In February of 1996, when RUMBLE IN THE BRONX was released in the U.S., it was an event. I don’t know if it was the zeitgeist or a concerted marketing effort or what, but it came along at the exact right moment for Jackie Chan to achieve his dream of hitting it big in the States. He’d tried twice before with American movies filmed in English: Robert Clouse’s THE BIG BRAWL a.k.a. BATTLE CREEK BRAWL in 1980 and James Glickenhaus’s THE PROTECTOR in 1985. Neither caught on. But he finally did it with a re-edited and dubbed version of one of his Hong Kong movies.
For some of us, we’d had a few years of fiending to see and learn about whatever Hong Kong action cinema we could. Trying to find rentals or bootlegs of subtitled John Woo, maybe Ringo Lam, THE HEROIC TRIO, FONG SAI YUK, THE BRIDE WITH WHITE HAIR, or anything Jackie.
Most of those were about a certain poetry, a certain vibe, a mix of style and cool and honor and brotherhood and violence that seemed thrilling compared to what we got at home. But the excitement of Jackie was entirely about the miracle of human movement. A guy who can flip and run up walls and jump off buildings and onto or over moving vehicles. A daredevil and a silent comedian and a kung fu master all rolled into one. He wasn’t cool in the same way that Chow Yun Fat was. He was kind of a dork. But also a god. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.