Yamamoto

DOA: Dead or Alive

  By

★★★½
“Fists of Fury”

I think it’s safe to say that I came into this with low expectations. That’s despite the presence behind the camera of Corey Yuen, who has made some great films in the past; he’s best known in the West for The Transporter, but Savior of the Soul is a personal favorite, and Yuen is no strange to the action-heroine genre, having also directed Yes, Madam and She Shoots Straight. Still, this was utterly buried on its theatrical release – it lasted a whole week at the cinema – and then consigned to ‘Exclusive to Blockbuster’ DVD oblivion. Almost two years after its originally-scheduled US release of August 2006, and 13 months after finally escaping, the movie finally made it onto the screens at GWG Towers.

And…it’s not as bad as we feared it might be. Admittedly, I am not the best person to judge its merits in comparison to the video-game from which it was adapted. While I’ve mashed buttons on it and got my ass kicked by our son occasionally (and, somewhat oddly, Dead or Alive Xtreme Beach Volleyball, despite being a jiggle-fest of epic proportions, was a great favourite of our daughter), I don’t care one whit for how accurate the movie is to the game. The fact that Character X does not have the right colour hair, or Character Y’s kung-fu is from a different school, does not bother me in the slightest.

No-one is ever going to mistake any of the supermodel participants as great, unsung martial-arts talents, but between the editing, wirework, doubling and occasionally impressive moments from the actresses themselves, Yuen does a credible job of putting things together. There are certainly no shortage of action scenes, and while the editing is, of necessity, from the rapid-fire school, it does manage to retain coherence – thereby putting it above many action films, which really ought to know better. Particularly memorable is the introduction of jewel-thief Helena (Valance), who beats up a few of Interpol’s finest, unencumbered by clothing. It’s sufficiently tongue-in-cheek to come across as fun, rather than sleazy, and captures the spirit of the original nicely.

It remains, however, a movie based on a video-game, and almost inevitably this means the storyline is absolute pants. Yet another martial-arts tournament, sponsored by a rich ne’er-do-well; has nobody ever seen Enter the Dragon? [Actually, there are a couple of nods to suggest the writers have indeed done so] In this case, the particularly ludicrous Donovan (Roberts) intends to capture the skills of the participants using nanobots, and turn them into a pair of nifty sunglasses which give him all their fighting abilities. As you do. However, Kasumi (Aoki) is seeking her brother, who vanished at the same tournament last year – but because she left her clan, an assassin (Natassia Malthe) is on her trail. And so on, and so on.

The weakest link in the film is likely Roberts. Not only does he sport an embarrassing pony-tail, he may also be the least convincing martial-arts star since Julian Sands in The Tuxedo, and even Yuen is hard-pushed to make him look even slightly-convincing. When Jamie Pressly has got better moves than you, it may be time to rethink your choice of roles. One yearns for someone with genuine skill to show up as an adversary for our heroines: about the closest we get to it, outside the stunt doubles, are Robin Shou, star of Mortal Kombat, who bookends the film as a pirate. Another issue is it is often difficult to tell Tina, Christie and Helena apart, especially when they are playing beach-volleyball in bikinis. That is my excuse, anyway, for why I was playing particularly close attention during those scenes. :-)

Characterization is about as deep as you’d imagine: not very. Helena is the only one who comes over as having more personality than could be scrawled on the back of a console cartridge. This really isn’t much of a problem, since no-one involved with the project is under any illusions about why the viewer is watching this, and it isn’t for subtle character studies – any more than that’s why we play the game. That’s really the key to getting the most out of the sugary confection, thinly disguised as a cinematic experience, to be found here. If the film is eminently forgettable, that will just make it all the more entertaining the next time you watch it.

Dir: Corey Yuen
Star: Jamie Pressly, Devon Aoki, Eric Roberts, Holly Valance

"A sugary confection, thinly disguised as a cinematic experience, If the film is eminently forgettable, that will just make it all the more entertaining the next time you watch it."
doa1
doa2
doa3
doa4
doa5
doa6
doa7
doa8
doa9
doa10
doa11
doa12
doa13
doa14

In the Line of Duty III

  By

★★★★½
“The harder they come…”

Firstly, in case you’re wondering, there was no In the Line of Duty 2, or even In the Line of Duty. Well, not as such… In the Line of Duty is the European title for Royal Warriors, and In the Line of Duty 2 is Yes, Madam!. Even though the latter was made first, they were released in a different order in some territories, with the success of In the Line of Duty/Royal Warriors leading to a swift re-titling for marketing purposes of Yes, Madam!. However, one presumes makers D+B Films decided to save time, simply adopting the name for the third “installment” in the – really, non-existent – series. I hope you’re paying attention at the back. This will be on the test. ;-)

There was, however, a problem. Namely, the star of the previous two films, Michelle Yeoh (at that time, better known as Michelle Khan) was unavailable – having married D+B owner, Dickson Poon. Their choice was “Cynthia Khan”, a name obtained by combining that of the two Yes, Madam! stars, Cynthia Rothrock and Michelle Khan. Like her predecessor, she was not from Hong Kong, coming from Taiwan, and was also both a martial-arts novice and a former dancer whose aspirations in that direction had been limited by injury. [You can also add Moon Lee into the “former dancer” category] Despite this lack of long-term background, she slots right in, and the result is a solid action heroine flick.

The plot is largely based around revenge; the catalyst is a Japanese cop (Fujioka), whose partner is shot by a terrorist (Ong) during a jewel robbery. He reckons the jewel owner, Yamamoto, was doing an insurance scam, and follows him to Hong Kong, since there is too much influence to press charges in Japan. The terrorist and his partner (Nishiwaki) have also come to Hong Kong, seeking to buy arms with their loot, but discover the jewels are fake, and they too have been scammed, so want to take it out on Yamamoto. Meanwhile, Madam Yeung (Khan) has joined the police squad run by her uncle; he doesn’t want her to do anything risky, despite her being the most talented officer on the roster, so assigns her to babysit the Japanese cop, show him the sights and keep him out of mischief.

No prizes for guessing exactly how well that works – or for predicting that it will all lead to a brutal brawl in a warehouse between Nishiwaki, Khan and Dick Wei, as the various agendas of revenge come into conjunction. It’s rough-housing at its best, with everything save the kitchen sink (but including an industrial drill) being used as weapons. While the doubling for Khan is occasionally apparent, there are also moments you think she’s being doubled, until she swings round to show her face. Overall, for what was basically her debut, it’s pretty impressive, and credit to action directors Chris Lee, Tony Leung Siu-Hung, Brandy Yuen and Yuen Cheung-yan, as well as, of course, to Khan herself.

in-the-Line-of-Duty3-001The script is not bad. It does suffer from the usual unevenness of tone, with occasional comedic interludes that detract from an impressively dark tone, especially as the film progresses. The worst offender there is a meaningless cameo by Eric Tsang and Richard Ng (well-known HK actress Sandra Ng also shows up in an early supporting role), but there are nice moments which help give all the characters depth, and the storyline makes basic sense, which is more than can be said for some entries in the genre. Though let’s just hope, it isn’t as easy to get a bomb – complete with ticking digital counter – into the heart of a Hong Kong police station these days!

What I particularly like about the film, is the nicely-built sense of escalation. The opening scene, in which Khan handles a traffic-offender, then a robber, is light fluff, like you’d expect from the Inspector Wears Skirts series. Almost immediately, however, the body count starts to rise, not least since the terrorists’ approach involves a startlingly reckless disregard for human life. While Khan’s acting talents are, perhaps wisely, hardly tested, Nishiwaki delivers a good performance of striking intensity, and it always struck me as a shame that she didn’t get many lead roles like this one: she’s more known for her cameos, as in God of Gamblers or My Lucky Stars.

This is undeniably a fun time-passer, and a good example of the HK girls-with-guns genre that flourished in the mid-80’s and has never quite been replicated since. There’s a moment towards the end where it’s suddenly made clear that anyone could die at any moment in this film: something you’ll rarely see in a Western flick (outside the horror genre, at least). It’s perhaps a shame they didn’t do this earlier, since from that moment on, this has a reckless, unpredictable attitude which ranks with the best action movies.

Dir: Brandy Yuen and Arthur Wong
Stars: Cynthia Khan, Hiroshi Fujioka, Michiko Nishiwaki, Stuart Ong

License to Steal

  By

★★★★½
“Thieves Like Us.”

This is an largely over-looked gem, featuring the future Mrs. Samo Hung (Godenzi – they married in 1995) in a role and performance which are so excellent, as to make you wonder why she apparently quit the cinema the following year [though she does have a cameo in Mr. Nice Guy, appearing in the cooking show audience]. She first came to attention in Eastern Condors and, despite a lack of training, developed a graceful, fluid style of action that works well. Her best known vehicle is She Shoots Straight, but for my money, this is even better.

She plays Hung, one of three sisters who are the business end of a family of thieves. Their guardian decides to pass the clan on to Hung, but another sister, Ngan (Aurelio, also from She Shoots Straight) wants control – she fixes a job so that Hung is captured, then takes over operations, using brute force and murder rather than skill and agility on their robberies. Three years later, Hung’s sentence is ended, but her sister immediately frames her again: to avoid jail, Hung agrees to co-operate with the police and work towards capturing her sister. She discovers Ngan has been hired to steal Napoleon’s death-mask, and the film climaxes with the two sisters battling each other inside the warehouse where the treasure is guarded.

This is almost two plots for the price of one, as on the police side, you have the investigating cop (Ng), who has to keep an eye both on his new partner (Ngai Sing) and a swordplay-novel obsessed nephew (Yuen Biao), who both want to help, but together are as much a distraction as an assistance. This lends itself to the usual goofy and unsubtle HK comedy – for example, Ng stripping to his boxers after believing there’s a bomb hidden in them – though these aspects don’t grate nearly as badly as I’ve seen elsewhere. There are also a bunch of cool moments to the plot which are probably unnecessary, in the larger scheme of things, but are thoroughly satisfying, and suggest someone actually thought the script out, again something not always the case in HK action cinema.

Godenzi is great, putting over a great combination of coolness and charisma, with a confident attitude that’s wholly justified. It’s established in the first scene that she knows how to push her sister’s buttons, and this comes back into play right at the end. Aurelio, a Filipina powerlifting champion, is a little less adept at acting, but is well-cast as the villainess, with a good sneer. There’s one amazing, politically-incorrect exchange between the characters, when they meet for the first time after Hung’s release from jail. Ngan sneers, “You look plump,” to which Hung replies, “Better than you, with sunburn like a nigger!” Ah, the 1990’s…

But this one is less about offensive banter, than action scenes which are top-notch, from the opening practice duel between the sisters, through to the final battle – this time for real. It’s particularly inventive as, early on, the sisters have to fight each other without making a sound, to avoid alerting the guards The highlight is, however, probably an amazing fight in a car-park – one of the top locations for mayhem in HK films, right up there with restaurants and warehouses – where everyone bar Aurelio gets involved. Her role as top villain there is delegated to Billy Chow, who went toe-to-toe with Jet Li in Fist of Legend, and he’s one hell of a formidable opponent. The action choreography is credited to Lee King-chu, but I suspect producer Samo Hung had more than a little involvement.

There is little or no depth here, only really what Godenzi brings to the table. But there is, equally, little or no intent of depth either: this was created purely as entertainment, nothing more, and on that level it succeeds admirably. It’s a real shame Godenzi chose not to follow a career as an action actress since, on this showing, she could well have ended up as big a star in the field as Michelle Yeoh.

[A note on spelling. The sleeve says ‘LicenCe’, but the print goes with the S. The former is also grammatically inaccurate, so I’ve gone with the S spelling throughout this article.]

Dir: Billy Chan
Stars: Joyce Godenzi, Agnes Aurelio, Richard Ng, Alvina Kong

Wendy Wu: Homecoming Warrior

  By

★★★
“Into every third generation, a slay..ah, warrior is born.”

It’s kinda sad to say, but the action in this Disney TV movie kicks the ass of, not only most TV shows, but a credible number of Hollywood films. Then again, behind the fights here is Koichi Sakamoto, who is also responsible for Drive, among the best American martial-arts films of all time. And while obviously “Disneyfied”, this is still sprightly and engaging, with a couple of very decent fight sequences. It is, however, extremely influenced by Buffy: an unwilling heroine (Song) destined to face down evil on the night of a major school event, under the care and tuition of a mysterious guardian? Joss Whedon should have a word with his lawyers. However, the Chinese cultural twist is nice, not least the Shaolin Soccer riffs, though neither lead actually is Chinese.

This does pose problems, the film trying hard to be culturally “sensitive”; Wendy struggles between wanting to be a “normal” American girl, and her Chinese heritage. This is clunkily handled and does drag the middle of the film down, as the whole Homecoming Queen plot-thread is simply not very interesting, and adds nothing of significance to the film. Things do perk up again, when her teachers get taken over by monk spirits, to assist with her training. It then heads to the finale in a deserted museum where Wendy and her “watcher”, Shen (Koyamada), must face an possessed-schoolmate and a host of terracotta warriors. I stumbled on this by accident, in an advert break during a baseball game on a neighbouring channel, and enjoyed it, despite being about three times the target audience’s age. Some more action would certainly have been preferred, but between this and Kim Possible, Disney have as good a claim to being the home of action heroine TV as any channel.

Dir: John Laing
Stars: Brenda Song, Shin Koyamada, Justin Chon, Andy Fischer-Price