Fearless (2006)

Until Crouching Tiger, Hidden Dragon was released in 2000, wuxia (Chinese martial arts) films were relatively low-profile in genre cinema, at least in the West. Though popular and prolific in Hong Kong and China, wuxia films never managed to attract mainstream attention in North America. Crouching Tiger brought this kinetic and historical form of martial arts film to a wider audience, creating awareness and a new demand for wuxia. Hero, House of Flying Daggers, and now Fearless followed, creating a new sub-genre of prestige wuxia, expansive and high-budget, films that appeal to both a Western and Chinese audience.

Fearless follows the precedent set by Crouching Tiger and the others, combining elaborate and well-choreographed martial arts action with stories of revenge, honour, and redemption. Unlike Crouching Tiger, however, which was based on a series of wuxia novels, the story of Fearless isn’t as compelling or powerful. This is interesting, considering that Fearless is based on a true story.

Director Ronny Yu, recently busy with Hollywood horror films such as The Bride of Chucky and Freddy Vs. Jason, does an acceptable job. The action sequences are exciting and well-edited, but the film feels slicker than most wuxia, more Hollywood. Perhaps unsurprisingly, Fearless is an American co-production and will be in North American multiplexes in the fall.Crouching Tiger and Hero offer a more calm and reflective approach, something that would’ve benefitted this film.

The action sequences are amazing, fight choreography courtesy of Woo-ping Yuen, legendary martial arts choreographer. The wire-work is kept to a mininum, with a more realistic approach than seen in Crouching Tiger, among others (bear in mind “realistic” is a relative term, however; the fight scenes in Oldboy, for instance, were much more realistic, though not nearly as intricate or exciting).

Jet Li has said that Fearless will be his last wuxia film, explaining he has nothing left to explore in the genre. If so, Fearless would serve as a fitting tribute to the innovative genre, a genre that gave Jet Li his long career.

Ong-bak (2003)

Ong-bak represents a return to traditional martial arts films: no wires, no stuntmen, and elaborately choreographed fight sequences. Owing more to the films of Bruce Lee and Jackie Chan (his early work), the film has some of the most amazing physical action sequences I’ve ever seen. However, due to a few weaknesses, Ong-bak falls just short of being a new classic in the genre.

Actor Tony Jaa is unbelievable; his strength and agility is truly impressive. His moves are incredibly fluid and balanced. Most of the amazing stunts he performs look effortless. The strongest sequences of the film are the fights, unsurprisingly. Unfortunately, the non-fight sequences seem forced and boring.

The story of Ong-bak is a little strange. It’s as if the writer/director Prachya Pinkaew couldn’t decide what type of film to make, a straight, traditional martial arts story or a complex, grim-and-gritty modern crime film (several story elements and sequences seemed like desperate attempts to channel John Woo or Takashi Miike). Ultimately, Ong-bak seems more than a little confused.

The film is also hampered by many technical problems like lighting and editing. The film itself looks cheaply made, but clearly has a moderate budget. Some of the action sequences are poorly framed and lighting shifts far too much from scene to scene. Perhaps some of these issues will be addressed on the DVD.

In the end, Ong-bak is an exciting return to old-school martial arts films, though with too much padding around the incredible action sequences.

Saat po long (2005)

SPL is a strange hybrid film: part cop drama, part martial arts action, part Kitano-esque reflection on violence. The film is a bit unfocused at times, clunky dramatic moments built around violent action sequences (directed by Donnie Yen). Some of the acting is pretty poor, as well; for instance, one character’s death grimace is comically contorted. That said, the stunning action sequences overshadow the film’s weaker moments, making for an exciting and memorable film.

The morality in the film is surprisingly complex. The villain is more than a twisted gangster and the cops are more than squeaky-clean crusaders. This aspect helps to raise the film above standard gangster fare.

I’m mostly used to seeing Sammo Hung as Jackie Chan’s bumbling sidekick, often as the comic relief. In SPL, however, he’s in full-on villian mode, presenting a commanding on-screen figure. There are two fight sequences that really show off his power and skill.

Donnie Yen’s equally as impressive, serving both as star and ‘action sequence director.’ Minimal wirework, old-school martial arts mixed with cop action works surprisingly well.

While not the revolution in HK filmmaking that many people see it as, SPL is entertaining and (somewhat) thought-provoking, worth seeing for any fan of the genre.

The Protector (2005)

In their followup to the incredible Ong-bak, director Pinkaew and Tony Jaa have created two very different experiences in the same film. A lot of Tom Yum Goong is boring, amateurish and pointless. What little plot there is makes no sense (something about rescuing an elephant family from an evil Sydney-based Thai corporate empire) and most of the English-speaking actors (there’s a surprising amount of English in the film) are laughably bad. There would have to be something extraordinary about Tom Yum Goong to justify the careers of everyone involved. Thankfully, there’s Tony Jaa and his mind-blowing action sequences.

Everything unintentionally funny and embarrassing about the film is forgotten as soon as Jaa’s action sequences begin. Even more impressive than those seen in Ong-bak, Jaa takes the naturalistic martial arts film into a new plane. I’m amazed that a human being can do the stunts that Jaa pulls off. The fight direction is also excellent; there’s a spectacular single-shot action sequence that looks so effortless and professional it makes the non-action sequences of the film look all the more worse.

I’m looking forward to seeing Tony Jaa and his action choreography in more films; with the right director and script behind him, Jaa’s potential is limitless. As it stands, Tom Yum Goong is an amazing-looking film and worth sitting through the awful filler between fight sequences.