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Posts Tagged ‘Ching Siu-Tung’

Butterfly and Sword

Wednesday, April 8th, 2020

BUTTERFLY AND SWORD is from 1993, so it’s after Michelle Yeoh had already done YES, MADAM! and even SUPERCOP, but it’s her first straight up wuxia movie. Let me put it this way: in the opening scene in “West Chamber, Eunuch Li’s Mansion,” I do believe we see a guy’s face get ripped off and thrown into a pile of snakes. So this is not a drill. This is the unadulterated, berserk kind of kung fu fantasy film where there pretty much aren’t characters who don’t jump 25 feet in the air and shoot some kind of weapon.

Our male lead Brother Sing (Tony Leung, HARD BOILED, RED CLIFF, THE GRANDMASTER) is introduced bouncing off a string to fly through the air like an arrow, causing at least half a dozen dudes to explode as he hits them. He also has a cool method of holding a bow behind his back and firing his sword. Yeoh’s character Lady Ko gets a quicker but even more fanciful introduction flying in with a fanfare of confetti and a web of unfurling purple silk scarves. (read the rest of this shit…)

Naked Weapon

Monday, April 6th, 2020

I rented NAKED WEAPON (2002) by “Tony” Ching Siu-Tung, the great director (A CHINESE GHOST STORY trilogy, THE SWORDSMAN trilogy, THE SORCERER AND THE WHITE SNAKE) and choreographer (A BETTER TOMORROW II, SHAOLIN SOCCER, HOUSE OF FLYING DAGGERS) of Hong Kong action movies, because I thought I heard it was really good. But in retrospect I think I was mixing it up with NAKED KILLER (1992), which is not by Ching and is unrelated, though it’s by the same writer, Wong Jing (MERCENARIES FROM HONG KONG).

No matter. NAKED WEAPON is an odd one, with lots of Ching’s outlandish kung fu and gun violence, and it’s one of those Hong Kong movies made for international audiences that I find so fascinating. It seems to be filmed mostly in English, with primarily Asian-American leads, but filmed in Hong Kong and Manila, with a Hong Kong crew. (read the rest of this shit…)

Wonder Seven

Wednesday, April 1st, 2020

You know who’s always good? Michelle Yeoh. Have you noticed that? I guess you have. This one is from 1994, her followup to the classic WING CHUN, and it’s directed by the great Ching Siu-Tung. He had recently been her director for HEROIC TRIO 2 and action director for BUTTERFLY AND SWORD, THE HEROIC TRIO and HOLY WEAPON. The title presumably refers to the special forces team of six men and one woman introduced on dirt bikes chasing a gang of armed robbers through a farm. A guy is dragged through a pile of pig shit. The woman fires an arrow from a musical instrument and it goes all the way through a guy’s leg. One bike drops through a farmhouse ceiling. A guy runs through a pen full of ducks but gets hit in the head by a flying hammer.

All if this is great, obviously, but Michelle Yeoh is not one of these wonder people. The one female is Hilary Tsui (SHAOLIN POPEY), who apparently is playing “Tiny Archer.” The men on the team all kind of blend together to me. Kent Cheng (AH KAM) is the only one who really stands out visually, but unfortunately according to IMDb his character is called “Fatty.” Oh well – in ONCE UPON A TIME IN CHINA he played “Porky Wing,” and in IP MAN 2 and 3 he’s “Fatso” (Ip Man calls him “Bob” in part 4 though).

Yeoh plays Jing, a cool-sunglasses-wearing woman the Wonder Seven run into beginning with two separate incidents: (read the rest of this shit…)

The Killer

Wednesday, June 22nd, 2016

tn_thekillerwoozoneAs a guy specializing in writing about action movies, sometimes I worry I’m documenting an ancient art form. I romanticize a time when action movies were a rite of passage, a father-son bonding tradition and a major passion for many young people, especially males, but it seems like the youth of today aren’t necessarily interested in this shit. And if they don’t grow up on it then they’re never gonna have that moment when they get a little older and become aware of the other powerful strains of it from around the world.

That makes me sad because whatever they’re watching instead cannot possibly match the rush of joy I got when I saw my first John Woo movie – which was THE KILLER – or each time I revisit his classics now. At the time there was nothing else like it. Somehow that seems even more true today.

The things that are greatest about THE KILLER might be the things that would seem silliest to younger people: the unabashed style and the the unbridled, unironic emotion. I remember people who came up a few years after the era when Hong Kong action cinema was the coolest thing going – people who are old and decrepit now – who would make jokes about John Woo’s doves. “Ha ha, two pistols, and some doves, am I right? Ha ha, I know about a trademark, I have defeated him.”

Well, THE KILLER is gonna be way too much for anybody like that. And maybe I gotta face that they just don’t deserve THE KILLER. The cards are laid on the table in the opening, when Chow Yun-Fat as Ah Jong (or “Jeff Chow,” according to the credits) meets with his Triad manager Fung Sei (Paul Chu Kong) in an empty church at night. That happens in all action movies, but this church is lit with what must be a thousand candles, and there are doves and pigeons flying around, landing on the cross. (read the rest of this shit…)

Invincible (2001)

Monday, July 7th, 2014

tn_invincibleI saw this old issue of Asian Trash Cinema that had an interview with Ching Siu-Tung, veteran martial arts choreographer, prolific wire-fu practicioner, Jackie Chan Chinese Opera schoolmate, and director of Steven Seagal’s weirdest movie (BELLY OF THE BEAST). Of course the interview covered alot of his most legendary work: he directed the SWORDSMAN trilogy, EXECUTIONERS and NAKED WEAPON, he was stunt coordinator for A BETTER TOMORROW II and action director for HERO. But I was even more interested in the weird little tidbits I’d never heard about his brief flirtations with Hollywood after THE MATRIX exploded and Yuen Woo Ping was all booked up.

The craziest one was a story about “the director and producer” of SPIDER-MAN coming to Ching, unhappy with how their action scenes were coming out, and wanting him to redo them. Of course it never ended up happening, he seems unclear why and doesn’t go into details. But it’s an intriguing story. Raimi was always up on the Hong Kong guys, he executive produced HARD TARGET after all. It makes sense he would know about the top wire-fighting guy and think of him for a movie about a guy swinging on webs.

(read the rest of this shit…)

Vern reviews Steven Seagal’s BELLY OF THE BEAST!

Friday, November 14th, 2003

Hey folks, Harry here… Vern, being one to only see the arty movies like the ones he mentions below is the perfect choice to review that hero of the Arthouses… I’m of course talking about Steven Seagal and his latest starring success… …ahem… Anyway, lest you get tired of reading about Seagal’s Private Investigator on Drudge-linked stories, now you get the skinny on the top man himself. And if you ever sit down with Seagal for lunch, play the… “How would you kill me” game, where you just continually ask him, once every 4 minutes or so how he would kill you. I hear this is amazingly entertaining as Seagal has an endless variety of ways to kill the annoying fuck sitting across from him. Go on, give it a try!

Vern reviews BELLY OF THE BEAST by Ching Siu-Tung

Boys –

I know you are fans of the hong kong cinema, martial arts, karate, and etc. So I bet you probaly know who Ching Siu-Tung is. Or maybe you know him as Siu-Tung Ching, or Siu-tung Chin, or Tony Tung Yee Ching, or Xiaodong Cheng, or Tony Ching Siu Tung, or just plain Tony Ching. I don’t know, the dude has lots of names. But the point is not what the dude’s name or names is, the point is what the dude does. He may not be as well known in the united states of america as your John Woos or your Yuen Woo Pings or your Tsui Harks. But I bet you’ve seen some of his works before. (read the rest of this shit…)