Tony Leung’s Midnight Diner

This chef has had almost as many media lives as the heroine of the often-remade Miss Granny. He debuted in Yaro Abe’s manga and has subsequently come to life in multiple Japanese TV series and movies, as well as Korean and Chinese television series. His work is tasty, his wisdom is sage, and his late-night hours are convenient for his restless clientele. This time, “Big Tony” Leung Ka Fai takes his turn behind the grill as “The Master” (or “The Chef,” translations vary) and behind the camera as the director of Midnight Diner, which opens tomorrow in New York.

Originally, the Master’s cozy eatery was nestled away in a Shinjuku back alley, but Leung moves it to Shanghai. The hours are still the same: midnight to 7:00 AM, or whenever the Master feels like opening up for customers who look like they are in need of comfort food. He has several regulars, including his Alon, his adopted brother with anger management issues, and his old crony, Uncle Zhong. Plus, three scatterbrained millennials nearly always stop by.

However, most of the drama focuses customers, who are irregular regulars, like the dopey boxer, who only comes to the diner to retrieve his mischievous mother (and partake of the stir-fry clams). With the help of the Master and his mother (which he never requested), the big lug might have a puncher’s chance romancing the pretty single-mother nurse living in the neighborhood with her wheelchair-bound daughter.

We also meet a lovelorn brand marketing specialist, and a poor, scuffling singer-songwriter, whose stories have varying degrees of bittersweet tragedy. Yet, the tale of two country naïfs, whose bumpy romance cracks under the pressure of mega-urban life is probably the centerpiece of the film.

It is all very nice, but the concept probably works better as a series, allowing characters to more easily enter, exit, and intermingle without the pressure of reaching a quick resolution. Nevertheless, the good-looking cast is certainly pleasant to spend time with. The diner itself is also quite a warm and inviting setting (it still looks very Japanese, but whatever).

Unfortunately, the film has been clouded by controversy completely outside its scope. Reportedly, Leung’s Diner has been on the shelf for two years awaiting the go-ahead for release on the Mainland, which was suspiciously granted shortly after the actor appeared at a rally for the Hong Kong police—even though they have been recorded on video violently attacking pro-democracy protestors, with absolutely no provocation or justification. Sure, Midnight Diner is an agreeable film, but it is not worth selling one’s soul over. (Coincidentally, the film depicts Alon as a cop, whose rage drives him to physically abuse innocent citizens.)

Big Tony, you’re breaking our hearts, especially since you seem so warm and down-to-earth as the Master. It is a side of Leung we rarely see on-screen, while Zhang Li lends the film surprising grit and human frailty as the disturbed Alon. Jiao Junyan is also quite poignant as Snow, the ill-fated singer. Zhang Yishang and Vision Wei are both quite charismatic as the young provincial couple, but their tale of underdog love rent asunder by life is pretty familiar stuff.

As a work of cinema considered with strict critical formalism, Leung’s Midnight Diner constitutes a number of engaging performances (particularly Leung’s own) and some lushly shot cooking scenes. That can be enough for an enjoyable night at the movies, but Eric Khoo’s similarly themed Ramen Shop is a deeper, richer film. However, those who are closely following the Hong Kong protests will probably prefer to get their Midnight Diner fixes from the Japanese series (one of which is available on Netflix and another is on Prime). Recommended for loyal Leung fans, Midnight Diner opens this Friday (9/20) in New York, at the AMC 34^th Street.

NYAFF ’17: Election

Big D is the Al Gore of the Triads. He assumed he was next in line for the two-year chairmanship of the Wo Shing Society, but the Uncles elected Lok instead. So, does he accept the results of the voting and concentrate on his own business? No, of course not. The resulting power struggle escalates into full-scale street violence in Johnnie To’s modern classic Election (trailer here), which screens during the 2017 New York Asian Film Festival.

Frankly, Lok appears to be the more forward-thinking of the two candidates, whereas Big D can fly off the handle a wee bit. Slightly disappointed by the election results, Big D lashes out at two swing-voters he holds responsible. In response, the outgoing chairman dispatches his lieutenants to China with the Dagon Baton, which is ceremoniously handed down to each new chairman. Thus, begins a mad scramble between the two factions for strategic possession of the baton. However, most of the plotting will be done within prison after Chief Superintendent Hui has both candidates and several senior uncles arrested, in hopes of preventing open war.

This is the film that will probably always come up first when you google Johnnie To—and for good reason. For many, it was also their gateway drug into a full-on Hong Kong cinema addiction. It is a lean, mean, snarling machine of a film, but there is also something strangely beautiful about its savage austerity.

Both Simon Yam and “Big” Tony Leung Ka-fai give classic, career-defining performances as the diametrically-opposed Lok and Big D, respectively. There scenes together are pure movie magic—those who have seen it will instantly know what I mean.

They are indeed the bosses of bosses, but Election is fully loaded with first-rate supporting turns. Lam Suet and Gordon Lam are terrific as Big Head and Kun, two henchmen initially on opposite sides of the factional divide, who meet rather awkwardly. It is amazing to see superstars like Louis Koo and Nick Cheung getting relatively limited screen-time (at least in the initial film), but they burn up the joint with their hardboiled intensity. It is also cool to see Shaw Brothers mainstay David Chiang as the commanding Chief Superintendent. Yet, perhaps the late, great Wong Tin-lam’s quietly droll turn as Uncle Teng, the Uncle of Uncles, best personifies the crafty film.

Election would be followed by two sequels that would continue and deepen the story, reaching Shakespearean levels of tragedy. Hubris: it’s a killer. Yet, Election ends on a perfect note that certainly does not lack for closure. There is no question it is a contemporary classic. Very highly recommended, Election screens Friday (7/7) at the Walter Reade, as part of this year’s NYAFF.

Cold War 2: Chow Yun-fat Joins the Franchise

Given the size of its budget and the scope of the operations it conducts, there will always be ambitious people eager to serve as the Hong Kong Police Department’s Commissioner. However, the intricate network of senior-junior relationships makes it tricky to govern. Former Deputy Commissioner M.B. Lee thought he was the man for the job, until his son was arrested for betraying the force, ushering the old man into early retirement. That would seem to be that, but as long as Lee has the Old Boys network and a mysterious scheming patron, he has hope in Longman Leung & Sunny Luk’s Cold War 2 (trailer here), which opens this Friday in New York.

Cold War 1 ended with some conspicuous loose threads, including the hijacked emergency response van that remains missing, but the threatening call Commissioner Sean Lau Kit-fai receives would be the most pressing. It turns out there is a reason Joe Lee looks so smug in his prison cell. His accomplices have kidnapped Lau’s wife.

Since he is not a stickler for procedure, Lau is perfectly willing to drag Lee junior to the hand-off. The Commish has no intention of trading him for his wife, but that is how things shake out, with Lau handcuffed to a ticking bomb for extra added embarrassment. Obviously, the operation is an unsanctioned disaster, which turns the legislature into a pack of baying hounds. They are led by the curmudgeonly civil libertarian-ish Oswald Kan. The councilor will not pull his punches with Lau, but he is not a fan of the vested interests Lee represents either.

Although Lee did his duty and arrested his own son, he will turn on Lau during the hearings. Apparently, that was all part of the plan. Lee was not initially privy to the details of the conspiracy, but the high placed government figures backing his son will make him an offer he cannot refuse. Thus begins a three-handed intrigue, as Team Lau and Team Kan work at cross-purposes while trying to investigate Team Lee.

There is more closure in Cold War 2, but it definitely suggests this story has at least another chapter to unfold. The HK box office is sure to support a third installment, but assembling the big name cast again will be a challenge. Obviously, the biggest addition is Chow Yun-fat radiating gravitas as Kan. It follows in the tradition of Chairman of the Board role in Office, but it is arguably informed by Chow’s support for the Umbrella Movement’s student protestors. (When democracy opponents suggested he might be hurting his commercial appeal, Chow replied he’d simply make less money in that case, which is reason enough to go to CW2).

Aaron Kwok’s Lau is as smooth and steely as ever, while “Big Tony” Leung Ka-fai is still massively intense as the combustible M.B. Lee. Now that Eastwood primarily directs, Leung just might be the best squinter and glowerer working in film today. He and Eddie Peng Yuyan really do look like father and son in their brief scenes together. Peng continues to prove he has more chops than his early teen romances suggested. Unfortunately, Charlie Young’s deputy commissioner for PR gets dramatically short-changed this time around, but at least Janice Man gets a serious arc to work with as Kan’s protégé, Au Wing-yan.

There are several big, explosive action sequences in CW2, but Leung & Luk always use them in ways that advance the narrative. It certainly looks like they left plenty of odds and ends to be picked up later, but they steadily ratchet up the tension quite effectively. Altogether, it is a big, slick police thriller, very much in the Hong Kong action tradition. Enthusiastically recommended, Cold War 2 opens this Friday (7/8) in New York, at the AMC Empire.

Rise of the Legend: Wong Fei-hung the Early Years

He was played by Jet Li in the Once Upon a Time franchise and Jackie Chan in the Drunken Master series. Other actors taking on the role of Wong Fei-hung include Andy Lau, Gordon Liu, and David Chiang. If you take on the part, you’d better bring you’re A-game, because there are plenty of predecessors to be compared with, going back to the 1940s. Eddie Peng Yu-yen assumes the mantle in a highly fictionalized account of the martial artist’s early years, nicely exceeding expectations in Roy Chow’s Rise of the Legend (trailer here), which opens this Friday in New York.

Abandoned and ailing on the streets of Guangzhou, Wong is nursed back to health by his soon-to-be adoptive father, Wong Kei-ying, a respected physician and martial artist in his own right, with help from his brother (adoptive and sworn), Huo, a.k.a. Fiery. Soon, they form an inseparable foursome with fellow orphans Chun and Orchid, until the latter girl is ripped away by the city’s criminal element.

That would be the rival Black Tiger and North Sea Gangs. Led by the imposing Lei Gong, the latter outfit is probably the more formidable, so Wong temporarily joins their ranks a dozen or so years later. As a reward for dispatching the head of the North Sea Gang (and bringing said head as proof), Lei anoints Wong as his fourth “godson” (in a very “Godfather” kind of way). However, Wong is secretly coordinating with the righteous new Orphans Gang, led by Huo and Chun, relying on Orchid (now a courtesan) as their go-between.

Rise has a reasonably sweeping narrative, but it all boils down to Wong Fei-hung putting fist to gang-member face. Fortunately, action director Corey Yuen keeps things appealingly gritty and old school. He lets them get it on, which is what we want to see.

Peng also deserves serious props. Some viewers might know him more for his romantic comedies or as the dandyish villain in the Tai Chi Zero/Hero films, but he exhibits hitherto unseen steeliness and legit action cred as the early twenties Wong. He really rises to the occasion.

Of course, Master Sammo Hung makes a larger than life villain as Lei. For extra, added gravitas, “Big” Tony Leung Ka-fai dispense wisdom and flashes some moves as the good doctor, Wong Kei-ying. Wang Luodan shows poise and sensitivity as Chun, but Angelababy’s Orchid gets all the juicy dramatic bits, which she makes the most of. As Fiery, Jing Boran also demonstrates some considerable skills, but he is largely overshadowed by flashier characters (nickname notwithstanding).

Rise definitely has plenty of good stuff for fans of martial arts cinema and costume historicals. It is just tragic enough to stay true to tradition, but not to the extent it becomes maudlin. The fight scenes are crisp and energetic, while the period production values are quite high. It is not the ultimate exemplar of the genre, but it is a thoroughly satisfying addition to the Wong Fei-hung canon. Recommended with enthusiasm, Rise of the Legend opens this Friday (3/11) in New York, at the Village East.

The Raid: Uncle Choy Fights the Good Fight

Uncle Choy is like the Nick Fury of HK comic books. He is an old cat, but all kinds of tough. His comics were published from the late 1950s into the early 1970s, but they really found their stride when the veteran Republican era military doctor started taking the fight to the Imperial Japanese and their cringey figurehead, last Emperor Pu Yi. The good doctor uncle will indeed heed the call of patriotism in Ching Siu-tung & Tsui Hark’s The Raid, which releases today on DVD from Well Go USA.

Since Uncle Choy is a comic book character, he will get comic art for his opening credits and transitions in the Creepshow tradition through the film. Uncle Choy carries garlic and red pepper for medicinal purposes and dynamite for emergencies. Unfortunately, he cannot save the colonel ailing from a Japanese poison gas attack. However, he can make jolly well certain it never happens again. Initially, the dedicated Lt. Mang does not understand how handy Uncle Choi is have around, but he will soon learn to appreciate his resourcefulness. Likewise, Choy have reason to thank his young adopted niece Nancy for disobediently trailing him, just as she will be happy her Oliver Twist-ish admirer invited himself along.

Choy’s misfit commandos will finally reach full strength when they rendezvous with Mang’s spy in Pu Yi’s camp, Tina, a.k.a. WO-1 and the smitten junior warlord Bobo Bear, who joins up to impress her. Together, they will challenge the schemes of the local Japanese commander Masa and the treasonous movie star Kim Pak-fai. Ostensibly, she is the puppet emperor’s mistress, but she is betraying him and her country with Masa.

There is a good deal of physical humor in The Raid, but happily, it is much cleverer and far less shticky than one might fear. Ching (the action director on the Tsui-produced New Dragon Inn) and Tsui never water down their fight scenes with slapstick foolishness.  They recognize there is a time for comedy of errors and a time for getting down to business.

Although he was only forty-two at the time, Dean Shek is remarkably convincing as the crafty old uncle. He balances to comedy and his unlikely action smackdowns quite adroitly in his final screen appearance before his early retirement. He also seems to forge a comfortable rapport with almost the entire ensemble, except perhaps the “Big” Tony Leung Ka Fai’s gleefully moustache-twisting, unapologetically villainous Masa, with whom he rarely shares screen time. Jacky Cheung is also appealingly earnest as Bobo Bear, but Fennie Yuen upstages nearly everyone as Tina, the film’s smartest character by far.

As Tsui fans would expect, there are some big, suitably chaotic set-piece sequences in The Raid, including a crazy bit of business involving a plane that prefigures the conclusion of The Taking of Tiger Mountain. In many ways, it is like a live-action cartoon, but Ching and Tsui maintain a vibe of rugged camaraderie that is pleasantly distinctive. It is a fun film that holds up quite well for action connoisseurs twenty-four years after its initial theatrical release. Recommended for fans of Hong Kong film, The Raid (not to be confused with the Gareth Evans franchise) is now available on regular DVD, from Well Go USA.

NYAFF ’15: Cold War

Up until the crackdown on the Umbrella Protest Movement, the Hong Kong police had remained popular even when the government was not. Despite what we see in Johnnie To and John Woo movies, the police had always kept the city safe, while maintaining a reputation for integrity. That all might come to an explosive halt in Longman Leung & Sunny Luk’s Cold War (trailer here), which screens as part of the tribute to Star Asia Award winner Aaron Kwok at the 2015 New York Asian Film Festival.

The bad guys will be busy while the PR-sensitive police commissioner is attending a conference in Copenhagen. Soon after a bomb explodes in a Mongkok cinema, an emergency response police van is hijacked, along with the five cops assigned to it. “M.B.” Lee Man-bin, the grizzled deputy commish for operations swings into action, putting the force on a war footing and pulling manpower off everyday duties. Unfortunately, all he recovers during the first twenty-four hours are five mannequins wired with explosives.

Smooth-talking Deputy Commissioner for Administration Lau Kit-fai believes his colleague has over-reacted, perhaps because his son is one of the hostages. When Lee overplays his hand, Lau will move to replace him as acting commissioner. Of course, he might just regret taking ownership of the cluster-dustup codenamed “Cold War,” especially when Internal Affairs starts investigating the aftermath.

Cold War is a fine vehicle for Kwok, showcasing his steely, well-tailored lawman’s chops, much like the relentlessly by-the-book prosecutor in Silent Witness, selected for last year’s NYAFF. Yet not surprisingly, “Big” Tony Leung Ka-fai out hardnoses everyone as the from-the-hip Lee. He and Kwok generate sparks together, like a seat belt dragging down the highway. In fact, the best part of Cold War is the way their relationship evolves from rival into something different.

Cold War also boasts an all-star supporting ensemble, but it does not always fully capitalize, such as when Andy Lau briefly parachutes in, flashing his winning smile as Lau Kit-fai’s political patron. As the public information officer, Charlie Young holds her own with Leung in a key early scene, but she is mostly on exposition duty aside from that. However, Eddie Peng shows hitherto unseen grit as the kidnapped Joe Lee.

Co-director-screenwriters Leung and Luk try too hard to manufacture twists, but the way they merge office politics and urban warfare is definitely entertaining. Just watching Leung and Kwok go at it is seriously good fun. Recommended for fans large scale cop thrillers, Cold War screens this Saturday (6/27) at the Walter Reade, as part of this year’s NYAFF.

The Taking of Tiger Mountain: Tsui Hark Does it with Strategy

Qu Bo’s war novel Tracks in the Snowy Forest was adapted as the revolutionary opera Taking of Tiger Mountain by Strategy, one of the so-called “Eight Model Plays” allowed to be staged during the Cultural Revolution. After years of frustration, Tsui Hark has finally realized his big shiny capitalistic adaptation of Qu Bo’s source novel, but the good guys are still PLA soldiers and the bad guys are not. The powerful outlaw Lord Hawk is about to learn he is on the wrong side of history in Tsui’s The Taking of Tiger Mountain (trailer here) which opens this Friday in New York.

It is the bitter cold winter of 1946 and warlordism plagues northern China. PLA Captain 203 and his troops have been dispatched to restore order, but they are outmanned and outgunned. For reinforcements, the Party sends him Little Dove, a cute medical officer, and Yang Zirong, a political and intelligence officer, whose exact brief is rather vague. After helping the Captain shore up the most vulnerable village lying in the foothills of Hawk’s mountain stronghold, Yang announces his plan to infiltrate the band of brigands posing as a notorious but seldom seen member of a rival gang. Capt. 203 is not exactly crazy about the plan, but he signs on anyway, since there is no stopping Yang. Of course, he will need Yang’s intelligence when Hawk finally decides to attack the village.

Wisely, Tsui never lets any of his characters jabber on about historical dialectics. Aside from a few snarky comments about the Nationalists, there are not a lot of ideological identifiers in Tiger Mountain beyond the obvious uniforms. However, a contemporary descendant of one of the survivors often watches Xie Tieli’s 1970 film treatment of the Revolutionary opera, giving us several quick tastes of its didacticism.

Frankly, if you are going to tackle any of the Eight Model Plays, it might as well be Tiger Mountain, because nobody is in favor of banditry. Tsui stages some suitably big action spectacles, including the big mountain plane crash that factors so prominently in the trailer and one-sheet, but he puts it in the darnedest place, thereby sacrificing much of its suspense. It really feels like it was tacked on at the last minute to justify the expense of 3D.

Given its propaganda roots, it is not so very surprising most of the Tiger Mountain characters or more like symbolic types than fully developed individuals. Still, Zhang Hanyu (terrific in both the under-appreciated Equation of Love and Death and the otherwise problematic Back to 1942) plays Yang with grit and roguish panache. Tong Liya’s turn as Little Dove is also both sensitive and energetic. “Big’ Tony Leung Ka Fai chews on plenty of scenery as Lord Hawk, but unfortunately, Yu Nan never seems to quite unlock Qinglian, his involuntary mistress. However, her presumably orphaned son Knotti is like a human emergency brake, bringing the narrative to a screeching halt whenever he is on screen.

It is not often you can see a film with apostolic links to Madam Mao and the Gang of Four that features an animatronic tiger developed by the Jim Henson Creature Shop, but here it is. One could perhaps debate who has done the coopting in Tiger Mountain, but the real point is the action, which is decent but never approaches the level of Tsui’s spectacular Flying Swords of Dragon Gate. If action fans can tune out the political implications, it is an okay as a quick snack, but it will not be a crossover breakout, like The Raid franchise, by any means. For loyal Tsui fans, The Taking of Tiger Mountain opens this Friday (1/2) in New York, at the AMC Empire.

Beijing Love Story: Valentine’s Appropriate

Beijing is a lot like New York. It is a tough city, but you can still find some wildly romantic backdrops there. Five couples of varying ages and degrees of matchedness will go through love’s ups and downs all over the Chinese capital, as well as during a romantic side-trip to Greece in Chen Sicheng’s Beijing Love Story (trailer here), which opens tomorrow in New York.

Unlike his married boss Wu Zheng, Chen Feng is a decent enough guy. Unfortunately, he does not have much money or legal Beijing residency. Nonetheless, the outrageously cute Shen Yan still falls for him at a hipster singles’ party. Can their romance survive the pressures of money woes and a surprise pregnancy? Her wealthy ex and the painful in media res opening say no, but viewers should not put too much stock in either.

Meanwhile, Wu’s tomcatting is about to catch up him. Somewhat disappointed by his lack of faithfulness, his wife Zhang Lei tries to take a page from his playbook, possibly complicating the life of her boss and platonic friend, Liu Hui in the process. He has an assignation of his own to worry about. He is meeting his mysterious mistress, Jia Ling, for a weekend in Greece. Since the two lovers are played by “Big Tony” Leung Ka Fai and Carina Lau, you would expect things to heat up here and they do.

Liu will play Jia’s games in Greece, but he is always serious about being Liu Xingyang’s father. However, she is rather upset with him, because he will not allow her to appear on a national talent show with her string ensemble. Smitten Song Ge is happy to lend a sympathetic ear and maybe even her transportation money if he can earn enough from after school jobs and maybe borrow some from his grandfather, “Old Wang.” Of course, Wang has his romantic difficulties as well. His cousin keeps fixing him on with blind dates, but his heart is never in it, even with a recently returned expat, who should be well out of his league.

Without question, Beijing works best when it follows the Liu family. Leung and Lau have scorching chemistry and the Greek locale inspires the film’s most visually stylish sequences. In contrast, the innocence and exuberance of Song’s courtship of Liu Xingyang is like a breath of fresh cinematic air. As teenaged Liu and Song, Nana Ou Yang and Liu Haoran come across like good kids at heart, but with massive screen presence.

The other interrelated couples are not necessarily dead weight, but they do not deliver the same satisfaction.  Frankly, Yu Nan is absolutely terrific as the wronged Zhang, but her storyline functions more as a transition from Chen & Shen to Liu & Jia than as a fully developed arc in its own right. Wang Qinxiang is also surprising moving as Old Wang, but Chen really pulls out the manipulative stops for the closer. He also shows big city Beijingers at their most annoying during the initial tale of his namesake (played by the writer-director). Tong Liya’s Shen has all kinds of charisma, but there is only so much she can do for this underwhelming slacker love story.

It is not often we have a Valentine’s appropriate film to recommend for February 14^th, but this year we have one. Based on Chen’s hit television series of the same name, Beijing Love Story hits more ambiguous notes than viewers might expect, but that is a good thing. Ultimately, it is the veteran superstars (Leung and Lau) and the ridiculously young looking stars of the future (Nana Ou Yang and Liu Haoran) who really sell it. Recommended for Valentine viewing, Beijing Love Story opens tomorrow in New York at the AMC Empire, from China Lion Entertainment.

Tai Chi Hero: Stephen Fung Brings the Family Values

“Pushing Hands” style kung fu is an important Chen family tradition.  For complicated reasons, Chen village is forbidden to teach their kung fu to outsiders.  While they do not break this rule, they bend it considerably in Stephen Fung’s Tai Chi Hero (trailer here), which opens this Friday in New York.

Yang Lu Chan, “the Freak,” sought to learn Chen-style kung fu to balance his karma and counteract the mutant berserker horn on his temple sapping his vital energy.  Of course, everyone said no, but the earnest plodder kept trying.  However, when Yang nearly dies defending Chen village from invaders, the Master’s daughter, Chen Yu Niang, takes pity on Yang, marrying him into the clan.

Initially, it is not much of a marriage, but he sure takes to Master Chen’s instructions.  Yang should most likely live and thrive, but the future of Chen village is soon threatened again.  Teaming up with a rogue British officer and the Chinese Imperial army, Yu Niang’s ex Fang Zijing (a Chen village outsider himself) means to capture Master Chen and his daughter and son-in-law.  They are willing to give themselves up for the sake of the village, but not without a fight, which is spectacular.

In his follow-up to Tai Chi Zero, Fung doubles down on the steampunk trappings, introducing Master Chen’s prodigal son Zai, who never properly paid his kung fu dues, but has these flying machine inventions, a la Da Vinci’s Demons.  While Hero lacks the breakneck lunacy of Zero, it is surprisingly warm and endearing.  This is the family values installment of the franchise, featuring reconcilements between fathers and sons and wives and husbands—and it all works somehow.  Of course, there is also the massive showdown with the Imperial Army.

Jayden Yuan comes into his own as the innocent Yang this time around, nicely portraying the maturation of the Freak’s character and his kung fu. Angelababy does not quite have as much screen time in Hero, which is a pity considering how charismatic she is as Yu Niang.  Still, she has some dynamic action sequences in the big battle and should become a truly international superstar on the basis of her work in the franchise. 

“Big” Tony Leung Ka Fai keeps doing his Zen thing as Master Chen and he’s as cool as ever.  Somewhat bizarrely though, as Duke Fleming, Swedish actor Peter Stormare (who has been reasonable comprehensible in English language features like Fargo and The Big Lebowski) seems to be channeling the sort of weird, affected sounding white-devil heavies of kung fu movie tradition.

Tai Chi Hero is nearly as much outrageous fun as Zero, but it has more heart.  With the final film of the trilogy in the pipeline, Fung’s Tai Chi series should become a fan favorite.  Enthusiastically recommended for martial arts fans, Tai Chi Hero opens this Friday (4/26) in New York at the AMC Empire.

Tai Chi Zero: Stephen Fung Brings the Lunacy

Mastery of the martial arts entails more than just fighting.  It encompasses a spiritually balanced approach to life.  Yang Lu Chan missed those lessons.  An instinctive warrior and physical mimic, he was born with a small horn on his head that turns him into a freakish berserker when given a good smack.  Unfortunately, his rampages have substantially drained his life force.  His only hope to restore his inner equilibrium lies in learning the Chen Style Tai Chi practiced in its namesake village.  However, they do not cotton much to strangers in Stephen Fung’s wildly eccentric beatdown Tai Chi Zero (trailer here), which opens this Friday in New York.

The horned Yang was a child only a mother could love.  He has only ever been good at one thing, but his skills were evident enough to catch the eye of a warlord-cult leader.  Yang fights like mad for his master, but it takes a toll.  After waking up woozy in the makeshift infirmary once again, the doctor advises him to make haste for Chen Village before his horn turns black.  Yet, once Yang arrives, he is informed in no uncertain terms Chen secrets can never be revealed to outsiders.  Of course, the big lug will not take no for an answer, earning him a series of pummelings at the hands of villagers, such as the mysterious Master Chen’s daughter, Yu-niang, who definitely catches Yang’s eye while pasting him silly.  He even gets man-handled by a real life five year old prodigy, who could single-handedly humble the Expendables and their proposed spin-offs.

How do we know she is an actual prodigy?  Because the film identifies each significant cast member with a sample of their credits whenever their characters first appear on-screen.  It might sound distracting, but there is so much madness going on, it is really just another thing to try to process.  Incorporating highly stylized graphics into some of the wildest fight scenes you could ever hope to see (choreographed by action director Master Sammo Hung), Zero does not lack for energy.  It even veers into steampunk territory when Yang and the citizens of Chen combine forces to fight the Troy, the Wild Wild West-esque armored steam engine commanded by Yu-niang’s vengeful ex, Fang Zijing, who lived in Chen for years, but was never allowed to learn their secrets either.

Although actress-model Angelababy is already a huge star throughout Asia, her enormously charismatic performance as Yu-niang should earn her a considerable cult following in the West.  She is nothing less than dynamite throwing Yang about like a rag doll.   It is hard to think of another action star who can be so convincingly cute, tough, and vulnerable, all at the same time. 

As “the Freak,” Changquan Wushu champion Jayden Yuan has an endearing sad sack presence and is always credible in the action scenes.  Tony Leung Ka Fai (a.k.a. “Big Tony” Leung) is clearly enjoying every moment of scenery chewing as the idiosyncratic Master Chen.  Though only appearing briefly as Yang’s mother, Shu Qi is still ethereally striking and always worth watching.  The only weak link is Eddie Peng, whose Fang Zijing is a rather underwhelming villain.  Oh, but wait.  Ending with what is essentially a trailer for the sequel, Zero promises heavier heavies to come.

Zero is so amped up and adrenaline charged, actor-turned-director Fung deserves major credit for maintaining his narrative clarity amid all the commotion.  Indeed, he has a talent for stage-managing insanity.  Visually distinctive and loads of meathead fun, Tai Chi Zero is highly recommended for genre fans when it opens this Friday (10/19) in New York at the AMC Empire.