Fantasia ’22: Demigod, the Legend Begins

Instead of wire-fu, this martial arts epic uses glove-fu and CGI animation. The art of Budaixi, Chinese glove puppetry, is alive and well in Taiwan, where Pili Puppetry has been a television hit since the mid-1980s. It turns out some of the world’s best wuxia comes from the independent nation of Taiwan. Su Huan-jen is one of its great heroes. Fans get his stand-alone origin story in Huang Wen-Chang’s Demigod: The Legends, which screened during the 2022 Fantasia International Film Festival.

As the film opens, Su Huan-jen is still young and slightly irresponsible. Yet, he still manages to help a big Wookie-like animist god win his battle against his more reptilian rival. Su is already deeply in debt to library, so he jumps at the chance to heal its patron, the Lord of Globe Castle. Unfortunately, this provides a perfect opportunity to frame the young apprentice for the Lord’s murder.

The Lord’s adopted son knows Su didn’t do it. The Princess isn’t so sure, but the Lord’s sinister brother is thrilled to finally have access to the book of cosmic knowledge Su had been searching for. All the chaos is an open invitation for rival Lord of the Evil Kingdom to invade, so Su will have a real war on his hands.

Huang really is one of the best martial arts filmmakers working today. He just works with puppets rather people. Screenwriters Huang Liang-hsun and He Yuan-yu give us a story worthy of vintage Shaw Brothers, if they could have afforded the giant kaiju special effects. Demigod even manages to surprise us with a couple twists. The sets, costumes, and design work are spectacular, especially the library. Of course, the puppetry martial arts are totally cool. That’s what the Huang family does best.

Zhang Yimou’s Shadow

Commander Yu of the Pei Kingdom is a bit like Field Marshal “Monty” Montgomery (and Saddam Hussein). He uses a double. “Use” really is the right word. The Machiavellian Yu will exploit his other self while openly defying his king in Zhang Yimou’s masterwork Shadow, which opens tomorrow in New York.

The Kingdoms of Pei and Yang have struck an uneasy alliance, but the latter enjoys the stronger position, because they hold the strategically important city of Jingzhou. That does not sit well with a fervent Pei nationalist like Yu, but the cruel and cowardly king has dug in his heels. Rather than challenge Yang’s claim to the city, he will instead sacrifice his beloved sister as a marriage offering. However, Yu upsets his plans by having his “shadow,” the peasant-born Jing, challenge Yang’s legendary commander, Yang Cang, to a mano-a-mano for-all-the-marbles duel.

Of course, this enrages the Pei King, who is all too willing to rule as a de facto vassal of Yang, as long as his authority is obsequiously respected. Meanwhile, Jing develops free-agent inclinations of his own. The only ally Yu can fully count on is his wife (only referred to as “Madam”), whose loyalty is unconditional, even though her romantic affections are starting to shift to Jing.

Shadow was relatively unheralded before its Western festival debut, but it ranks up there with Zhang’s finest wuxia epics, which is saying something. Without question, it is one of his most visually stunning films, clearly inspired by Chinese ink-wash and charcoal drawings. Technically, this is still a color film, but Zhang largely utilizes an austere but striking color palette of blacks, whites, and grays.

The big martial arts set pieces are equally amazing to behold, if not more so. The umbrella fighting techniques practiced by Yu (played by Jing) might sound eccentric, but they are lethally cinematic. The same is true of the epic-worthy set design, including the awe-inspiring Ying-Yang battle platform.

Deng Cao truly covers the waterfront in the dual role of Jing and Yu.  He chews plenty of scenery as both hero and villain, but he also shows off his tremendous action chops. Zheng Kai is spectacularly slimy and downright odious as the King, while Hu Jun is gruff but dignified as General Yang. However, it is Sun Li who truly grounds the film as the noble, long-suffering Madam Yu.

The imagery is arresting, the fight scenes are super-charged, and the drama is the stuff of classic high tragedy. Taken altogether, Shadow makes the case for Wuxia as the ultimate artistic flowering of action cinema. It is a great film from a master filmmaker. Very highly recommended, Shadow opens tomorrow (5/3) in New York, at the IFC Center and the Landmark 57.

The Thousand Faces of Dunjia: Cosmic Wuxia from the Pen of Tsui Hark

The power of Dunjia, whatever that is, trumps “The Force” every time. That is why the secret Wuyinmen clan needs it. Like a cross between the Men in Black and The Four, the Wuyinmen have sworn to defend their wuxia world from evil alien monsters, but their strength has been depleted. Ironically, they might get a mojo infusion from an unlikely source when signs indicate a shapeshifting monster is destined to be their new leader in Yuen Woo-ping’s The Thousand Faces of Dunjia (trailer here), written and produced by Tsui Hark, which opens this Friday in New York.

Rookie constable Dao Yichang is honest, but not very bright. That is two strikes against him, but he keeps plugging away. Several times, he stumbles across Iron Dragonfly of the Wuyinmen Clan as she pursues monsters in human guise, but she gives him the MIB forgetfulness treatment before he can ask too many questions. Still, she kinds of likes the lug, so when he is seriously injured in an unearthly melee, she tends to his decapitated limbs (don’t worry, they’ll grow back eventually).

Thus far, Xiao Yuan has yet to bring out similarly nurturing instincts in her. Due to prophesy mumbo jumbo, the clan’s “big brother” and her ambiguously Tracy-and-Hepburn-esque comrade Zhuge Qingyun are convinced she is destined to be the next Wuyinmen leader, but Iron Dragonfly is skeptical. Regardless, they need to find a way to tap into the power of Dunjia to defeat the underworld demigods and space monsters conspiring against the human world.

In some ways, Thousand Faces could be considered the ultimate Tsui Hark film, because he gives absolute free reign to his cosmic flights of fantasy. It makes his Journey to the West franchise look gritty and grounded. Consider the climatic “hand of Buddha” scene from Conquering the Demons as its starting baseline. If you can explain just what Dunjia is, you’re way ahead of the game. Near as we can tell, it combines elements of yin & yang, Qi, the Force, and a double espresso.

Regardless, there is plenty of fighting to be done, often against Earth-shattering foes. Fortunately, that plays to the strengths of Yuen, the fight choreographer of Crouching Tiger, Hidden Dragon and the Matrix trilogy, as well as the director of Netflix’s Crouching Tiger sequel. He has a talent for coordinating gravity-defying moves and colossal set pieces, even if they don’t always make a lot of sense, strictly speaking.

Aarif Lee probably gives his most assured performance yet as the resilient Constable Dao. Wu Bai is massively steely and cool looking as the interim Wuyinmen boss, while Zhou Dongyu is ridiculously sweet and vulnerable as Xiao Yuan in human form. However, Ni Ni totally owns the film as the heroic but acid-tongued Iron Dragonfly. Few wuxia protagonists can match her cutting attitude.

Obviously, Thousand Faces was conceived as a franchise, because the final scene totally sets up the next film. Frankly, it is funnier than most Marvel stingers, so it should leave fans primed for more. In fact, by the time we reach the epilogue, we come to rather like this unruly band of near-superheroes. Recommended for fans of high-flying, fantastical wuxia action, The Thousand Faces of Dunjia opens this Friday (12/15) in New York, at the AMC Loews 34^th Street.

Brotherhood of Blades 2: The Infernal Battlefield

Everyone hates the Jinyiwei Imperial Guard (assassins), a.k.a. the Northern Bureau. Nobody better understands why than Shen Lian. He has done things he is not proud and witnessed worse. His two former cronies are currently unaccounted for, so he will have to navigate another murky conspiracy largely on his own in Lu Yang’s Brotherhood of Blades 2: The Infernal Battlefield (trailer here), which opens this Friday in New York.

Shen Lian does not have many friends, so it really irks him when he loses one to in-fighting with the rival Eastern Bureau agency. It seems they really do not want him investigating the murder of a government official who was responsible for inspecting the Emperor’s dragonboat, right before it sank. The Emperor was rescued just in time, but getting waterlogged did not do his delicate constitution any favors.

Thanks to his many sins, Shen has amassed a small collection of Bei Zai’s paintings, because his Buddhist monastery of choice gives them as gifts in gratitude of large donations, sort of like PBS tote-bags. Unfortunately, Bei Zai also happens to be a dissident painter, known for including sly commentary in her work. Even more inconveniently, she is deeply involved in a conspiracy against the Stephen Bannon-Harry Hopkins-like eunuch Wei Zhongxian, the real oppressive power behind the throne.

Consequently, the Jinyiwei captain is deeply conflicted when he is dispatched to dispatch her, especially when he sees she is played by Yang Mi. Despite his better judgment, he ends up killing his fellow officer instead. Of course, that really lands him in the soup when he learns the creep was Wei’s godson. He will continue to protect her, even when her co-conspirators blackmail him to commit treasonous acts, which he feels rather ambivalent about. Frankly, it is his survival instinct and a possible love for Bei Zai that will drive his decisions.

The first Brotherhood was a solid period action film, but the second is even stronger, ironically because it ditches the brotherhood and focuses on Shen Lian, partly making him out to be a Yojimbo-esque free agent and partly a High Noon-style lone wolf. Still, there are very definitely themes of Esprit De Corps and solidarity, especially with respect to Shen’s complicated relationship with his commander, Lu Wenzhao.

Once again, viewers will enjoy some nifty hack-and-slash action in Blades 2, but the relationships and intrigue really make it dance and sing. In addition to the awkward romance, Shen forges an unlikely alliance with Captain Pei Lun of the Southern Bureau, who was originally assigned to investigate him, which becomes the stuff of wuxia gold.

Returning as Shen, Chen Chang really ups the ante this time around. He still broods like a monster, but he also starts to lose his cool rather spectacularly. He also develops terrific chemistry with Yang Mi and Lei Jiayin as his unlikely allies, Bai Zai and Pei Lun. Zhang Yi is delightfully roguish and Machiavellian as Lu Wenzhao, while Xin Zhilei shows some impressive moves as Ding Baiying, the conspiracy’s liaison to Shen Lian, who is quite lethal with a blade.

Like any good franchise, Blades 2 has a stinger that teases a further sequel. In this case, it promises some rather baffling turn-of-events, but we’ll take it anyway, because the second is so much fun. It manages to be simultaneously tragic and action-packed, as well as cynical and sentimental, like all the finest wuxia films (and you can easily walk into it without having seen the prior film). Enormously satisfying, Brotherhood of Blades 2: The Infernal Battlefield opens this Friday (12/1) in New York, at the AMC Empire.

Derek Yee’s Sword Master

What happens when a supporting character hijacks a film away from the protagonist? It almost necessarily feels slightly unbalanced, but there is sure to be a lot of cool stuff going on. In this case, the director might have had a been-there-done-that attitude towards the central hero, because he has. In 1977 Derek Yee broke out to superstardom playing the so-called Third Master in the Shaw Brothers’ classic, Death Duel. Now he re-interprets Gu Long’s source novel as the director and co-screenwriter of Sword Master (trailer here), produced and co-written by Tsui Hark, which opens this Friday in New York.

Dreaded swordsman Yen Shih-san (you’ll notice we’re starting with him) has always wanted to claim the title from the Third Master, Xie Xiaofeng. To intimidate opponents, Yen had a skeletal tattoo inked on his face, but the macabre image soon altered his behavior. Having worked his way up the ladder to challenge the Third Master, Yen experiences an existential crisis when he learns his rival died shortly before his arrival. To make matter worse, Yen receives a fatal medical diagnosis soon thereafter.

Unbeknownst to Yen, Third Master faked his death and has been working as a lowly brothel cleaning boy under the assumed name of Ah Chi. Repenting all the death and suffering he caused, Xie/Ah Chi has sworn to never kill again. He would also just as soon avoid Murong Qiudi, the cruel leader of the Seven Stars Pond martial arts clan and the former fiancé he jilted at least twice. Yeah, awkward. Ironically, the mopey Ah Chi develops a friendship with Yen, who has become the town’s unlikely hero as part of his own campaign for redemption.

Of course, the truth will eventually come out, forcing former adversaries to choose up sides. Frankly, it takes some pretty horrible attacks on the innocent from the Seven Stars Pond clan to get Third Master back in the game, but when he gets with the program, the martial arts sequences are pretty spectacular.

Yet, Peter Ho steals every scene he saunters into. He has some terrific fight scenes of his own, but he is still an electric presence even when he just grouchily kvetches his way through the village. Kenny Lin is maybe too reserved as the brooding Ah Chi, but he still develops some rather sweet romantic chemistry with Jiang Mengjie’s Xiao Li, the junior most courtesan at the brothel. Her eyes just melt the camera, whereas Jiang Yiyan makes Murong a wickedly fierce ice queen.

One can definitely see various stylistic elements of Tsui’s productions in Sword Master. There is a good deal of whirling and swirling in the action scenes and some of the best duels are fought against appropriately mystical looking wuxia vistas. Real followers of the genre will also appreciate the themes Yee, Tsui, and their third co-screenwriter, HK veteran Chun Tin-nam. In the world of Yen and Third Master, rivalry means something more than the mere clash of swords. It is something deeper, more primal and indelible, which Ho perfectly conveys. Highly recommended for fans of grand wuxia, Sword Master opens this Friday (12/9) in New York, at the AMC Empire.

HSFF ’16: Princess Yun

A princess is expected to relinquish her heart to serve the throne. She must marry for expediency’s sake and potentially lead her subjects into the ravages of war. This particular princess has the additional task of safeguarding the Centrum, a cosmic artifact that can foretell the future. She will always do her duty, but that does not leave any room for sentimentality in Tiger Tse’s visually stunning sf-fantasy wuxia short film Princess Yun (trailer here), which screens during 2016 HollyShorts Film Festival.

It is the House of Li’s responsibility to protect the Centrum, while the House of Yi is charged with safekeeping the Actus, a relic that holds power over the past. For years, the two houses have maintained a peaceful equilibrium that Princess Yun expects to continue when she marries Yi’s Prince Jade. It is not just an arranged marriage. Ever since they were children, they had real affection for each other.

Unfortunately, that trust is dashed when a well-organized band of ruffians attacks the betrothed royals’ party, injuring the Prince and stealing the Centrum. With the natural balance shifted, the ambitious General Song exploits the resulting fear and uncertainty to stoke her plans for war.

You are unlikely to see a short film more visually and technically accomplished than Princess Yun in a month of Sundays. As an added bonus, it is also a film of considerable originality that spans and stretches genres. You rarely find a wuxia period piece that also incorporates time travel themes, while maintaining it ancient roots. Frankly, it is one of the few films of any length that could be described as both visionary and archetypal.

Tse has an eye for grand spectacle, but he also renders the classically tragic personal drama with great sensitivity. He is clearly ready for the big leagues and so is art director Ma Jun, whose grand sets and lush trappings overachieve and then some. Cao Jing’s costumes are similarly rich and cinematic. Chen Xiner wears them well, while subtly but powerfully conveying the complicated, conflicted feelings of the title character.

Princess Yun is another terrific example of how wuxia and related Chinese historicals give disproportionately strong roles to women, compared to action films in other countries. Princess Yun, her mother Queen Jingxi, and General Song are all forceful, commanding figures, whereas Prince Jade is the passive one. Highly recommended fans of all pertinent genres, Princess Yun screens this Tuesday night (8/16), as part of the “Action” block at this year’s HollyShorts.

Fantasia ’15: Arti: the Adventure Begins

These puppets can kick the snot out of the Muppets and those annoying Spitting Image tools.  They have mad martial arts skills and they are not even as dramatically wooden as a lot of flesh and blood actors. Creations of the Huangs, Taiwan’s leading puppetry family, they are the undeniable stars of Huang Wen Chang’s fantastical wuxia steampunk epic, Arti: the Adventure Begins (trailer here), which had its North American premiere at the 2015 Fantasia International Film Festival in Montreal.

Sometime during the height of the Silk Road’s geopolitical importance, the wise Zhang Meng invented a wooden mechanical robot known as ARTI-C. Unfortunately, his promethean creation was used to stoke fear and paranoia. In a resulting riot, Zhang was killed, but his son Zhang Mo and his daughter Zhang Tong survived to preserve his legacy: ARTI-C.

However, ARTI-C is powered by a dwindling reserve of a mystic energy called the Origin. It is sort of like the “Force,” but more colorful and tangible. To keep ARTI-C in proper fighting condition, they must find a way to recharge his Origin cell. That quest will take them to the Nouveau Riche city of Loulan, which is currently locked in a cold war with the Lop Tribe and the Dune-like sandworms that apparently do their bidding. Unfortunately, when Zhang Tong is spirited away by the Elvish Lop people, she quickly surmises the shadowy Loulan regent has badly misrepresented the nature of the conflict to her gullible brother.

The mind-blowing truth is some of the best cinematic martial arts produced this year is performed by puppets. Some of their moves are just awesome. Yet, it is important to remember the greater artistry they represent. There is nothing campy about the figures Huang and his team bring to life on screen. Dispel any thoughts of Gerry Anderson’s marionettes. Aside from the occasional comic relief provided by Cheeky Ducky, the film’s only wholly animated character, Huang’s characters are entirely serious and their wuxia business is pretty darned spectacular and suitably tragic.

Granted, the story is just sort of okay, but the sets and backdrops are richly detailed and utterly lifelike. If ever a film with puppets deserved to win awards for best costuming, it would be Arti, hands down. This is incredible world building—literally built to scale.

It is gratifying to know Chinese puppetry traditions not only continue and move forward in Taiwan, thanks to artists like the Huangs. Reportedly, Arti is the most expensive pure puppetry film ever produced—and it is easy to believe it based on what is up there on the screen. Very highly recommended for fans of wuxia and puppet theater, Arti: the Adventure Begins is such an accomplished work of craftsmanship it must be destined for a long festival life and a devoted cult following, after its recent Fantasia premiere. Look for it, hope for it.

White Haired Witch: A New Demon Bride for a New Generation

Up until The Matrix, they were cinema’s most troublesome red pills. The historically based “Case of the Red Pills” inspired Liang Yusheng’s wuxia novel, Ronny Yu’s memorable screen treatment, The Bride with White Hair, as well as a sequel and several television serials. However, it is Fan Bingbing’s snowy mane that most fans will most remember about the latest adaptation, Jacob Cheung’s White Haired Witch (trailer here), which releases today on DVD and BluRay from Well Go USA.

Due to his talent and natural lack of ambition, Zhuo Yihang has been anointed the successor to the leader of the Wudang Sect. His first official duty will be to pay tribute to the emperor with an offering of the order’s red pills. Obviously, such a gift presents an ambitious eunuch like Wei Zhongxian the perfect opportunity to dispatch the emperor and blame an innocent fall guy, which he will not squander. Taking the long way home to visit his grandfather, a military governor on the frontier, Zhuo initially has no idea he has been falsely accused. Nor is he aware his grandfather was murdered by the treasonous general Jin Duyi, who similarly framed the demon-outlaw known as “Jade Rakshasha.” However, he sure thinks she is something when he encounters her during his journey.

Soon Zhuo is forced to take refuge in Jade Rakshasha’s Luna Fortress. Ming-era Tracey & Hepburn sparks continue to fly between them, while Zhuo proves his worth to community. Of course, they inevitably fall in love, but they will be separated when Zhuo willingly surrenders to the feared imperial guard, rather than risk the lives of the displaced peasantry sheltered in Luna. He will eventually regain his freedom by skillfully playing a double game with Eunuch Wei, even going so far as to marry his innocent daughter, Ke Pingting (she came before his you know what), but the apparent betrayal turns Jade Rakshasha’s hair white. It also makes her mad, which is never a good idea.

Yes, Fan Bingbing looks great with white hair. She also looks fab and establishes decent action cred in her fight scenes. Just for the record, Fan probably kicks more butt in Witch than the entire cast of the prospective “Expendabelles” film. You could make an equivalent film any day of the week in Hong Kong or Taiwan, but you simply won’t find an ensemble with the chops in Hollywood.

Be that as it may, Fan’s chemistry with Huang Xiaoming’s Zhuo is just okay. Frankly, he is a little stiff at times, but since he was working for a considerable time with a broken leg, he earns points for being a gamer. In limited screen time, Tanya Tong makes a strong impression humanizing the visiting team as Wei’s daughter Ke. Vincent Zhao chews plenty of scenery as the dastardly Jin, but he also gets to show a more nuanced side of the turncoat.

There are a number of big names in Witch’s ensemble, but along with Fan, the real stars are Stephen Tung’s fight choreography and the Oscar winning (for Crouching Tiger) Timmy Yip’s costuming. Frankly, it is a bit conspicuous that the intricate narrative has been somewhat abridged, but at least Cheung keeps the energy level up. It really is a lot of fun, as long as you can handle a tragically sweeping grand finale. Seriously, would you expect anything else? Recommended for fans of Fan and wuxia, White Haired Witch is now available on DVD and digital platforms from Well Go USA.

Brotherhood of Blades: the Imperial Assassins Do What They Do

Would you feel confident throwing your conspiratorial lot in with something called “the Eunuch Clique?” Maybe not now, but the late Ming Dynasty were far different times. Senior Eunuch Wei Zhongxian was thought to control seventy percent of court officials, the so-called Clique. The new emperor is determined root out the eunuch’s influence, but that will be easier said than done for the three Jinyiwei imperial assassins in Lu Yang’s Brotherhood of Blades (trailer here), which Well Go USA releases today on DVD and BluRay.

The trio of Jinyiwei are so scruffy, their new commander Zhao Jingzhong is confident they have not been corrupted. It also means they could use a windfall. Shen Lian yearns to buy the freedom of Zhou Miaotong, a courtesan he has long visited, but it is unlikely to happen on his Imperial salary. The older and gaunter Lu Jianxing covets a promotion, but that will require bribes beyond his means. Meanwhile, the consumptive rookie, Jin Yichuan makes regular blackmail payments to an older associate from his criminal past.

Since they all need money, Shen Lian makes an executive decision to strike a deal with Wei. In exchange for a considerable sum of gold Taels, the Jinyiwei assassin lets Wei escape, delivering the charred body of a servant in his place. The three are hailed as heroes, but Wei’s followers are already conspiring to eliminate the only witnesses who know the powerful Eunuch is still alive. Unbeknownst to them, Zhao is part of the cabal. It turns out he is Wei’s secret foster-son. As the leader of the Eastern Depot, Zhao will give the three assassins assignments specifically intended to silence them permanently. When they manage to live anyway, things really start getting complicated.

In a way, Brotherhood is like a gangster movie decked out as a wuxia epic. Everyone is on the take to some extent. The question is how morally compromised are they? Like a good Triad or Yakuza film, it a heavy with themes of loyalty and betrayal, with personal allegiances frequently trumping concern for corps, dynasty, and nation. Of course there is also plenty of hack-and-slash action, featuring more crimson blood splatters than typical of the genre.

Taiwanese superstar Chang Chen, whose credits go back to Edward Yang’s masterpiece A Brighter Summer Day is perfectly suited for the tightly wounded Shen Lian. He broods hard and when he loses his cool, it is serious business. Frankly, it is one of his best performances in years. Likewise, Wang Qianyuan is appropriately world weary and a bit vinegary as old Lu Jianxing. However, Ethan Li largely fades into the background as the young, sickly Jin Yichuan.

Brotherhood is fully loaded with colorful supporting turns, but it strangely shortchanges Dani Zhou’s screen time, even though she seems quite promising as Wei’s butt-kicking daughter, Wei Ting. On the other hand, Cecilia Liu totally looks the part and delivers the aching tragedy in spades as the more-substantial-than-you-expect courtesan.

It is hard to believe Brotherhood’s robust action and intrigue comes from the same director who helmed My Spectacular Theater, a sensitive drama about empathy and accommodation, but here it is—and it is jolly nice to have it. Recommended for fans who like their wuxia on the bloody, morally ambiguous side, Brotherhood of Blades is now available on DVD, BluRay, and digital platforms, from Well Go USA.

14 Blades, Wielded by Donnie Yen

The Jinyiwei were one of the earliest forerunners of the Secret Service, but they soon became one of the first secret police organizations. Their original mandate was to protect the Ming Emperor, but they quickly became a law unto themselves. Feared and despised, Jinyiwei agents lived short and lonely lives. Nobody understands this better than Qinglong, who persists at any cost to complete what he assumes will be his final assignment in Daniel Lee’s 14 Blades (trailer here), which opens this Friday in New York.

As a Jinyiwei, Qinglong carries the service’s notorious 14 blades: eight are devised for torture, five for fighting (so to speak), and one is designed for a Jinyiwei’s final exit. Like many of his brothers, Qinglong survived a brutal recruitment process when he was only just a child. He still carries the emotional scars from his baptism of fire, so the sense of betrayal is particularly acute when he discovers the Jinyiwei leadership has been corrupted by their eunuch commander, Jia Jingzhong.

Realizing his was set-up during his latest mission, Qinglong goes rogue, seeking the missing imperial seal Jia and his ally, the treasonous Prince Qing, intend to use to legitimize their power grab. Although outnumbered, Qinglong will recruit key allies, retaining the services of the nearly bankrupt Justice Escort Agency (and developing a doomed attraction to proprietor Qiao Yong’s rebellious daughter, Qiao Hua in the process). He will also forge an alliance with a notorious highwayman known as “The Judge” and his Heaven Eagles Gang, who will get to keep all the gold the conspirators are transporting with the Macguffin seal.

14 Blades does not exactly break a lot of new wuxia ground, but the striking Yinchuan desert locations distinguishes it from the field. Kate Tsui (2004 Miss Hong Kong) also makes a memorable nemesis as Tuo Tuo, Prince Qing’s adopted daughter. She her serpentine lash is a fearsome weapon, but the way she sheds her apparently animated robes to disorient her opponents does not make much sense (nor is it done for purposes of titillation). She has the fight chops though, which is the important. When she and Qinglong finally go at it in earnest, their showdown does not disappoint.

In the Ip Man franchise and Dragon (a.k.a. Wu Xia), Donnie Yen proved he can be enormously charismatic and engaging on-screen, but he can also be a tad distant and aloof in lesser films. Frankly, it takes a while to warm to his icy Qinglong, but eventually he forges some nicely tragic romantic chemistry with (Vicki) Zhao Wei’s pure-hearted Qiao Hua. However, Wu Chun nearly upstages Yen as the bold and impulsive Judge. When Qinglong faces him and Tsui’s Tuo Tuo, the film really takes flight. However, it is also pleasing to see crafty veterans, like the late Wu Ma and the great Sammo Hung appearing as Qiao Yong and Prince Qing, respectively.

14 Blades boasts some spectacular action, exotic scenery, and a cautionary message about absolute power and its inevitable abuses. It might not be Yen’s best work, but he responds to the first class ensemble surrounding him. A quality wuxia production, 14 Blades is recommended for serious fans and casual viewers alike when it opens this Friday (8/22) in select theaters and also launches on TWC-Radius’s VOD platforms.

King Hu at BAM: The Fate of Lee Khan

The Spring Inn is a lot like Rick’s in Casablanca. Nobody is shocked to find gambling there, while the resistance rubs shoulders with the occupiers. King Hu appreciated the dramatic possibilities of a nice isolated inn, setting three of his classic films within such seedy establishments. Fittingly, The Fate of Lee Khan, the third and least widely seen of his so-called “Inn Trilogy,” screens during the BAM Cinématek’s retrospective, All Hail the King: the Films of King Hu.

Ever since she set up a dice table, “Wendy” Wan Jen-mi’s Spring Inn has crushed the business of her closest competitor. He does not mind, though, because he is her superior in the underground opposition to the Mongols. From him she receives advance warning the dreaded warlord Lee Khan will soon be staying at her inn. The ruthless prince has intercepted a strategically important map from their compatriots, so Wan must steal it back. She has just the right staff for the job: four reformed criminals now working as waitresses. Additional back-up arrives in the form of lowly scholar Wang Shih-cheng and troubadour Sha Yuan-shan, who masquerade as Wan’s bookkeeper cousin and his servant.

After a fair amount of carousing with the rustic locals, the scene is sufficiently set for Lee Khan’s arrival and the fighting chops of former pickpocket Hai Mu-tan are thoroughly established. With the inn closed to all except the staff and the Mongol entourage, the sneaking around begins in earnest.

Frankly, Fate leans more towards intrigue than adrenaline-charged smack-downs, but action director Sammo Hung still blocked out some nice sequences to showcase his good friend Angela Mao. Even though it is a supporting part, nobody can miss the star power she brings to bear as Hai. As Wendy, Li Hua-li is hardly anyone’s push over either. In fact, the five women of Spring Inn vividly demonstrate Hu’s facility for strong “nuxia” swordswomen characters.

One of the strangest aspects of Fate is Lee Khan himself. Feng Tien’s portrayal is not so very far removed from Conrad Veidt’s Maj. Strasser in Casablanca, oozing cunning and malevolence. Yet, everything he says, such as officials should live close to the citizens they govern and should hire the most qualified scholars regardless of ethnicity, makes a good deal of sense. In fact, it sounds downright progressive for the era. Nonetheless, he is still the bad guy.

Featuring characters as colorful as their costumes, The Fate of Lee Khan is a fast-paced comedic-tragedy that should fully satisfy wuxia connoisseurs. It is important both as part of Hu’s thematic trilogy and a relatively early turn from Mao (shortly following Enter the Dragon and Hapkido), but because life is not fair, it is hard to find a watchable print with English subtitles and the original Mandarin dialogue. Since BAM will screen it this Sunday (6/15) as it should be seen, it ought to be a high priority for Hu and Mao fans during the All Hail the King retrospective, now underway in Brooklyn.

King Hu at BAM: The Valiant Ones

It was a chaotic time during the Ming Dynasty, when the coastal provinces were like the Gulf of Aden. Japanese ronin were the Somali pirates of their day, raping and pillaging with impunity, thanks to the corruption of local officials. However, there is a new sheriff in town and he brought two spectacularly skilled deputies. They will take the fight directly to the pirates in King Hu’s The Valiant Ones, which screens during BAM Cinématek’s retrospective, All Hail the King: the Films of King Hu.

Frankly, many in court are hoping Yu Da-you will fail in his imperial assignment to subdue the pirates terrorizing coastal villages. After all, he has a reputation for integrity, just like his inconvenient father. He also has Wu Ji-yuan, a master swordsman, and his wife Wu Re-shi, who happens to be a particularly lethal archer. The bad guys will launch a preemptive attack on Yu, but they are no match for the Wus’ chops. With the reluctant help of a crooked prosecutor busted dead to rights, Yu’s lieutenants will infiltrate the pirates’ lair, posing as mercenaries looking to sign on. Their talents will impress, in more ways than one.

In terms of narrative structure, Valiant is pretty straight forward, marching from point to point in an orderly fashion. However, Hu’s striking seascape vistas give it an epic, widescreen vibe. He also lays down some incredible action sequences choreographed by the then little known Sammo Hung. Arguably, the climatic showdown is a true wuxia landmark, distinguished by feats that defy gravity and evoke classical tragedy.

Granted, Bai Ying and Hsu Feng do not cover an especially wide dramatic range as Wu Ji-yuan and Re-shi, respectively, but they have the moves and the presence. Roy Chiao has a steely Picard-ish air of command as the upright Yu, but Hung’s flamboyant turn as the pirate chieftain, Hakatatsu, seems to be looking for ways to be problematic. Nevertheless, his fight direction is terrifically stylish and camera-friendly.

Valiant is another great example of a strong, resourceful action heroine, presented by Hu in a rather matter-of-fact manner. Both Wu Re-shi and her husband are also highly mortal action figures (although you might not get that impression from a few scenes, if seen in isolation). It is all good stuff, especially well suited to viewing on the big screen. Recommended for wuxia fans who want to see dead pirates piling up and cineaste admirers of Hu’s artistry, The Valiant Ones screens this Friday (6/13) during the All Hail the King retrospective at BAM.

Painted Skin: The Resurrection—Prepare to Lose Your Heart

Can you have sympathy for a demon like Xiao Wei?  You might if she looked like Zhou Xun.  Her story is indeed a tragic one, rooted in heartaches past.  Nonetheless, as a fox demon, she must constantly consume human hearts.  Still, she yearns to become human herself in Wuershan’s wuxia paranormal romance Painted Skin: The Resurrection (trailer here), which opens this Friday in New York.

Those who have not seen the previous Painted Skin (or King Hu’s prior adaptation of the Pu Songling story) should not be concerned.  The sequel is practically a complete reboot.  Xiao Wei is doing her thing once again, tearing men’s hearts out (literally), with only the bird demon Quer for companionship.  As she preys on powerful men, she hopes in vain someone will willingly and knowingly offer theirs up to her, so that she may become human again.  The clock is ticking though.  A looming solar eclipse may spell the end of her.

Suddenly deliverance might have arrived in an unlikely form, when a warrior with a smoldering heart “rescues” Xiao Wei from marauders.  However, this is no hero—this is the Princess Jing, masking herself to hide the scars she received in a rather nasty teenaged encounter with a bear.  General Hou Xin blames himself for that incident.  He also still harbors a forbidden love for the Princess he failed, which she reciprocates.  Yet, even the true blue palace guard is no match for a fox demon’s bewitchments, setting the stage for a supernatural love triangle.  Meanwhile, the rival Tian Liang clan is making threatening noise.  Unfortunately, the Princess and her General are distracted by the agitation caused by Xiao Wei’s presence.  That’s what happens when you have a demon in your midst.

Then again, Xiao Wei is not really the villain in this story.  Her yearning to live is somewhat akin to Larry Talbot’s search for the secret of death in the classic Universal Wolfman films, except Zhou Xun is obviously no Lon Chaney, Jr. to look at, not by a long shot.  As Quer the bird demon Mi (Mini) Yang is also cute as a button.  In fact, she develops some surprisingly sweet romantic chemistry with Pang, an unprepossessing demon hunter, by virtue of his bloodline.  It is a surprisingly appealing turn by Feng Shaofeng, evolving from somewhat cringy comic relief into a legit secondary hero.

For a special effects-laden tale of demons and swordplay, Resurrection has unexpected depth of feeling and a third act reversal that works quite well, at least before Wuershan resorts to the Harry Potter-esque thunder-and-wrath climax.  The real fireworks involve the two alluring co-leads.  Blessed with an extraordinary expressiveness (check her out in Equation of Love and Death, if you can), Zhou renders the fox demon as a fully dimensional, deeply tragic figure.  Though Zhao Wei occasional flirts with melodramatic excess, as Princess Jing, she effectively expresses romantic longing while totally rocking the Phantom of the Opera-style mask.  Chen Kun’s Hou broods and pines well enough, while Yang and Feng consistently inject energy and verve into the proceedings.  Unfortunately, the evil Tians are not well defined, though Chen Tincha and Fei “Kris Phillips” Xiang certainly look menacing as the dastardly clan princess and sorcerer, respectively.

Featuring several dangerous women, a few men who are a bit slow on the uptake, and a whole lot of frustrated ardor, Resurrection is a far better date movie than most wuxia epics.  It is also a great showcase for Zhou.  Recommended for her fans and those who appreciate big, dark uncanny spectacles with a strong human element, Painted Skin: The Resurrection opens this Friday (8/17) in New York at the AMC Empire and in San Francisco at the AMC Metreon and Cupertino.