New Fist Of Fury (4 Stars)

New Fist of Fury as Bruceploitation

New Fist of Fury arrived in 1976 as one of the earliest attempts to reshape Jackie Chan into the next Bruce Lee. The film is a curious mix of martial arts melodrama and industry calculation; it sits at the intersection of tribute and imitation, and it shows how the Hong Kong studios tried to fill the void left by Lee’s sudden death. In retrospect this phenomenon has been called Brucesploitation.

This refers to the wave of films made after Bruce Lee died in 1973. These films used actors who resembled him, behaved like him and fought like him; they were sometimes given names designed to trick audiences. Posters featured lookalike poses, yellow tracksuits and snarling facial expressions. Many films claimed to continue Lee’s legacy, or pretended to reveal secret chapters of his life. The goal was simple: ride the momentum of a superstar whose fame had grown even larger after his passing.

Brucesploitation could be cheap and cynical, but it was also a revealing snapshot of a film industry that had lost its brightest star and had no clear idea how to replace him.

How New Fist of Fury uses Jackie Chan in this framework

Golden Harvest had not yet found the comic persona that made Jackie Chan famous. In New Fist of Fury, the studio tried to shape him into a tough, brooding successor to Bruce Lee. The original Fist of Fury had made Lee a household name, so reviving that title was the clearest signal possible.

Chan’s performance fits the bruceploitation mould in several ways:

1. The grim persona

Chan is asked to suppress his natural charm. He scowls, postures, and delivers his lines with forced intensity. This mimics the stoic fury that defined Lee’s screen presence, although it never feels natural for Chan.

2. The righteous avenger template

Chan plays a street thief who becomes a disciplined martial artist. The journey mirrors the narrative arc that bruceploitation films loved; a downtrodden hero discovers inner strength, then retaliates with righteous force against oppressors.

3. The choreographic echoes

While Chan had not yet developed his playful, acrobatic style, the fights push him toward Lee’s sharp explosive movements. His screams copy Lee’s distinctive kiai patterns, and several shots linger on his face as if trying to capture the same raw intensity that Lee had carried effortlessly.

4. The legacy branding

The film uses the Fist of Fury title to wrap itself in Lee’s aura. Chan is not playing Bruce Lee, but the narrative positions him as a symbolic heir who must restore pride to the oppressed Chinese fighters. This is classic bruceploitation; a new protagonist inherits Lee’s mission and fights in his spirit.

How well it works

The film is historically interesting but dramatically uneven. Chan is earnest, but he feels misplaced. He fights well, but without the self-aware sparkle that later made him unique. Instead of showcasing his gifts, the film tries to hammer him into a mould that never fits.

The production has some strong choreography and a sincere sense of national struggle. However, the pacing is uneven and the dramatic scenes are heavy. The attempt to recreate the tone of the original Fist of Fury gives the film a stiff solemnity that contrasts with Chan’s natural energy.

Final thoughts

New Fist of Fury is a transitional film. It shows a studio searching for another Bruce Lee, and an actor waiting to become Jackie Chan. As bruceploitation, it is a clear example of how the industry tried to borrow Lee’s power rather than build something new. Today, it is most interesting as a record of what Chan was never meant to be, and as an early chapter in the long period before he found his true screen identity.

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Invisible Centerfolds (5 Stars)

Introduction

"Invisible Centerfolds" is a soft-core sci-fi comedy that mixes fantasy with light eroticism. The premise is simple; Kay, played by Christine Nguyen, is a model trying to pay her way through dental hygienist school. A scientist offers her money to test his invisibility formula, and her new condition leads to comic mishaps, mild intrigue and the usual late-night cable antics.

Christine Nguyen: the film’s strongest element

Christine Nguyen carries the film with a blend of charm and playful confidence. The role asks for a mix of sensuality and breezy comic timing, and Nguyen delivers both with ease. She treats the material with a light touch that fits the tone; even when the plot drifts into pure camp, she stays lively and engaged. Her presence gives the film a sense of fun it would not otherwise have.

Nguyen also brings a grounded appeal to Kay. The character is written in a simplistic way; her motivations are clear but shallow. Even so, Nguyen manages to create moments of warmth and personality. She leans into the absurdity of invisibility scenes with enthusiasm; her reactions and gestures help sell gags that would feel flat in less capable hands.

Limits of the film and the role

The movie gives Nguyen very little emotional depth to explore, and the script treats Kay as an object of desire more often than a fully drawn character. The production is modest; the invisibility effects are basic and the storytelling meanders. These limitations keep Nguyen from elevating the film beyond its narrow aims.

Still, within those boundaries, she does more than expected. Her energy prevents the film from becoming dull. When she is off screen, the momentum drops; when she returns, the tone perks up immediately.

Final assessment

Christine Nguyen is the reason "Invisible Centerfolds" works as entertainment. The film remains a light, exploitative fantasy that rarely aims higher, but her performance gives it charm and playfulness. She understands exactly what kind of movie she is in and performs with confidence that makes the camp feel intentional rather than accidental.

If the film has any staying power, it is because Nguyen brings life to a role that could have been forgettable. Her charisma turns a flimsy sci-fi gimmick into an enjoyable little diversion.

Housewives From Another World (4½ Stars)

I'm happy to say that Fred Olen Ray has re-released another two erotic films on Blu-ray. "Housewives From Another World" is part of the Medina Collection, and "Invisible Centerfolds" is from the McKendrick Collection. I've chatted to him a few times on Facebook, and he's never differentiated between the two collections. He refers to them collectively as his Bikini Films.

It's a long time since I've watched "Housewives From Another World", so I can't make a direct comparison between the films, but I can compare the screenshots with my last review.

This is Ted Newsom on DVD

This is Ted Newsom on Blu-ray. He's never looked so awesome.

This is Christine Nguyen and Rebecca Love on DVD.

This is Christine Nguyen and Rebecca Love on Blu-ray. They've never looked so sexy.

Except when they're naked.

Here's an updated summary of the Retromedia films so far, with the Blu-ray releases marked.

The Medina Collection

1. Thirteen Erotic Ghosts (2002)
2. (BR) Bikini Airways (2003)
3. (BR) Haunting Desires (2003)
4. Curse of the Erotic Tiki (2003)
5. Bikini Carwash Academy (2004)
6. Erotic Dreams of Jeannie (2004)
7. Teenage Cavegirl (2004)
8. The Good, the Bad and the Beautiful (2005)
9. Bikini Chain Gang (2005)
10. Ghost in a Teeny Bikini (2006)
11. Bikini Girls from the Lost Planet (2006)
12. Harlots of the Caribbean (2006)
13. Girl with the Sex-Ray Eyes (2006)
14. (BR) Bewitched Housewives (2006)
15. The Girl from BIKINI (2006)
16. (BR) Super Ninja Doll (2007)
17. (BR) Tarzeena (2007)
18. Voodoo Dollz (2008)
19. Bikini Royale (2008)
20. (BR) Bikini Frankenstein (2009)
21. (BR) Twilight Vamps (2009)
22. Bikini Royale 2 (2009)
23. (BR) Bikini Jones and the Temple of Eros (2009)
24. (BR) Housewives from Another World (2010)
25. Lady Chatterley's Ghost (2010)
26. Bikini Time Machine (2010)
27. (BR) Sexual Witchcraft (2010)
28. Bikini Warriors (2010)
29. The Teenie Weenie Bikini Squad (2011)
30. Dirty Blondes from Beyond (2012)
31. Busty Housewives of Beverly Hills (2012)
32. (BR) Baby Dolls Behind Bars (2012)

The McKendrick Collection

1. Strippers from another world (2013)
2. Big Bust Theory (2013)
3. Intergalactic Swingers (2013)
4. (BR) All Babe Network (2013)
5. Great Bikini Bowling Bash (2014)
6. Stacked Racks from Mars (2014)
7. Atomic Hotel Erotica (2014)
8. Lolita from Interstellar Space (2014)
9. Sexy Warriors (2014)
10. Bikini Avengers (2015)
11. (BR) College Coeds vs Zombie Housewives (2015)
12. Lust in Space (2015)
13. Erotic Vampires of Beverly Hills (2015)
14. (BR) Invisible Centerfolds (2015)
15. (BR) Cinderella's Hot Night (2017)
16. (BR) Sleeping Beauties (2017)

The Apocrypha

1. (BR) Bad Girls Behind Bars (2016)
2. Vixens From Venus (2016)
3. Cyborg Hookers (2016)
4. Cosmic Calendar Girls (2016)
5. Escape From Pleasure Planet (2016)
6. (BR) Paranormal Sexperiments (2016)

The Medina Collection consists of films directed by Fred Olen Ray using the pseudonym Juan Medina. The McKendrick Collection consists of films directed by Dean McKendrick. The Apocrypha consists of films directed for Retromedia by other directors.

Notes:

(1) "Bikini Carwash Academy" (Medina 5) was re-released with a different opening credits sequence, listing the director as Sherman Scott.

(2) "Tomb of the Werewolf" (not listed above) was directed by Fred Olen Ray using his own name, but it's in the Medina style. It has almost the same cast as "Haunting Desires".

(3) Dean McKendrick made seven erotic thrillers for Retromedia, not listed above.

(4) Apocrypha? If you have a better name for these films, let me know.

That's 18 out of 54 films released on Blu-ray so far. Let's hope the others will follow soon.

Captain Phillips (5 Stars)

"Captain Phillips" follows Tom Hanks as the most stressed man on the Indian Ocean. He is just trying to deliver some cargo, drink bad coffee and fill out paperwork when a group of Somali pirates shows up in a tiny skiff that looks like it should capsize if someone sneezes.

The pirates board the ship with enthusiasm that suggests they skipped every team-building seminar known to man. Their leader, Muse, announces “I am the captain now” which instantly becomes the world’s most quoted line. Phillips tries to reason with them using the universal language of middle-aged managerial concern.

Eventually the pirates kidnap him in a lifeboat that resembles a bright orange coffin. Tom Hanks spends the rest of the film sweating, negotiating and looking like he would give anything for a nap. The US Navy arrives with enough firepower to vaporise a small moon, which makes the pirates realise this was not the best career move.

The film ends with a famous scene in which Hanks delivers the most convincing performance of a man who has absolutely had enough. It is tense, gripping and unexpectedly funny if you enjoy watching sophisticated global shipping operations undone by four men in a boat that probably needs an oil change.

Success Rate:  + 2.0

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Not One Less (5 Stars)

"Not One Less" is the ninth film made by Zhang Yimou, and it's different to any of his earlier films. It abandons the heightened visuals of his period pieces in favour of an unvarnished look at life in rural China. What makes the film so compelling is the way its candid scenes anchor the story. Zhang works with non-professional actors, real locations and situations that unfold with the loose rhythm of daily life. The result is a drama that feels lived rather than staged. The actors who have speaking roles all use their real-life names and careers, so they're playing themselves, and the film has the style of a documentary.

The early village scenes establish this tone immediately. The school is a crumbling building where chalk is rationed and chairs are mismatched. Children wander in and out with the relaxed confidence of pupils who know that no one has the authority to discipline them. These moments are shot with patience; the camera sits back, letting kids quarrel, run errands or drift into boredom. Nothing feels arranged. Wei Minzhi enters this world as a shy substitute teacher who is barely older than her students; her hesitations and stubbornness blend seamlessly with the environment. When she struggles to keep order or negotiate for chalk, the interactions feel as if they were captured rather than directed.

The film becomes even more striking once the story moves to the city. The candid approach continues but the mood changes sharply. In Beijing the camera records crowds, noise and pace; Wei is swallowed by traffic and anonymous streets. Her attempts to ask for help are met with indifference, and Zhang lets these moments play out with minimal interference. Passers-by glance at the camera or ignore it; the film absorbs the energy of the city without smoothing it into neat drama. The gap between the quiet village and the disorienting urban landscape becomes the emotional centre of the film. Wei's determination grows in direct response to the chaos around her.

The television station sequence is particularly effective because it fuses the candid approach with a controlled setting. Wei appears tiny in imposing hallways; she stands silently while adults hurry past her. When she finally delivers her appeal on camera, the moment works not through sentiment but through sincerity. The unpolished performance fits the film's style; it feels like the culmination of her journey rather than a manufactured climax.

By using real people and authentic spaces, Zhang crafts a social drama that avoids melodrama. The candid scenes in the village and the city do more than provide texture; they reveal the structural inequalities that shape the characters' lives. A single piece of chalk becomes a symbol of scarcity. A bus fare becomes a barrier that might end a child's education. None of this is stated directly; it emerges naturally from what the camera observes.

"Not One Less" succeeds because it trusts ordinary moments. The film's humanity comes from watching how people actually behave in cramped classrooms, dusty streets or crowded stations. Through these candid scenes, Zhang delivers a story about responsibility and persistence that feels honest and quietly powerful.

Captain America: Brave New World (3 Stars)

"Captain America: Brave New World" arrives with the weight of a legacy. The earlier entries in the series built a reputation for tight storytelling, grounded stakes, and a sharp blend of political tension and character-driven drama. This new chapter tries to continue that tradition; however, it never reaches the clarity or emotional power of its predecessors.

The story sets up promising themes about leadership and responsibility, yet it rarely develops them with the sharp focus seen in "The Winter Soldier" or the ideological heft of "Civil War". Those films thrived on conflict that felt urgent and personal. Here, the central conflict feels scattered; the narrative moves between subplots that compete for attention instead of supporting each other. The result is a film that feels busy rather than purposeful.

Anthony Mackie carries the shield with conviction. His performance is sincere and committed; his scenes that deal with the burden of legacy are among the film’s strongest. Yet the script never gives him the same depth or arc that Chris Evans enjoyed. Sam Wilson’s internal struggle feels stated rather than explored. The earlier films balanced action with intimate moments that defined Steve Rogers as a character; this entry misses that balance and leans heavily on exposition.

Action has always been a hallmark of the series; however, the set pieces here lack the precision that made sequences like the elevator fight in "The Winter Soldier" or the highway battle unforgettable. The choreography feels looser. The editing cuts too quickly to create impact. Instead of tension building through physical stakes, the film often relies on CGI that softens the grit that once set the franchise apart.

The supporting cast is solid, yet many characters feel underused. Motivations are introduced then set aside. Relationships that could deepen the emotional core remain at the surface. Earlier films used their ensembles to shape the story’s moral and political dimensions; this time the ensemble drifts around the edges.

Tonally, the film struggles to find its identity. It gestures toward political commentary yet rarely commits to a viewpoint. It hints at espionage yet never creates the paranoia that defined the franchise’s strongest moments. The film moves quickly, yet without the thematic weight that once made Captain America stories stand out in the broader MCU.

In the end, "Captain America: Brave New World" is serviceable entertainment with a committed lead performance and flashes of inspiration. It simply lacks the tight structure, grounded action and emotional clarity that made the earlier films some of Marvel’s best. The shield still shines; the story beneath it does not.

Success Rate:  + 0.3

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Barb Wire (5 Stars)

Barb Wire arrived in 1996 as a glossy, chaotic mix of cyber-noir, comic book grit and B-movie bravado; over time it has settled into the kind of film that finds its audience late at night, often with a grin. Its reputation as a cult film rests on two pillars: its shamelessly pulpy style and the strange balance between sincerity and camp that runs through every scene. The tone wavers between self-aware parody and straight-faced action. That unevenness has helped the film survive long after the initial critical backlash. People return to it because it is bold, messy and entirely itself.

Pamela Anderson carries the film with a combination of deadpan toughness and deliberate glamour. Yet the real anchor of the story is Udo Kier as Curly. His performance is a master class in the art of supporting presence; he never tries to overshadow Anderson, but he shapes the emotional rhythm of every scene he enters. Kier has a gift for playing characters who seem to know more than they reveal. As Curly, he offers quiet loyalty mixed with wry resignation. He treats the absurdity around him with total seriousness. This gives the film a strange kind of credibility; when Kier looks worried, the stakes feel higher, even when the plot borders on cartoon logic.

Kier also provides the film with its most grounded emotional thread. Curly cares for Barb in a way that never slips into cliché. Instead, his loyalty feels like something built on years of shared struggle. The scenes between them play smoother and more natural than the larger political storyline; they give the film its heart. Kier communicates entire histories with small gestures and micro-expressions. In a film driven by spectacle, this subtlety stands out.

As a cult film, Barb Wire thrives on its contradictions. It is a loose reworking of Casablanca, yet it hides that influence behind neon lights, leather and explosions. It aims for sleek futurism, yet it feels like a time capsule of nineties aesthetics. It wants to be serious, yet it is most memorable when it leans into excess. These tensions create a viewing experience that rewards audiences who enjoy cinema that refuses to behave.

Over the years, midnight screenings and fan discussions have reframed the film as an example of accidental brilliance; its mixture of sincerity and camp makes it endlessly rewatchable. The costumes, the overheated dialogue, the pulpy action and the bold production design all contribute to the sense of a film that invites both laughter and admiration. At the centre of this strange world stands Udo Kier, giving a performance that elevates the entire project.

Originally labelled as a flawed blockbuster, Barb Wire's standing as a cult film has grown over the years. It showcases the power of character actors who treat even the wildest material with full commitment; it proves that audacity and personality can keep a film alive long after its initial release.

Success Rate:  - 2.4

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Iron Sky: The Coming Race (2½ Stars)

When I saw this film in the cinema five years ago I said that a lot was happening, and I needed to watch it again to figure it all out. Finally, after five years, I've watched it again. Too much is happening in the film, way too much. The first film was a fairly simple story: at the end of World War Two the Nazi elite fled to the Moon to create a new kingdom, waiting for the right moment to return to Earth and conquer the world. The second film adds a fanatical cult, aliens who guided mankind for thousands of years, and dinosaurs who live at the centre of the world. Any one of those ideas would have made a fascinating film, but adding them all at once just clogs it down.

Udo Kier is dead. He passed away on Sunday, but it was only reported today. He was a magnificent actor, excelling in every role he played. He was also modest. A few years ago he said, "I've made 200 films. 100 of them are bad. 50 can only be enjoyed with a glass of wine. The other 50 are great". I wonder how he would rate "The Coming Race". I expect he would call it a bad film. All I can say is that no film was ever bad because of Udo. He was good in every role he played. The problem is the overall quality of the film, from the screenwriting to the directing. Udo Kier is an actor whose work I have always enjoyed, and he'll be sadly missed.

Success Rate:  - 49.2

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