KENNETH'S REVIEW: While this immigrant drama doesn't necessarily fall into the "If you've seen one, you've seen them all"-category, Kong Lung's direction of Lillian Lee's (Rouge) screenplay never really coheres. More episodic than structured around a plot, at center are mostly kids of slightly varied social status. Some newly arrived immigrants and some with a secure place, mostly it turns out they have in common a continuing search of the key to life. Even old time immigrants cross their paths, mainly bathroom attendant Lu (Liu Wai-Hung) and also a cop (Roy Chiao) with civil servant duties but also a heart. The running time plods along without a true sense of purpose and character-revelations merely makes the the film sink into heavy melodrama that no one benefits from. The style is suitable street and intentions noble but no weight is ever added, not even from the adult performers. In a truly mind bending scene, humane cop played by Chiao has a young girl attached to a leash like a dog, for almost comedic purposes but it won't sit well with viewers. Director Kong Lung co-starred in Long Arm Of The Law as well as directing The Red Panther.

Strictly a spoof/comedic take on the character of Wong Fei-Hung (played by Alan Tam here). Fits into the timeline as Tsui Hark just scored big with Once Upon A Time In China and you had mostly waves of wire-fu movies as a result but Lee Lik-Chi goes for almost all comedy and placing himself more in the nonsense comedy camp as headlined by Stephen Chow usually. With Tam's Wong Fei-Hung officially being a grand master but behind closed doors just capable of cooking, it's a fun reversal to see his trusted disciples (Simon Yam, Eric Tsang and Ng Man-Tat) run the show and maintain the image of their school. Initially the verbal banter and overlapping dialogue doesn't create comedic momentum but through investment into the role and the energy Alan Tam brings, there is a momentum created. Leading to further parodies of elements from Tsui Hark's series but it's a mostly self contained movie with a very simple premise of Tony Leung Ka-Fai's Shek wanting to be the number one martial artist in the town. Sometimes key is not elaborate gags or plotting but performer-energy and while some are exaggerated without effect, you have a main one in Alan Tam that very much understands this role. That's what makes this a loud, swift time. Also with Teresa Mo.

While Tsui Hark had dabbled into martial arts with an emphasis on wirework in Swordsman from the year before, it was with Once Upon A Time In China that he yet again set off a cinematic trend and continued to lead. While the framework is Chinese history, the transition towards Western influence politically, there are signature moments here of wire assisted kung fu that take Wong Fei-Hung (Jet Li) into the realm of fantasy. But the balance is sound, with Tsui Hark arguing well that Jet Li is neither wrong or too young to carry the role of Wong Fei-Hung (popularized by Kwan Tak-Hing prior). His version is secure in his authority and kung-fu skill but out of place when it comes to Western customs and romance. Leading to the iconic introduction of Rosamund Kwan as Aunt Yee, their developing connection towards a relationship (no blood relation between the characters), the genuine pondering characters have to do in terms of going with the times but also it all sets in motion an action-plot where Wong Fei-Hung's militia is facing grave opposition from Chinese authorities. With a dedicated Jet Li at center the tolerance simmers into anger and into taking a stand using your feet, fists and flying-skills. Curiously though, the trio of action directors (Lau Kar-Wing, Yuen Cheung-Yan and Yuen Shun-Yi) keep matters grounded for large sections and let the wires aid certain moments rather than entire scenarios. Making said matters exciting, fluid and they come with a deserved oomph once they do go outside of reality a little bit. While it takes a little while to fit Yuen Biao's Leung Foon into the story, it reaches stronger thematic territory when he's paired up with the martial arts master Yen Shi-Kwan plays. A character with skill that's reduced to begging and who has to play along with this greedy world, it is duality that is dramatically effective and Yen as Iron Robe becomes more than just a generic bad guy. Culminating in the classic end fight involving ladders, ultimately Tsui Hark comes at Once Upon A Time In China in the capacity of filmmaker and this aids everything from acting, historical commentary to this new era of kung fu. Filmmakers subsequently that saw market strength in this were merely considering the spectacle of it all. Also starring Jacky Cheung, Kent Cheng, Karel Wong and Jonathan Isgar.

Part 4 changes director (but Tsui Hark co-penned the script and produced), its lead and new Wong Fei-Hung in the form of Vincent Zhao could've showcased more promise if some material was flung his way. As it stand now, Once Upon A Time In China IV feels quickly conceived, lazy and rehashed. Amping up the lion dance content merged with the threat of foreign influence, by part 4 the former starts alienating audiences as the extensive spectacle isn't all that impressive and the dramatic connected to foreign powers fizzles out quickly. Yuen Bun isn't able to make it come across as peril for China and its characters but instead we get a competent looking production, more pronounced comedy via Wong Fei-Hung's disciples, Rosamund Kwan's Aunt Yee gone in favour of Jean Wang's Aunt May (cue forced, possible new romantic angle) and wire enhanced action isn't going places awe-inspiring places anymore. The grounded martial arts with Zhao is rousing however, our over the top bad guys (Chin Ka-Lok and a horse punching Billy Chow) add colour during the non-stop last reel or two of action and there's fair enjoyment watching this in feel stand alone adventure. But the series has meant more emotionally, it was a guiding light for makers of the new wave of kung fu but by now the makers are starting to lose sight of what made it inspiring. The choice to strip it and to rehash certain content isn't the kiss of death but the makers do not rise above that unfortunately.

Tsui Hark is back directing, Yuen Bun handles action and order is restored in the series. Getting back to acknowledging threads established in character relationships, in particular between Aunt Yee and Wong Fei-Hung (Vincent Zhao), the first positive move is the return of Rosamund Kwan as the former. Still having to deal with a romantic triangle clumsily introduced in part 4 via the sister of Aunt Yee played by Jean Wang, at least now we know what a beating heart Kwan represents for the series. This then means there's material to work with and Vincent Zhao's stoic nature, warmth and inexperience as a romantic partner comes to life nicely in scenes with Kwan. Meaning the transition to a new Wong Fei-Hung is doing its thing reliably after a weak outing in 4. Even the comedy amidst Wong's disciples is more focused, true to character and by re-introducing even more cast of characters (including the return of Kent Cheng as Lam Sai-Wing), Tsui Hark really makes his case well that a fifth entry is warranted. Oh, the movie is playful and to a degree like a separate adventure from the rest with Wong Fei-Hung battling against pirates but coupled with a sometimes brutal edge to this scenario and Tsui's belief in this spectacle, all of a sudden moments come off as more lively and assured. At one point guns were the enemy of kung-fu, part 5 sees Wong and disciples having to embrace the technology, leading to fun surprises involving a very able Buckteeth So (Roger Kwok). Yuen Bun's action is largely very thrilling too with occasional demonstration of grounded kung fu via Zhao and Hung Yan-Yan but the heavy usage of wires is not a problem at all. Because scenarios are back to feeling very creative, with the centerpiece in the pirate's cave being a highlight and this execution as well as coherency working with so many wire shots and extraordinary character-abilities really feels alive. Even thoroughly on the nose social commentary for the end clicks in the way Tsui Hark managed to do throughout the first three entries.

The one part of the series that truly feels disconnected from a main narrative or thematic throughline. And it's not a bad choice, even if the whole affair can be mentally disposed of quickly too. Jet Li returns as Wong Fei-Hung in the adventure taking him, fiancee Yee (Rosamund Kwan) and Clubfoot (Hung Yan-Yan) to a Po Chi Lam branch setup in America and the old West. Shooting in synch sound Mandarin and English, having established interactions now being live is a treat despite the latter language giving way to some rather weak acting from the Western cast. Wong Fei-Hung meets Billy (Jeff Wolfe), loses his memory in an accident, gets taken in by a tribe of Indians (shades of Jackie's vehicles of Who Am I? and Shanghai Noon) and has to deal with racism and corruption as well. Costume- and production design is professional, the Texas location authentic enough but Sammo Hung isn't really making a serious bid as a maker of Westerns. No, this is a basic Wong Fei-Hung adventure in a new setting and ultimately we connect more to how the 6th entry is going about its thing action-wise. Mostly well, Jet is noticeably doubled but performs most of the grounded exchanges really well and it's where the choreography shines the most (Hung Yan Yan continues to impress when wires are not employed and even Kwan performs a few action-beats admirably well). Wired performers and props for brief moments within such scenes becomes rather thrilling and while it isn't the next, big, evolving step for the wire-fu craze of the 90s, dependent work isn't a bad verdict either. Larger than life villains signals some fun initially but that fails to break out and really only feels inspired when part of the Hong Kong style. But as a standalone Wong Fei-Hung adventure, the 6th take is lively to a decent enough degree without rivaling the initial trio of films in particular. Also with Chan Kwok-Bong, Patrick Lung, Richard Ng and Joseph Sayah.

Ma (Zhang Fengyi - Farewell My Concubine) is let out of prison after completing a manslaughter sentence. Finding out that his wife DuXia (Carrie Ng) has remarried, his meeting with her brother (Paul Chun) carries the message that the son in the family (Siu Jun-Kwan) is not Ma's but that his died young of a heart disease. Refusing to believe that fact, Ma takes DuXia's son on a road trip to reclaim his own worth, face his fears and prove his fatherhood. Some would call that kidnapping too...

Lawrence Lau (Spacked Out, My Name Is Fame) shoots this road movie in China, adding synch sound Mandarin and that gosh darn, criminal cinema-simplicity that makes for gems in this reviewer's mind. Being nicely unpredictable with the drama as Ma is an irrational guy that could really genuinely be out to do harm to an otherwise solid family. He is in his ways abusive but is out to throw out the spoiled kid in favour of one knowing about the rough life he very well could've had. Before things are made clear, we're very glad to be pulled in a few different directions. We don't know things, Lau's direction of writers Liu Heng (Judou, The Story Of Qiuju) and Cheung Tan's (Dragon Inn, The Promise) screenplay doesn't reveal anything but small doses at a time, equaling in-depth character building and One And A Half excels via this choice. Warm humour and usually gentle emotions, the show is undoubtedly Zhang Fengyi and Siu Jun-Kwan's, opposite performers that strike up wonderful chemistry. Played, directed clearly and with subtlety, it looks too easy almost. One of Lawrence Lau's very best films.