The Legend of Fong Sai Yuk 2 (4½ Stars)

While "The Legend of Fong Sai Yuk" is remembered as one of the great martial arts comedies of the 1990's, "The Legend of Fong Sai Yuk 2" takes a noticeably different approach. Although it reunites Jet Li with director Corey Yuen and retains the dazzling action that made the original such a success, the sequel shifts away from broad comedy and romantic adventure towards a more serious patriotic drama. The result is a film that feels less playful but more emotionally driven.

The first film balanced spectacular kung fu with slapstick humour, outrageous misunderstandings and an almost screwball romance. Much of its charm came from Fong Sai Yuk's youthful recklessness, his attempts to win the heart of Ting Ting and the hilarious relationship between his parents, especially his formidable mother. Even the elaborate fight scenes often had a comic edge, turning martial arts into a form of physical comedy.

The sequel largely abandons that tone. Instead, Fong becomes involved with the Red Flower Society, an underground resistance movement dedicated to overthrowing the Qing dynasty. Political intrigue replaces romantic confusion and the story carries genuine emotional weight as questions of loyalty, sacrifice and patriotism come to the forefront. The stakes are considerably higher than in the original, giving the film a more mature atmosphere.

Jet Li adapts effortlessly to this change in tone. His Fong Sai Yuk is still energetic and charismatic but has become a more responsible and determined hero. Rather than simply reacting to outrageous situations, he is forced to make difficult moral choices, making the character feel as though he has genuinely grown since the first film.

The action remains exceptional. Corey Yuen stages another series of inventive martial arts sequences, filled with speed, precision and astonishing athleticism. The choreography is slightly less whimsical than before, favouring fast, intense combat over comic invention. The climactic battles are among the most impressive of Jet Li's early Hong Kong career, combining graceful wirework with bone-crunching hand-to-hand combat.

The supporting cast also reflects the film's changing priorities. While Fong's mother still provides flashes of humour and proves once again to be one of Hong Kong cinema's greatest action heroines, the comic family dynamics take a back seat to the larger political conflict. The villains are darker, the betrayals more personal and the emotional consequences far more significant than in the first film.

Viewed on its own, "The Legend of Fong Sai Yuk 2" is an outstanding martial arts adventure that successfully broadens the scope of its predecessor. Those expecting another carefree action comedy may initially be surprised by its more serious direction, but the stronger dramatic focus gives the sequel an identity of its own rather than simply repeating the original formula. Together, the two films complement each other perfectly; one celebrates youthful exuberance and romance, while the other explores courage, loyalty and sacrifice without ever sacrificing the breath-taking action that defines the series.

The Legend of Fong Sai Yuk (4½ Stars)

Few martial arts films capture the sheer joy of Hong Kong action cinema as perfectly as "The Legend of Fong Sai Yuk". directed by Corey Yuen in 1993. Starring Jet Li at the peak of his abilities, the film combines dazzling fight choreography, broad comedy and memorable characters into one of the most entertaining kung fu adventures of the 1990's.

Loosely based on the legendary Chinese folk hero Fong Sai Yuk, the story follows a gifted young martial artist whose impulsive nature repeatedly gets him into trouble. Jet Li brings an infectious charm to the role, balancing heroic swagger with comic timing. Unlike many martial arts heroes of the era, Fong is neither brooding nor solemn. He's playful, mischievous and constantly finding himself in absurd situations.

The film's greatest strength is undoubtedly its action. Corey Yuen's choreography is nothing short of extraordinary, blending traditional kung fu with acrobatic stunts and inventive visual gags. Every fight sequence feels unique, whether it's a chaotic street brawl, a duel fought under impossible circumstances or the legendary tournament sequence that has become one of the defining action scenes of Hong Kong cinema. The performers execute astonishingly complex moves with a speed and precision that still impresses more than three decades later. Even viewers who have seen countless martial arts films will find themselves amazed by the creativity on display.

Another aspect that sets "The Legend of Fong Sai Yuk" apart is its treatment of female characters. The women aren't merely spectators or romantic interests; many of them are formidable fighters in their own right. The standout is Josephine Siao's Miu Tsui-fa, Fong's mother, who is every bit as skilled, fearless and entertaining as her son. Her action scenes rank among the film's best, and she often steals the spotlight from Jet Li himself. At a time when many action films relegated women to supporting roles, The Legend of Fong Sai Yuk presents female fighters as genuine equals.

One of the film's most unusual elements is the romantic subplot between Miu Tsui-fa and Xiaohuan. While disguised as a male martial artist, Miu Tsui-fa encounters Xiaohuan in combat, and the younger woman becomes captivated by the stranger's fighting skill and heroic bearing. The resulting romance is played largely for comedy, but it remains surprisingly affectionate. Long before homosexual themes became common in mainstream action cinema, "The Legend of Fong Sai Yuk" devoted a substantial portion of its running time to a woman falling in love with another woman, albeit under a mistaken identity. The subplot adds another layer of charm to a film already overflowing with personality.

The film's blend of spectacular action, strong female characters and unconventional humour gives it a unique personality. It never pauses for heavy drama or historical realism. Instead, it embraces entertainment in its purest form, delivering one inventive set piece after another while maintaining an infectious sense of fun.

More than thirty years after its release, "The Legend of Fong Sai Yuk" remains one of the crown jewels of Hong Kong martial arts cinema. With Jet Li's star-making performance, Corey Yuen's breath-taking choreography, a cast of unforgettable female fighters and an unexpectedly charming same-sex romance subplot, it's a film that continues to delight audiences and stands as one of the finest action-comedies ever made.

The Mummy: Tomb of the Dragon Emperor (4 Stars)

The Mummy: Tomb of the Dragon Emperor (2008) is less a continuation than a collision. Arriving seven years after The Mummy Returns, it feels like a franchise trying to reinvent itself by grafting one cinematic mythology onto another. In that sense, it works as a crossover film; not between studios or properties, but between the Hollywood adventure serial of the first two films and the wuxia-inflected fantasy epics that had gained global popularity in the early 2000's.

By shifting the action from Egypt to China and replacing Imhotep with Jet Li's Dragon Emperor, the film attempts to fuse the familiar Mummy formula with elements drawn from Crouching Tiger, Hidden Dragon and Hero. Terracotta armies, immortal emperors, shape-shifting witches and snowbound monasteries all signal a desire to tap into a different cinematic tradition. On paper, this is a promising idea. A globetrotting franchise built on resurrected legends should be flexible enough to roam across cultures and mythologies.

In practice, the crossover is uneasy. The film never fully commits to Chinese myth in the way the earlier entries embraced pulp Egyptology. The Dragon Emperor is visually impressive but dramatically thin, and the mythology around him is sketched rather than lived in. The result is a film that borrows iconography without absorbing tone. Where Imhotep felt operatic and obsessive, the Dragon Emperor often feels like a boss character waiting for the next effects sequence.

The sense of dislocation is heightened by the recasting of Evelyn, now played by Maria Bello. Bello brings intelligence and energy to the role, but the change breaks the emotional continuity of the series. Combined with the decision to age Rick and Evelyn into quasi-parental figures while pushing their son Alex to the foreground, the film struggles to balance nostalgia with renewal. It wants to pass the torch while still leaning heavily on Brendan Fraser's established charm.

There are clear ways the film could have been improved. First, it needed a stronger thematic link between the two mythologies it was crossing. Instead of simply swapping Egyptian curses for Chinese immortality, the script could have drawn parallels between imperial hubris and ancient religion, giving the crossover an intellectual spine rather than a geographical one. Second, the film would have benefited from slowing down. The relentless action leaves little room for atmosphere, humour or romantic banter, all of which were key pleasures of the earlier films.

Most importantly, the crossover should have extended to character rather than spectacle. Imagine Evelyn engaging more deeply with Chinese history and philosophy, or Rick forced to adapt his roguish soldier persona to a culture he does not understand. Those frictions could have generated comedy and tension far richer than yet another CGI avalanche.

As it stands, The Mummy 3 is an instructive failure. It shows how a franchise can attempt a cultural crossover without fully respecting or exploring the traditions it borrows from. The idea of a Mummy film that travels the world is a sound one, but this entry proves that mythological mash-ups require more than new locations and bigger visual effects. They require curiosity, patience and a willingness to let the crossover reshape the series rather than simply decorate it.

Success Rate:  + 0.8

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Once upon a time in China 3 (4½ Stars)

Once Upon a Time in China III (1993), directed by Tsui Hark, continues the semi-mythical biography of Wong Fei-hung while anchoring its story in real political tensions of late Qing dynasty China. The film is set in 1895, shortly after the First Sino-Japanese War, during a period when China’s weakness had become painfully visible to both foreign powers and internal reformers.

Historical background

The defeat of the Qing Empire by Japan in 1894–1895 exposed the failure of China’s military modernisation and intensified national humiliation. Reformist scholars and officials argued that China needed Western-style education and technology to survive, while conservative factions saw these ideas as a betrayal of Confucian values. The film directly references this ideological struggle through the Lion Dance Competition, a traditional cultural event that becomes a symbolic battleground between nationalism, reform and corruption.

Plot synopsis

Wong Fei-hung arrives in Beijing with his father Wong Kei-ying and his students to attend the annual Lion King Competition, an event meant to celebrate Chinese martial arts and unity. Unofficially, the competition also serves political ends; government officials use it to promote their own power, while reform-minded figures hope to reclaim Chinese dignity through tradition rather than empty spectacle.

Soon after arriving, Wong crosses paths again with his 13th Aunt, who is practising photography in Beijing. Her presence highlights the film’s central tension between tradition and modernity. Unlike earlier entries, 13th Aunt is more assertive here; she openly challenges sexist customs and advocates education as a means of national renewal.

The competition itself is overseen by Li Hung-chang, a real historical statesman and key figure in the Self-Strengthening Movement. Li is portrayed as a pragmatic but compromised official, caught between appeasing conservative forces at court and dealing with the realities of foreign pressure after China’s defeat by Japan. His political weakness allows corrupt Manchu officials to manipulate the event for personal gain.

As the lion dance trials progress, Wong Fei-hung faces rivals who use dirty tactics, bribery and violence. These confrontations escalate when Wong uncovers a plot to assassinate Li Hung-chang during the final ceremony. The assassination attempt reflects real fears of political instability in the Qing court, where reformists, conservatives and secret societies often resorted to violence.

The climax unfolds during the final lion dance performances, staged high above the ground on precarious poles. This sequence is both a physical test and a metaphor for China’s unstable position in the world. Wong Fei-hung defeats his opponents through discipline, moral integrity and mastery of traditional kung fu, rejecting the corruption surrounding him. He also thwarts the assassination attempt, saving Li Hung-chang and preventing further chaos.

Despite Wong’s victory, the ending remains bittersweet. Li Hung-chang survives but the system he represents is unchanged. Reform remains limited, corruption persists and China’s future is uncertain. Wong Fei-hung returns south with his students, reaffirming his role not as a political leader but as a moral guardian of Chinese values.

Themes and historical meaning

Once Upon a Time in China III uses spectacle to explore the cultural crisis of late nineteenth-century China. The lion dance competition symbolises national identity under threat; Western influence is unavoidable but blindly copying it is portrayed as dangerous. Wong Fei-hung stands for ethical tradition rather than reactionary conservatism, offering a vision of Chinese strength rooted in moral conduct, discipline and community rather than political power.

In this way, the film frames history not as triumph but as warning; China’s survival depends on balancing reform with cultural integrity, a question that remained unresolved at the end of the Qing dynasty.

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Once upon a time in China 2 (4 Stars)

Once Upon a Time in China II (1992) continues Tsui Hark’s semi-historical portrait of Wong Fei-hung, setting its story against the political turbulence of southern China in the early 1890s, when the Qing dynasty was under intense pressure from foreign powers and internal reform movements.

After the events of the first film, Wong Fei-hung returns to Foshan as a respected physician and martial arts master, but he is quickly drawn into a wider national crisis. China is reeling from humiliation at the hands of Western imperial powers following the Opium Wars and a series of unequal treaties that granted foreign nations trade privileges, extraterritorial rights and control over ports and railways. Anti-foreign sentiment is growing among ordinary citizens, while reform-minded officials and intellectuals argue that China must modernise to survive.

The story introduces Sun Yat-sen, portrayed as a young revolutionary doctor who is secretly organising resistance against the Qing government. Historically, Sun Yat-sen was active in Guangdong during this period and would soon attempt uprisings aimed at overthrowing the dynasty. In the film, Sun arrives in Foshan to raise funds and support for his cause, placing him in danger from both Qing authorities and conservative forces who see reform as betrayal.

Wong Fei-hung initially tries to stay neutral. His philosophy emphasises moral conduct, discipline and harmony, and he is wary of political extremism. However, the situation deteriorates when the White Lotus Sect emerges as a major antagonist. The White Lotus is depicted as a fanatical, anti-foreign cult that claims mystical invulnerability and promotes violent resistance against Westerners and Chinese collaborators. This portrayal draws loosely on real secret societies and millenarian movements that flourished in late Qing China, including groups that would later feed into the Boxer Rebellion of 1899–1901.

Led by the charismatic and ruthless Master Kung, the White Lotus stages public demonstrations, humiliates officials and attacks foreign institutions, particularly Christian missionaries. Their actions provoke brutal reprisals from Western powers, who threaten military intervention if their citizens are harmed. The film shows the mounting tension between foreign legations and Chinese authorities, reflecting the historical reality of gunboat diplomacy and the constant threat of colonial violence.

Caught between these forces, Wong Fei-hung is forced to act when innocent people are endangered. His conflict with the White Lotus is both physical and ideological. He rejects their superstition and cruelty, arguing that blind hatred and false mysticism will only bring further suffering to China. At the same time, he becomes increasingly sympathetic to Sun Yat-sen’s reformist ideals, which are presented as rational, forward-looking and rooted in genuine patriotism rather than xenophobic rage.

The narrative builds toward several major confrontations. Wong repeatedly clashes with Master Kung, whose belief in spiritual invincibility is exposed as a dangerous illusion when faced with modern weapons and disciplined martial skill. These battles symbolise the film’s central theme; traditional Chinese values must survive, but they must evolve rather than retreat into myth.

In the final act, chaos erupts as the White Lotus attempts a large-scale uprising, drawing the attention of foreign forces and threatening catastrophic retaliation. Wong Fei-hung intervenes to prevent a massacre, defeating Master Kung and dismantling the sect. His actions help avert immediate disaster, though the film makes clear that China’s deeper problems remain unresolved.

The story closes on a bittersweet note. Sun Yat-sen escapes to continue his revolutionary work, hinting at the future overthrow of the Qing dynasty in 1911. Wong Fei-hung returns to his medical practice and school, reaffirming his role as a moral guardian rather than a political leader. The film leaves the audience with a clear historical message; China stands at a crossroads, torn between decaying tradition, violent reaction and the difficult path of reform.

In blending real historical figures, secret societies and political tensions with martial arts spectacle, Once Upon a Time in China II transforms its sequel into a meditation on national identity during one of the most volatile periods in modern Chinese history.

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Once upon a time in China (4 Stars)

The Historical Background

Once Upon a Time in China (1991), directed by Tsui Hark, is set in Foshan during the late Qing dynasty, a period of intense social upheaval as China struggled to reconcile tradition with the pressures of Western imperialism and internal decay. The film blends martial arts spectacle with a historical drama about cultural identity, national pride and the painful cost of modernization.

Foshan, located in Guangdong province near the Pearl River Delta, was one of southern China’s most important commercial and cultural centres in the nineteenth century. It was famous for its ceramics, metalworking and bustling trade networks, and it was also a stronghold of southern Chinese martial arts. Styles such as Hung Gar, Wing Chun and Choy Li Fut flourished there, often taught through family lineages or associated with local guilds.

By the time the film is set, roughly the 1880's to 1890's, Foshan was caught between worlds. Western powers had forced China to open treaty ports after the Opium Wars, bringing missionaries, merchants and military influence deep into Chinese society. Foreign factories, churches and consulates appeared alongside traditional temples and schools. Many locals saw Western technology as both impressive and threatening, while resentment simmered over unequal treaties, extraterritorial rights and cultural humiliation. This tension provides the political and emotional backdrop of the film.

Wong Fei-hung was was born in 1847 in Xiqiao, Nanhai County, Guangdong. He moved to Foshan as a child, and he was raised in a family deeply rooted in martial arts and traditional Chinese medicine. He was a master of Hung Gar kung fu, a physician and a respected community leader. Wong was known not only for his fighting ability but also for his moral code, emphasizing discipline, compassion and restraint. Over time, his life became heavily mythologized through oral stories, opera and later cinema, transforming him into a symbol of Chinese virtue and resistance.

In Tsui Hark’s film, Wong Fei-hung represents the ideal Confucian hero struggling to uphold ethical traditions in a rapidly changing world. He is not portrayed as blindly anti-foreign; instead, he is cautious and reflective, recognizing the need to learn without surrendering cultural integrity.

Plot Synopsis

The story follows Wong Fei-hung, played by Jet Li, as he navigates the growing chaos in Foshan. Foreign missionaries and businessmen arrive with modern weapons and machines, while local gangs exploit fear and confusion for profit. Kidnappings, human trafficking and exploitation of women become rampant, often hidden behind the façade of Western progress or criminal opportunism.

Wong runs a martial arts school and a medical clinic, positioning him as both protector and healer of the community. His attempts to maintain order are constantly challenged by corrupt officials, violent bandits and cultural misunderstandings between Chinese citizens and foreigners. These conflicts escalate when a local criminal ring collaborates with foreign interests, leading to public unrest and violent clashes.

Central to the film is Wong’s internal struggle. He must decide how to defend Chinese values without becoming reactionary or xenophobic. His relationship with his 13th aunt, a Western-educated woman who adopts foreign dress and ideas, embodies this tension. Through her, the film explores the possibility of coexistence, while also highlighting the prejudices and dangers faced by those who cross cultural boundaries.

The climax sees Wong confronting both physical enemies and symbolic ones. Traditional kung fu faces off against guns and modern weaponry, raising the question of whether moral strength and discipline can survive in an age of industrial violence. Wong ultimately prevails not simply through combat, but through leadership, restraint and a reaffirmation of cultural dignity.

Themes and Legacy

Once Upon a Time in China reframes the martial arts film as a historical epic. It uses Foshan as a microcosm of China’s national crisis, and Wong Fei-hung as a moral anchor in a society under siege. The film argues that true strength lies not in rejecting change outright, but in confronting it with clarity, ethics and self-respect.

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Hitman (3½ Stars)

"Hitman" is a multilingual film, with dialogue in Japanese, Mandarin and Cantonese. The action is spread across Japan, Hong Kong and the Chinese mainland.

Tsukamoto, a Japanese Yakuza boss, is assassinated by a mysterious assassin known only as the King of Killers. He expected to be assassinated one day, so he's set aside a revenge fund: whoever kills the assassin and the man who hired him will receive $100 million. Tsukamoto's grandson Eiji is determined to get the money himself, but the lawyer insists that it's an open contract.

Fu (played by Jet Li) is an ex-soldier who hears about the contract. He's an outstanding fighter, but his conscience gets in the way. He can't kill anyone unless he's certain that he deserves to die. The other hitmen look down on him, thinking he's weak. In the course of the film the hitmen turn on one another. Everyone wants the money.

Is it supposed to be a comedy or a serious action film? I don't know, and I don't think the director knew. There are long comedic episodes alternating with long serious episodes. This jarred with me. The overall impression is disappointing.

The Scripture with No Words (4 Stars)

Chow Si-Kit is an author of pulp fiction in Hong Kong. He's writing serialised adventures about a hero called Dr. Wai, the Adventure King. He works under constant pressure. The booklets are published twice a month, and the deadlines wait for no man.

Chow has a problem. His wife wants to divorce him. As a result he's suffering from writer's block. His colleagues want to help him, so they write the next instalments on his behalf. What they write is also a not so subtle attempt to help him win his wife's love back. In each instalment Dr. Wai is wooing Yvonne, a fellow adventurer. However, they can't agree on Yvonne's personality, so in each instalment (which is presented cinematically) Yvonne is acting like a different person.

According to what I've read, the original version, which I watched today, was completely re-edited for the international version. Chow Si-Kit is completely removed from the international version, and all we see is Dr. Wai in his adventures. That sounds weird. I need to watch the international version at least once.

My Father is a Hero (5 Stars)

This film was originally released in England with the nonsensical name "The Enforcer". Did they watch the film before renaming it? Nobody enforces anything.

Ku Kung is only eight years old, but he's an outstanding martial arts student. He wins awards, and he wants his father to be proud of him, but his father Wei Kung rarely attends the competitions. He's busy making dubious deals with shady characters on street corners. Ku Kung's mother is sick with chronic asthma, but she still attends the competitions.

What Ku Kung doesn't know is that his father is an undercover policeman. He isn't even allowed to tell his wife about his work, so she suspects him of being a criminal. Wei Kung has to do a big job, so he begs his son to trust him. Ku Kung loves his father, so he doesn't complain.

Wei Kung is put in prison, so that he can help a gangster to escape. Together they go on the run and flee to Hong Kong. Wei rapidly advances in the gang hierarchy.

This is an excellent film that I need to watch again soon. Jet Li is always an outstanding fighter, but what makes the film interesting is that in the later scenes he's aided by his son. Other reviewers have called this unrealistic, but I think it works well.

The Bodyguard from Beijing (4½ Stars)

Several films starring Jet Li have recently been released on Blu-Ray for the first time, so I'll be watching them over the next few days. After that I'll return to "The Sopranos".

The film takes place in 1994, when Hong Kong was still separated from Mainland China. Allan Ching-Yeung is a renowned bodyguard in Beijing. At the beginning there's a statement in voiceover: "A policeman can make many mistakes and be forgiven, but a bodyguard can't make a single mistake". That's extreme, but I can understand what the director is trying to say through Allan.

In Hong Kong there's a gangland murder. The witnesses are all killed, except a woman called Michelle. Her boyfriend, a wealthy businessman, hires Allan to protect her. Allan is cool and collected, acting efficiently to do his job. Not one mistake. Michelle begins to have feelings for him, but he turns her down. Nothing must distract him from his job.

The main story is excellent. It could have been better if not for humorous subplots involving children. They're totally unnecessary.

Black Mask (4 Stars)

A Chinese super-hero film? Why not? China can do everything America can, and often better.

Tsui Chik was a participant in a Chinese supersoldier project. After intense training in martial arts, the subjects were treated to numb their nerve endings. They became unable to feel anything, including pain, making them the perfect soldiers. After one of them went crazy and killed a group of soldiers, the project was abandoned. It was decided to kill all of the team, but Tsui found out about it and encouraged everyone to flee.

Two years later, Tsui is living as a timid librarian in Hong Kong. He tries to forget his past. He's reminded when there are police reports of the deaths of hundreds of drug lords. The police have mixed opinions. They were doubtlessly people who deserved to die, but does it mean a new, more dangerous gang wants to take over? Tsui recognises a former member of the supersoldier team taking part in an attack, and the past catches up with him.

It turns out that the whole of his squadron is together as a team, calling themselves the 701's. Don't ask me why. Their goal is to make money. They've killed the Hong Kong drug lords to set themselves up as the exclusive suppliers of drugs from Colombia. They're also hacking into the Hong Kong police computers to find out the names of undercover police informants in the Colombian cartel. Hmmm. Would this information be stored in Hong Kong?

The 701's want Tsui to join them, but he has no interest in a life of crime. He puts on a black mask and a chauffeur's uniform to fight against them. He's deliberately modelling himself on Kato from the Green Hornet TV series.

The disguise is so effective that not even his fellow librarian Tracy can recognise him. That's nothing unusual. In DC comics, all that Clark Kent needed to do to disguise himself was take his glasses off. Tracy has a crush on Tsui, but she finds Black Mask annoying and arrogant.

Tsui's motivation isn't to become a superhero. It's a task that's thrust upon him. What he wants most is to reverse the operation performed on him and become able to feel again. He considers it a curse that he can never feel the touch of a woman or feel her kisses on his lips. He's right. That's a terrible curse. I would do anything to be able to taste Karen Mok's kisses. She's the actress who plays Tracy, and she also sings the film's theme song. In China it's common for actors to be singers as well. Even Jackie Chan sings the theme songs for his Chinese movies.

The film was released in 1996. In 1999 a censored version was released in American cinemas. Too much blood for American audiences. Finally, after 28 years, an uncensored version has been released in Britain and America. Is there really too much blood? I don't find it excessive.

The film suffers from one of the illnesses of American action films. The night-time scenes are often too dark. It's realistic, but unnecessary. It should always be easy to see who's fighting who.

Success Rate:  + 1.3

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Hero (5 Stars)

My mother-in-law used to say, "If you haven't held something in your hand for a year, throw it away". That was her advice to prevent a house being cluttered with unwanted items. I can see the sense in her words, but it doesn't apply to me. I haven't held my "Hero" Blu-ray disc in my hand for ten years. It would have been a tragedy if I'd thrown it away, or even sold it on Ebay. It's a wonderful film.

It has a prominent place on the top shelf in my film collection. Most of my collection (over 2000 films) is in alphabetical order, but my top shelf is reserved for films that are special to me. They're the first films I see when I look at my shelves. Why haven't I watched it all these years? I honestly don't know. I didn't think it was that long. If it weren't for my blog acting as an infallible film diary I wouldn't have known.

"Hero" is a majestic film. Despite the frequent fight scenes, it's slow and philosophical. Jet Li plays a nameless warrior. His lack of a name is significant in itself. A man doesn't become a hero to have his name remembered in history books. A true hero does what's right, even if nobody will ever know what he did.

The film takes place in 227 BC. China was divided into seven kingdoms. Qin was ruled by a tyrant who was waging war against the other six kingdoms. The nameless warrior trained for ten years to assassinate the king, but when he had victory in his grasp, he refused to carry out his mission and walked away. He came to the conclusion that it's better for China to be united under a tyrant than divided.

Calligraphy plays an important part in the film. Before challenging a rival swordsman, the nameless warrior asks him to draw the symbol for sword on an eight feet canvas. He says that there are 19 ways to draw the symbol, but there's a 20th way. By looking at the canvas he'll understand his opponent's fighting skill.

While waiting to be slain, the king meditates on the canvas.

"I have come to a realisation. This scroll contains no secrets of swordsmanship. What it reveals is the highest ideal.

In the first stage, man and sword become one; even a blade of grass can be used as a lethal weapon.

In the next stage, the sword resides not in the hand, but in the heart; even without a weapon the warrior can slay his enemy from 100 paces.

But the ultimate ideal is when the sword disappears altogether. The warrior embraces all around him. The desire to kill no longer exists. Only peace remains".

That's a lot to learn from a painted symbol. The King of Qin may look like a tyrant, but he's a very spiritual man. He embraces death, not knowing he will be spared.

Success Rate:  + 3.7

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Fist of Legend (4½ Stars)

This is my last film of 2021. I picked it at random, which is unusual for me. Usually I select my next film a day or two in advance. It's a very good film, though I do have one big complaint: Jet Li isn't a very good actor, or at least he wasn't a good actor at this point in his career. His acting improved as he got older. His fighting was always excellent. Comparing him with Donnie Yen, who also played the role of Chen Zhen in "Legend of the Fist", Jet Li was more brutal. It's more obvious that he's fighting to the death.

"Fist of Legend" (1994) is a remake of "Fist of Fury" (1972), a famous film starring Bruce Lee. Despite the many differences, which I listed in my last review, it's obviously the same story. Both films contain a lot of racism, but it's on different levels.

I've often written that racism is stupid. I'm not taking back that statement, but "Fist of Legend" shows that racism is sometimes understandable. There's a scene where Chen Zhen isn't allowed to rent an apartment because his girlfriend is Japanese. Racism? Yes. Bigotry? Yes, but there was a reason for it. The Japanese were occupying China, so they were hated as an occupying force. I'm not saying that it was right for the landlord to hate Chen Zhen's girlfriend Mitsuko, but it was understandable in the context of China in the 1930's.

What I mean when I say that the racism is on different levels is that the Japanese are presented differently to the viewers. In "Fist of Fury" the Japanese are all bad. In 1972 the Japanese occupation of China was still fresh in the memories of the director and the other crew members. "Fist of Legend" was made 22 years later and is more conciliatory. We see that not all the Japanese are bad. Chen Zhen judges each person on his own merits. And as I already mentioned, he has a Japanese girlfriend.

I feel like re-watching a few of Jet Li's films. I own quite a lot on DVD, but I haven't watched them for many years. Maybe some time in the middle of next year. I'll see how I feel then. My main priority at the moment is a marathon of true stories, which I intend to start tomorrow.

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Forbidden Kingdom (3 Stars)

This is a film that should thrill all fans of kung fu movies. Jet Li and Jackie Chan in the same film! I have to admit, it thrilled me as well. Or at least, it did until I watched it. The film has a few highlights, such as a dazzling fight between the two martial arts heroes, but the story is disappointing. Added to that, the film is in English, even when Chinese characters speak to one another. That downgrades the film for a purist like me. I admit, the use of English is necessary for the plot, but if that's the case the plot should have been rewritten.

The film starts with the teenager Jason Tripitikas in New York City. He's a big fan of martial arts films, so he often visits a pawn shop in Chinatown to buy second hand DVDs. In the shop he finds a golden staff which is waiting to be collected by its rightful owner. He witnesses the shop being robbed. He grabs the staff, but the robbers beat him up. He's knocked out, and he wakes up hundreds of years ago in China.

He meets two characters: Lu Yan, a drunken master played by Jackie Chan, and an unnamed monk played by Jet Li. They tell him about a prophecy that a messenger will return the golden staff to the Monkey King to help him defeat his enemy, the Jade Warrior. The two men train Jason as a fighter. They're joined by Golden Sparrow, a woman seeking revenge for her parents who were killed by the Jade Warrior.

They're an unlikely assortment. The monk is serious and deeply spiritual. Lu Yan is only able to fight when he's drunk. Golden Sparrow is fuelled by hatred. Jason is just along for the ride, unable to believe he's the hero in an ancient prophecy.

In order to reach the Monkey King, who's been turned into a statue in the Jade Warrior's palace, they have to defeat a witch called Ni Chang. Why are evil women always the most beautiful?

Not that Golden Sparrow is unattractive. I thought I recognised her, so I checked her on IMDB. Of course! She's played by Yifei Liu, the title character in the 2020 version of "Mulan". 

It's not just the infeasible plot that spoils the film; it's also the dreadful English language dialogue. When they're fighting, Golden Sparrow calls Ni Chang a witch, and Ni Chang replies that Golden Sparrow is a bitch. That's just tasteless.

Success Rate:  + 0.3

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Mulan [2020] (4½ Stars)

This is the 2020 version of the story of Mulan, made by Disney Studios. According to the information on Wikipedia, this is the 13th film about her, and it's considered to be a remake of Disney's 1998 film about Mulan. Since I had doubts about the accuracy of this description, I watched it today with the question in mind whether it qualifies as a remake.

What makes a film a remake? If a story is written for film, an original screenplay, a repeat telling of the story is a remake. If a film is based on a book, an adapted screenplay, a repeat telling of the story isn't a remake. A borderline case is stories based on true events. Usually the second or third film about the same person isn't a remake, but if it concentrates on the same specific events in the person's life it can be considered a remake. It's a matter of opinion.

"Mulan" (2020) definitely refers to the same events in Mulan's life as "Mulan" (1998). She had a long successful life, but both Disney films refer to the same events early in her career. Furthermore, they're the same contentious events that deviate from the official story as maintained by historians. Chinese critics have complained about the new film's cultural and historical inaccuracies. These are things that are based on the 1998 film, which already had these inaccuracies. There were less complaints about that film, because it was made as a children's film and wasn't meant to be accurate. The new film is for adults (certificate 12A in England), so the Chinese critics have analysed it with a toothcomb.

There are many differences in the way the new film is told, in content and style:

1. It's a live action film instead of a cartoon film.

2. The 1998 film was a comedy, but the 2020 film has only a few comedic elements.

3. In the 1998 film Mulan is aided by the comic characters of a dragon and a caterpillar; in the 2020 film Mulan is aided by a phoenix force.

4. In the 1998 film the invading enemies are the Huns, in the 2020 film they're the Rourans. My brief research hasn't been enough to tell me whether the two names refer to the same people. If anyone can answer this question for me, please leave a comment below.

5. The 2020 film adds a new character, Xianning, a powerful witch who aids the Rourans.

6. In the 2020 film, Mulan has a younger sister instead of being an only child.

7. In the 2020 film, Mulan reveals her gender after the first battle and is expelled from the army.

Hua Mulan is played be the beautiful Chinese actress, Liu Yifei. She was 32 at the time of filming, but she manages to look like a teenager.

Even more beautiful is Gong Li as Xianning. Is she really 55 already? She's one of the most beautiful actresses I know. I always associate her with the director Zhang Yimou, for whom she's appeared in several of his films.

Like the first film, the new film has strong feminist messages, but in this film there are new messages that emphasise the feminist theme even more. Mulan is a capable warrior from the beginning, but she doesn't reach her full strength until she stops pretending to be a man. There's so much I could say about this. In today's business world there is (theoretically) equal opportunity for women, but it's offered at the cost of women having to behave like men. This is wrong. A truly powerful woman should reveal her femininity in all situations. Femininity shouldn't be perceived as weakness, femininity is power.

Another message is the power of women combined. Mulan and Xianning are on opposite sides of the war. They're enemies, because they serve different men. They reach their full potential when they work together. Men make war, but women seek peace.

But getting back to my original question, is this a remake or not? It's not a clear cut case, but there are so many changes to the original story that I answer No. If you disagree with me, I shan't argue. It's a matter of opinion. One thing that I shan't give way on is that the 2020 film is better than the 1998 version. It's an excellent film that I want to watch again, preferably on the big screen.

Yes, the big screen. The film should have been released in the cinemas last year, but the Coronavirus lockdowns prevented it being shown in Germany (where I live) and most other countries. The poor performance at the box office is a result of the film not being shown in many countries. There were posters for the film at German cinemas, but it was never shown, and now Disney has released it direct-to-video, as well as including it on the streaming service Disney Plus. I'm hoping that it will be shown in cinemas retrospectively after the lockdown.

Success Rate:  - 2.9

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League of Gods (1 Star)

Please remind me to stay away from Chinese fantasy films. They go wild from the first minute, and I don't mean that in a positive way. This film begins with fights between mystical beings and demons, and it took me half an hour to figure out who they were. The CGI is extravagantly overused, on the level of a good computer game, but totally unrealistic in the context of a film. Talking plants, men with eyeballs in their forehead, fighting babies, the film has it all... and I wish it had a lot less.

Worst of all, the film ends on a cliff-hanger, as a battle is about to begin. Will there be a sequel? "League of Gods" was made in 2016, and there is still no mention of a sequel being made. Maybe a sequel was planned, but it was cancelled due to the justifiably poor performance at the box office. This is a film that I wish I had never watched.

Success Rate:  - 0.9

Kiss of the Dragon (3½ Stars)

Liu-Jan (Jet Li) is a Chinese police man sent to Paris to help the French police arrest a Chinese drug dealer. The French police chief kills the drug dealer and frames Liu-Jan. While on the run he meets a prostitute, Jessica (Bridget Fonda), whose daughter is being held hostage by the police chief to force her to work for him.

First the plus: Jet Li is always an excellent martial artist, and the fight scenes in this film don't disappoint. The most spectacular scene is when he enters a police station, alone and unarmed, and fights his way through. He's unfortunate enough to walk into a police karate training room. Do they really have them in police stations?

Then the minus: After watching the film I have no idea why the police chief killed the drug dealer. What did he have to gain from it? There are possible explanations, but if I named them it would just be speculation. The film itself doesn't tell us his motivation.

I was also disappointed with Bridget Fonda's role in the film. In films like this the two people aid one another in a common goal. In "Kiss of the Dragon" the prostitute does very little for Liu-Jan. She can testify against the police chief, but Liu-Jan already has a videotape with enough evidence to do without her.

Overall, this is a pleasant film, but far below the quality of Jet Li's Chinese films.

Success Rate:  + 0.6

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I've had my first feedback on my "Success Rate" for films. It took a while. I've been adding it to my film reviews, if available, for almost 12 months. Maybe nobody noticed it.

There was a complaint about the ratings of two films, "Avengers: Age of Ultron" (+1.2) and "Happy Death Day" (+23.5). "You can't possibly be saying that Happy Death Day was twenty times as successful as Age Of Ultron?"

My success rate is purely proportional, based on the return from the money invested. I could pick more extreme examples. "Titanic" has a success rate of only +8.9, whereas "Supervixens" has a success rate of +168.

Let's take the following examples.

Film 1 has a budget of $1 million dollars and earns $10 million at the box office.
Film 2 has a budget of $10 million dollars and earns $100 million at the box office.

Both of these films have the same success rate, +8.0, but people would intuitively say that the second film is more successful. I see the problem. My proportional rating system is a disadvantage for successful big budget films. On the other hand, I like the way it shows that films like "Supervixens" made a lot of money, relative to their budget. A rating system that simply says how many millions a film has earned would lose that.

The best alternative would be some sort of combination between proportional and absolute income. I could give a film 0.1 points per million dollars earned to give an absolute score, then take the average of the two scores; or I could calculate both scores, then use the larger of the two scores. I don't know. I have all the films I've rated so far in a spreadsheet, so I can play around with different calculation methods until I get results that seem realistic. Until then I'll stick with my proportional rating.

Fearless (5 Stars)

Today I watched the theatrical cut of "Fearless". It's a good film, it's a very good film, but it's not up to the quality of the director's cut. In future I'll make sure that I only watch the director's cut.

Maybe it's wrong to call the longer version the director's cut. It's actually the original version that the director Ronny Yu presented to the film studio for release. The told him that 140 minutes was too long – really? – so he reduced it to 100 minutes. This is inexcusable.

The film tells the true story of Huo Yuanjia, a martial artist who lived from 1868 to 1910. It's possible that the film has been over-dramatised, making it far distanced from the truth. I've read that a grandson of Huo Yuanjia attempted unsuccessfully to stop the film's release. All I can say, as someone who had no previous knowledge of this person before watching the film, is that I have a great respect for him based on what I've seen. That should be enough to satisfy the grandson.

The film shows a mighty fighter who was guilty of pride and arrogance. After the death of his mother and his daughter he withdrew from fighting, and he returned after "many years" as a different man. Rather than wanting to promote himself, his new attitude was to bring honour back to China. As such he became a true Chinese hero.

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The Mummy: Tomb of the Dragon Emperor (4½ Stars)

I almost gave this film five stars. The action is breathtakingly fast for most of the film. I love the blending of Chinese and Egyptian culture displayed by Imhotep's Club in Shanghai. The martial arts action is subdued, but whenever it breaks out it's amazing. It's definitely more thrilling than "Indiana Jones and the Temple of Doom", which it resembles in many ways. So what's the problem? It's simple. There's no Rachel Weisz. Rick O'Connell's wife Evelyn is played by a different actress.

Supposedly Rachel Weisz decided not to appear in the film because of "problems with the script". That's her prerogative, I suppose. No actor or actress is ever compelled to take part in her film. So what should have been done?

1. The problems could have been addressed, and the screenwriter could have been asked if a partial rewrite was possible.

2. Failing that, Rachel Weisz could have been offered more money.

3. Failing that, a forced rewrite would have to take place. Evelyn O'Connell should have been written out of the film. She could have been dead and replaced by a new wife.

The worst possible solution was to replace her with a new actress. It spoils the credibility of the film. It might have been acceptable, barely acceptable, to pick an actress who looked similar and talked similar, giving her a minimum of screen time. That's not what happened. The new director, Rob Cohen, completely messed it up. Not only did he pick a new actress, Maria Bello, who looked nothing like Rachel Weisz; he allowed her to act in a way that gave her a completely different personality. She's a different character in every aspect except for her name.

Let this be a lesson for all other film directors in future. However good your film might be, you'll never earn a full five star rating from me unless you get the casting right.

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Romeo must die (3½ Stars)

"Romeo must die" is notable for two things. It was the first film made by the R&B singer Aaliyah. It was also the first starring role for Jet Li in an American film. He had previously had a minor role in "Lethal Weapon 4", which impressed the producer Joe Silver so much that he promised him a part in his next film.

The film's title refers to Shakespeare's "Romeo and Juliet". There are two gangs in the middle of a war in Oakland, California. Han Sing (Jet Li) is the son of the boss of the Chinese gang, while Trish O'Day (Aaliyah) is the daughter of the boss of the black gang. Han is actually a Hong Kong policeman, not a member of his father's gang, but someone has killed Han's brother and Han is determined to get revenge.

I wish I could give the film a higher rating. Jet Li's fight scenes are amazing, and whenever he shares screen time with Aaliyah the passion is smouldering, her serious attitude clashing with his boyish humour, but the film overall seems like a cheap made-for-television movie. Both gangs are stereotypes of Chinese and African American cultures, and the characters have no depth.

The film poster draws a connection with "The Matrix". Ironically, Jet Li and Aaliyah were both offered roles in "The Matrix Reloaded". Jet Li was offered the role of Seraph, but he felt that he was overqualified for the role. That might sound like arrogance, but I understand it from his point of view. "The Matrix" is full of fake fighting by actors without martial arts skills. It's true that the fight scenes are spectacular, due to excellent choreographing and the injection of stunt men wherever necessary, but the fighting is still fake. Jet Li is the most skilled martial arts expert among actors today, holding black belts in several different fighting styles.

Aaliyah was due to play Zee in "The Matrix Reloaded", but the role had to be recast after her death in 2001.

I wonder if the photographer asked Aaliyah to crouch in the publicity photo for "Romeo must die". She was actually taller than Jet Li. He's only 5'5" tall, but don't call him Shorty. You'll regret it.

Despite my criticism of the film, I'm glad that I saw it. Before "Romeo must die" I had never heard of Jet Li. After watching it I started buying his previous Chinese films on DVD. Since 2000 he has been making films both in China and America. I'm sure he earns more money in Hollywood, but from an artistic point of view his Chinese films are better.

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