Author: Stan

Today’s quick review: 14 Blades. As the leader of the Jinyiwei, the Ming Emperor’s secret guards, Qinglong (Donnie Yen) carries out the Emperor’s will outside the law. While on a mission, Qingling is ambushed, his men are killed, and the Imperial Seal is stolen by Tuo Tuo (Kate Tsui), the daughter of the treasonous Prince Qing (Sammo Hung). To get the seal back, Qinglong must rely on the help of Qiao Hua (Wei Zhao), the duaghter of a humble bodyguard.

14 Blades is a martial arts action movie about an elite warrior who must atone for his failure by preventing a coup. Inventive action, a touch of fantasy, and a sprawling plot are the movie’s main draws. However, 14 Blades does not quite manage to follow through on its promises. The fights are more flashy than satisfying, and the plot lacks focus. The result is a modestly entertaining watch that doesn’t stand out from the crowd.

14 Blades’ greatest successes and greatest failures have to do with its action. The fights involve swords, crossbows, and a variety of weaponry. Wire stunts and a dash of CGI help them feel larger-than-life. But the busy visual style of the action makes it hard to invest in. 14 Blades throws out camera tricks and special effects blithely. As such, the action has a fair amount of spectacle but lacks artistry and precision.

As for its story, 14 Blades is a shade more complex than is truly necessary. The conspiracy against the Emperor is a sprawling affair, involving a stolen seal, a corrupt councilor (Law Kar-Ying), a traitorous general (Qi Yu Wu), a desert bandit (Chun Wu), and a fortune in gold. The individual elements are all fine, but the story does not have the dramatic chops to make them all worthwhile. The plot ends up being decent but overblown.

14 Blades is a reasonable pick if you’re in the mood for some action but don’t need to be impressed. It offers enough in the way of fighting to please fans of the genre, while its plot handles the basics well in spite of its frills. But those looking for sharper action, better thrills, or a more focused story would be better off looking elsewhere.

For a martial arts action movie that makes better use of wire stunts, try Crouching Tiger, Hidden Dragon or Hero. For an action movie set in historical Asia with even more explicit fantasy, try 47 Ronin or The Great Wall.

6.4 out of 10 on IMDB. I give it a 6.0 to 6.5 for mixed execution of both its action and plot.

Today’s quick review: Kickboxer: Retaliation. Eighteen months after defeating Tong Po and avenging his brother, kickboxer Kurt Sloane (Alain Moussi) is kidnapped and taken to a Thai prison, where fight promoter Thomas Moore (Christopher Lambert) forces him to fight his champion (Hafthor Bjornsson). Kurt must train with his old master Durand (Jean-Claude Van Damme) and fellow prisoner Briggs (Mike Tyson) to stand any chance against the behemoth.

Kickboxer: Retaliation is a martial arts action movie and the sequel to Kickboxer: Vengeance. The sequel picks up months after the first film left off as Kurt is hauled back to Thailand and forced to fight by a bloodthirsty promoter. Decent stunt work and a couple of familiar faces make Retaliation a credible attempt at an action flick. But poor storytelling, shaky direction, and mediocre fights overall keep the film from gaining any traction.

Kickboxer: Retaliation puts the bulk of its effort into its action scenes but only gets mixed results. The stunts themselves are fine: big hits dished out by trained fighters and embellished for the screen. But the fights don’t carry much tension. Kurt either decimates his opponents or gets flattened in return, and the injuries he receives don’t carry much weight. Overly busy camerawork also distracts from the otherwise adequate stunts.

Nor does Kickboxer: Retaliation have much in the way of story. At its core, the movie is the plain but workable tale of a reluctant warrior forced to fight for his life against a superior opponent. But the plot doesn’t flow nearly as well as it should. What should be a simple progression from start to finish is bent out of shape by spurious plot elements, a needlessly large supporting cast, and scenes whose logic is unclear.

The film’s biggest draw ends up being its supporting cast. Jean-Claude Van Damme, Mike Tyson, and Christopher Lambert lend Retaliation a certain type of star power. While none of their performances are exactly compelling, they do give the movie a touch of goofy charm. But Retaliation never figures out how to capitalize on these lighter moments. The tone remains fundamentally serious, but the film lacks the craftsmanship to make its drama stick.

Watch Kickboxer: Retaliation only if you’re a fan of the budget side of the action genre. Retaliation holds modest entertainment value for the right viewer, but its many shortcomings when it comes to story, character, and even action mean that most viewers would be better off skipping it. For a somewhat better take on the same character, try the original Van Damme version of Kickboxer. For an underdog story with more heart, try Rocky.

5.0 out of 10 on IMDB. I give it a 5.5 for decent action held back by a weak story and poor execution overall.

Today’s quick review: Kickboxer. When American kickboxing champion Eric Sloane (Dennis Alexio) is paralyzed in a fight by Thai champion Tong Po (Michel Qissi), his brother Kurt (Jean-Claude Van Damme) swears revenge. To stand a chance at defeating Tong Po, Kurt must train with Xian (Dennis Chan), a reclusive master, in the art of Muay Thai. But even with his newfound prowess, Kurt faces a formidable challenge that could cost him his life.

Kickboxer is a martial arts action movie about a young fighter’s quest for revenge. Set in Thailand, Kickboxer showcases the martial art of Muay Thai and its powerful kicks. The movie sticks with a straightforward story: Kurt trains intensely for his fight against Tong Po and vies against Tong Po’s dirty tactics in and out of the ring. Remarkable athletics and decent overall execution are enough to make Kickboxer a fine but unexceptional pick.

Kickboxer is at its best when Kurt is training. The techniques Xian uses to build him up into a fighter are varied and interesting, and they give Jean-Claude Van Damme ample opportunity to show off his strength. The fights themselves are a mixed bag. Their solid hits and impressive feats of athleticism will appeal to action fans, but they lack the speed, frequency, and imagination of other martial arts films.

Kickboxer does miss an opportunity with its characters and story. Kurt, Xian, and the other are likable but not especially memorable, enough to make the movie pleasant but not enough to make it moving. The story is single-minded in its focus on the conflict with Tong Po. There are a few diversions, such as Kurt’s romance with Mylee (Rochelle Ashana), but otherwise the plot is a straight shot from Eric’s paralysis to Kurt’s climactic fight.

Watch Kickboxer when you’re in the mood for a bit of action rooted in a particular martial arts tradition. Kickboxer does not offer anything special in terms of story, but its solid stunts, serviceable story, and a good mixture of levity and drama make it a worthwhile watch for fans of the genre. Steer clear if you’re looking for brilliance on either the action or the story sides.

For a remake with a less compelling story and shakier execution, try Kickboxer: Vengeance. For a more aggressive, action-packed use of Muay Thai, try The Protector. For another underdog story about training to fight, try Rocky. For a much darker crime drama set in Thailand, try Only God Forgives.

6.4 out of 10 on IMDB. I give it a 6.5 for shallow but satisfying action.

Today’s quick review: The Final Master. To earn permission to open a martial arts school in Tianjin and pass down the secrets of Wing Chun, Master Chen Shi (Liao Fan) must train an apprentice to defeat the champions of eight other schools. Chen picks Geng Liangchen (Song Yang), a street laborer, and turns him into a formidable warrior. But the politics of the situation mean that Chen may have to sacrifice his apprentice to open his school.

The Final Master is a martial arts drama set in 1930s Tianjin, a transitional period for the city’s martial arts schools. The Final Master charts one outsider’s attempts to open a school of his own in the face of opposition from the city’s reigning masters. Knife-based action, Chen’s delicate scheme, and political maneuvering in a historical setting help carve out a niche for the film. However, its complexity and presentation style hurt it as a story.

The Final Master is a rarity: a film that focuses on plot just as much as it does on action. The fights are sharp, well-choreographed, and plentiful, impressive displays of Chen and Geng’s prowess with knives against a wide variety of foes. The plot dives into the byzantine politics of the martial arts schools in 1930s Tianjin. Chen must go to great lengths to establish his school, and even then, he’s buffeted by forces beyond his control.

But The Final Master can also be too slick for its own good. The plot is woven out of numerous threads, each one with nuances that are easy to miss. Knowing just what is going on means keeping careful track of the characters, their motivations, and the ever-changing rules of the game they’re playing. Likewise the action can be hard to follow on several occasions when it hides information for dramatic effect.

Still, these aren’t major hurdles for viewers who are willing to put in the effort or those who are simply in it for the action. For the right viewer, The Final Master is a solidly constructed watch with a nice balance of spectacle and intrigue. Fans of the dramatic side of the martial arts genre will want to give it a shot. Steer clear if you’re looking for a story that’s happy or simple.

For a historical martial arts movie about the popularization of Wing Chun, try Ip Man. For a more biographical martial arts drama, try Fearless.

7.0 out of 10 on IMDB. I give it a 6.5 to 7.0 for strong stunt work and an interesting plot, hurt somewhat by the way its story is executed.

Today’s quick review: Blind Detective. Johnston (Andy Lau) is a blind detective who makes his living solving cold cases the police won’t touch. After seeing him in action, Ho (Sammi Cheng), a fine police officer but a poor detective, recognizes his skill and asks to apprentice with him. The pair tackle case after case and soon develop a rapport. But the one case they can’t crack is a personal one: tracking down Ho’s missing childhood friend.

Blind Detective is a crime comedy about a crafty detective and his eager apprentice. The movie follows the two as they work through Johnston’s backlog of cases, with the ultimate goals of getting paid and finding a long-lost friend, respectively. Light comedy, a pair of charming leads, and a unique dynamic between them all make Blind Detective an enjoyable watch. However, the movie’s odd tone and insubstantial plot may hurt it for some viewers.

The heart of Blind Detective is the comedy duo of Johnston and Ho. Johnston is a keen detective but an opportunistic, irritable person. He takes full advantage of Ho’s hospitality and eagerness to please. For her part, Ho is tenacious, earnest, and a good sport about Johnston’s impositions. The two settle into a peculiar but amusing rhythm as they act out murders, track down thin leads, and gradually come to depend on one another.

One byproduct of this setup is an odd balance between levity and gravity. The crimes Johnston and Ho investigate are often gruesome, and their manic reenactments of them skirt the line between farcical and serious. Yet the tone of the movie as a whole is light, even flippant. The result is a movie that occasionally borders on the macabre where its comedic presentation and dramatic subject matter clash.

Watch Blind Detective when you’re in the mood for an inventive comedy that doesn’t take itself too seriously. The offbeat, energetic relationship between Johnston and Ho gives it just enough comedy to work with, while its array of cold cases lets the film drop them into a variety of puzzling situations. Steer clear if you’re looking for a comedy that has a more focused plot.

6.5 out of 10 on IMDB. I give it a 6.5 to 7.0 for fun, character-driven comedy without much substance.

Today’s quick review: Man of Tai Chi. Tiger Chen (Chen Hu), the last student of an ancient style of tai chi, aims to popularize his master’s teachings by using them to fight, rather than as just a physical or spiritual exercise. His skill in the ring draws the attention of Mark Donaka (Keanu Reeves), who recruits him to fight in an underground ring where there are no rules. But as Chen grows into a cutthroat warrior, he loses sight of who he is.

Man of Tai Chi is a martial arts action movie about a young martial artist who must choose between the humble, patient teachings of his master and the thrill of battle. Man of Tai Chi sports skillful martial arts action wrapped around a tidy plot that taps into the ethos of competition. Fast-paced stunts, a good sense of tension, and a satisfying plot make the movie a worthy entry into the genre.

Man of Tai Chi promises action, and it delivers. The fights are evenly matched and nicely varied. Chen has a slight edge due to his skill, but Donaka pits him against a series of opponents with different fighting styles who test his mettle and his ability to react under pressure. The stunts are fast and precise, and the inability of Chen to gain a decisive advantage in his fights ensures that the action feels tense and consequential.

As far as story goes, Man of Tai Chi is a basic but competently executed tale of corruption. Chen fights for Donaka both for the money he needs to save his master’s temple and to prove himself in the ring. But his growing bloodlust takes him closer and closer to Donaka’s ultimate goal for him: to have him kill in the ring. The story never rises to the level of deep or timeless drama, but it’s enough to drive the action and make it meaningful.

Still, there are areas where Man of Tai Chi could have gone farther. Tiger Chen is a neutral protagonist, a calm, stoic young man who never quite earns the audience’s sympathy. Mark Donaka makes for a suitably menacing villain, but he’s missing the grandiosity needed to tie his character together. Likewise, the plot is well-structured overall but passes up the opportunity for a more climactic final showdown.

Watch Man of Tai Chi when you’re in the mood for an action movie with a serious tone and genuine martial arts skill. The movie doesn’t offer much beyond its stunts and a fairly standard story, but its competent execution of both make it a worthwhile watch for fans of the genre. For a movie with a similar premise and less satisfying execution, try Kickboxer: Vengeance or Lady Bloodfight. For a historical martial arts drama, try Ip Man or Fearless.

6.1 out of 10 on IMDB. I give it a 6.5 to 7.0 for strong action and a decent story.

Today’s quick review: Die Fighting. After years of honing their martial arts skills in Hong Kong, Fabien Garcia (Fabien Garcia) and the rest of the Z Team (Jess Allen, Laurent “Lohan” Buson, and Didier Buson) try to break into Hollywood. Their best attempts come up short until an anonymous filmmaker drags them into a movie of his own. Kidnapping Fabien’s girlfriend, he forces the stuntmen through a gauntlet of real fights for the camera.

Die Fighting is a budget martial arts action movie about an aspiring stunt team thrust into a real life-or-death situation. The premise is a thinly veiled excuse for the Z Team to show off their martial arts prowess. The plot is next to nonexistent, a series of arbitrary fights dictated by the filmmaker. The acting is amateurish, and the direction is adequate but noticeably flawed. As a story, Die Fighting brings little to the table.

The film’s one saving grace is its stunt work. The Z Team has genuine skill at martial arts, and the movie gives them ample opportunity to showcase it. The fights are fast, crisp, and packed with athletic feats. However, the film fails to make the most of its fighters’ talent. The fights never show much creativity, taking place in the same types of locations with the same thin justifications and a bare minimum of props to vary things up.

Die Fighting makes for a decent popcorn watch if you’re amenable to budget movies and in the mood for some mindless action. Even if its stunts aren’t put to the best use, they are impressive enough on their own to entertain. But anyone looking for anything close to the full movie experience will be disappointed. Most viewers will be better off with one of the many other films in the action or martial arts genres.

For a similar flavor of martial arts action, try the work of Jet Li. For a violent martial arts movie that makes much more out of a similarly limited premise, try The Raid: Redemption. For a death match between assassins with more variety and a slightly bigger budget, try The Tournament. For a more outrageous, tongue-in-cheek action movie about a man forced to commit crimes, try Crank.

4.8 out of 10 on IMDB. I give it a 5.5 for strong stunt work held back by poor execution of almost everything else.

“You know how I love money.” —Frank

Today’s quick review: King of New York. Freshly released from prison, crime kingpin Frank White (Christopher Walken) sets about reestablishing himself at the top of New York’s food chain. With the help of his right-hand man Jimmy Jump (Laurence Fishburne), Frank eliminates the competition and corners the city’s drug trade. But he soon runs up against two zealous cops (David Caruso and Wesley Snipes) who will stop at nothing to bring him down.

King of New York is a crime drama about an ambitious criminal’s rise to power. King of New York charts Frank’s return from prison, his battles with his rivals, and his escalating struggle with a pair of cops who are less concerned with the law than with revenge. The movie features a star-studded cast, a promising character in Frank White, and plenty of conflict, but it lacks the character and story depth needed to make the most of its potential.

King of New York depends heavily on the figure of Frank White. Frank is a ruthless criminal who uses daring moves to expand his organization, and Christopher Walken gives the role just the cold charisma that it needs. Yet Frank does not have the depth that he could have. He’s driven by naked ambition; his only sympathetic trait is a mistaken belief in his own legitimacy. The audience doesn’t have a compelling reason to invest in his journey.

Even so, King of New York gets the basics right. Frank’s moves against his enemies are bold and decisive, though they tend to be more blunt than clever. The police act as a wildcard, threatening to throw his plans into disarray. The cast has a few familiar faces, and they’re all in fine form, especially Christopher Walken and Laurence Fishburne. King of New York doesn’t excel at anything in particular, but it delivers what crime fans want.

Check out King of New York if you’re a fan of the crime genre looking for something dark to chew on. Frank’s rise to power and the film’s talented cast are enough to make it a decent watch in spite of some issues with his character. How much you get out of it will depend on what you’re looking for. Those who want a criminal power struggle will get what they’re hoping for. Those hoping for a moving character arc may want to skip it.

For a more dramatic rise to the top of the criminal heap, try Scarface. For a crime drama with a more nuanced protagonist, try Kill the Irishman or Donnie Brasco. For a more darkly comedic use of Christopher Walken, try Suicide Kings.

7.0 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid execution hurt somewhat by the way it uses its lead.

Today’s quick review: The Way of the Gun. Seizing an opportunity, Parker (Ryan Phillippe) and Longbaugh (Benicio del Toro) kidnap Robin (Juliette Lewis), a surrogate mother for a wealthy couple, and demand $15 million in ransom. But their plan goes awry when the girl’s bodyguards (Taye Diggs and Nicky Katt) put up an unexpected fight and the child’s father (Scott Wilson) calls in a dangerous fixer (James Caan) to clean up the situation.

The Way of the Gun is a crime drama with a wry tone and a tangled plot. Parker and Longbaugh are forced to think on their feet when what should be a simple ransom demand spirals way out of control. The Way of the Gun is a sharply written film that’s tense, unpredictable, and darkly amusing. The plot is a chaotic medley of improvisation by all the parties involved, and its twists and turns mean that there’s always something interesting to come.

The Way of the Gun excels at turning simple situations into something more. Even basic exchanges of information are fraught with peril, while the hidden motives of several of the parties involved throw a wrench in even the keenest plans. Parker and Longbaugh are excellent together, navigating the ever-shifting situation with skill and creativity. But the others are just as sharp, turning the kidnapping into an extended battle of wits.

The Way of the Gun backs this impressive plot with solid fundamentals. The cast includes a few familiar faces and boasts quality performances all around. The dialogue can be captivating when it wants to be, with musings on the nature of life and how to navigate it. The gunfights are long, noisy, and packed with the same creative thinking seen in the story beats. The movie as a whole is crafted with a fair amount of skill.

The Way of the Gun will not be for everyone. Parker and Longbaugh are fascinating characters but terrible people, showing only the faintest stirrings of conscience for their many crimes. The film’s sprawling cast and countless plot threads require persistence to keep track of. The violence, the mayhem, and the cynical outlook on life expressed by most of the characters will not sit well with certain viewers.

But those who enjoy convoluted plots, don’t mind a story with vacuous morality, and are looking for something offbeat will want to give The Way of the Gun a shot. The quality of its acting and writing, not to mention its creativity, makes it an excellent pick for the right viewer. Steer clear if you’re looking for something light or simple.

For a darkly comedic kidnapping scheme, try Suicide Kings. For a minimalistic crime drama with a similar focus on plot, try Blood Simple. For an even more bloody, morally grey crime drama with a Western vibe, try No Country For Old Men or Sicario. For a crime comedy with a similar style of plot, try Snatch or Lock, Stock, and Two Smoking Barrels.

6.7 out of 10 on IMDB. I give it a 7.0 to 7.5 for an excellent plot and crisp action.

Today’s quick review: The Kingdom. Following a devastating terrorist attack on an American base in Saudi Arabia, FBI agent Ronald Fleury (Jamie Foxx) takes his team—Janet Mayes (Jennifer Garner), Adam Leavitt (Jason Bateman), and Grant Sykes (Chris Cooper)—to Riyadh to investigate. There the Americans must cooperate with Colonel Faris Al Ghazi (Ashraf Barhom) to solve the crime while facing political pressure from both countries to go home.

The Kingdom is a crime thriller about an FBI team hunting for the terrorists responsible for an attack on US citizens in Saudi Arabia. The Kingdom takes a close look at the logistics of a terrorist investigation and the complexity of US-Saudi relations. This dry, realistic foundation supports the rest of the story: a solid race against time that features a strong dramatic lineup, a decent story, and a smattering of action.

The Kingdom mainly concerns itself with the details of the investigation, which shows off the specialities of Fleury and his team quite nicely. The political dimension also gets plenty of play. Fleury and his team are unwelcome guests in a foreign country, and they must fight for ever scrap of evidence so they can bring the killers to justice. Capping it all off is a couple of tense, crisp action scenes that serve as the film’s payoff.

The downside to the film’s grounded drama is that there isn’t much room for anything outside of the investigation. The characters are credible and acted well, but their personal arcs are minimal. Nor does the plot have much in the way of mystery for the audience; which specific terrorist was behind the attack only matters to the characters. Likewise, there’s only enough action to punctuate the movie, not to carry it.

Still, The Kingdom’s solid craftsmanship and unusually realistic treatment of its subject matter make it a good pick for anyone who’s interested in the premise. However, it won’t be a perfect fan for devoted action fans or those who prefer escapist movies. For another dramatic thriller about Middle Eastern politics, try Traitor or Body of Lies. For a similarly grounded look at the drug trade, try Traffic.

7.0 out of 10 on IMDB. I give it the same for high overall execution quality, but without the personal touch needed to go farther.