Tiger Cage II (1990)

aka Tiger Cage 2 (no, seriously...)


90 minutes of Donnie Yen at his kinetic, lunatic best!

Plot:
Rogue Cop™ Dragon Yau (our Donnie), fresh from a roasting at the divorce lawyer Mandy (Rosamund Kwan)'s office, stumbles into an international money-laundering/drugs group as they exit the law firm with a suitcase of readies. In the resulting bundle the suitcase is lost, and the hunt to retrieve it basically involves Dragon, Mandy and potentially-dodgy associate David (David Wu Dai-Wai) trying to work out what the hell is going on whilst being chased by armed gangs through the streets of Hong Kong. This takes in bent coppers, bent lawyers, and even a bent iron bar at one point. After a brief drunken montage respite, we're all set for a scorching showdown involving launderer-in-chief Waise (Robin Shou), and, returning from in-name-only predecessor Tiger Cage, the mighty mafiosi Michael Woods and John Salvitti. We also get a welcome (but all to brief) cameo from Cynthia Khan, Donnie's boss again (see also In The Line of Duty 4)

Donnie is on top form here, in a constant state of hyperactive outrage whether hoofing henchmen off open-top buses, or seething his way through a meal with fellow fugitive Mandy. Dragon Yau is the polar opposite of Ip Man, but they'd have a great tear-up...

Fights:
Yes, they're undercranked in places, but so what. This is some of Yuen Woo Ping's  best modern day fight choreography, taking in stairwells, car parks, bridges, in-vehicle and middle of the road (not the musical style, rather Dragon and David scrapping in the middle of commuter traffic). Throughout Donnie is at his hyperkinetic, lunatic best, mixing precision back and sidekicks with John Wayne haymakers for good effect. An early highlight is the (sadly short) punch-up with David whilst handcuffed to Mandy (a nod towards Tiger Cage and Terry's beach fight).

But it's the FOUR-fold finale that takes the cake here. David confronts Waise in his office, and gets a brutal kenpo karate lesson, as Robin Shou showcases the terrific chops that would land him the Liu Kang role in Mortal Kombat (1995). Cynthia gets involved too, but we don't see enough of her trademark elbows and high kicks unfortunately. Then we move to the building sub-levels, and break out the katanas: 

Real-life friends and sparring partners Donnie and John Savitti go at it hammer and tongs here,  atmospherically framed by a giant fan and chainlink fence. Next up Dragon must take on Mafiosa #2 (also a Donnie friend/sparring partner) Michael Woods, who brings a bag of muscular WWF-style trickery: flying elbows, body slams, beefy hoofs to the midriff; and lassos Dragon's arms with chain, making him rely on very fancy footwork.

The final finale sees Dragon returning to the storeroom where Mandy and Dragon's ex-cop- partner are having a gunfight with Waise: there are guns in each hand, but no time for John Woo balletic slowdown here, it all tears on at a terrific pace. 

Don't miss the terrific knockout blow!

Overall

Probably my favourite modern day actioner, and the best example of 'angry Donnie'. A tiger-tastic 5/5. Grrreeeeeaaaattttt!!

Ip Man (2008)

Plot: Wing Chun Master Ip Man (Donnie Yen) owns one of the many Kung Fu schools in the 'martial street' of the city of Foshan in the early 1930s. There is fierce competition among the schools to lay the claim to teaching the best style; this is evinced firstly by the (mildly rude) challenge from new-arrival Master to Master Ip whilst dining in his beautful family home, and secondly by the outright agression of a Northern gang led by ('Ricky' himself). The in-fighting is overshadowed by the threat of conflict with Japan, which finally leads to Japanese invasion in 1937 and the occupation of Foshan by the Japanese military. Foshan is ruined, the schools are closed, Master Ip's house is requisitioned by the Japanese as their HQ, and only Master Ip's friend and business partner Zhou Qing Quan (Simon Yam) maintains any reasonable trade with his cotton mill. Master IP is eventually reduced to coal mining to feed his wife (debutante Lynn Hung); when policeman-turned-collaborator Li Zhao (Gordon Yam) offers the miners a bag of rice if they fight at Japanese General Miura's barracks (newcomer Ikeuchi Hiroyuki).

Master Ip initially refuses, but after his brave friend Master Lin (Xing Yu) is badly beaten he volunteers and batters the best fighters in the dojo: General Miura excepted. When Miura sends first Captain Li Zhao and then his weaselly second-in-command Colonel Sato to force Ip into further matches, Sato attempts to abduct Ip's wife, resulting in his severe beating. Forced into hiding, Ip Man is shocked to find that Jin Shan Zhao and his gang have returned to extort the cotton mill, and so he trains the workers in Wing Chun. Naturally there is a Showdown at the Cotton Mill (*ahem*) , but with no Chi Kuan-Chun around it's up to Ip Man to help the workers and chastise Jin Shan Zhao on his lack of patriotism. Finally Ip Man is tracked down by the Japanese forces and made to fight on a podium in his old house against the General, whilst a crowd of Foshan Chinese are forced to watch his expected humiliation...

Production: The general production is excellent, from the glorious furnishings of Ip Man's house through to bustling 'martial street' and the desolate barracks dojo. Colours are muted with very crisp cinematography and editing that does well by both the drama and the fight scenes. The story flows well, you won't be checking your watch when there are no fights on screen. Music is orchestral Chinese (if you follow me) and fits well.

Performances: Donnie Yen does quiet dignity surprisingly well, a world away from his 'cop on the edge' of Flash Point. Ip Man starts as being represented as a man of polite strength who can be pushed to a point and then react with just enough force to prove his point when necessary. Of course, we all know that when a master acts this way it won't be long before his full power is unleashed; the tipping point being when his wife is threatened (not surprising given the dark history of Japanese camps in Nanking) and to avenge the badly beaten Master Lin. Here Donnie is super-aggresive but we get some touching scenes when his wife tends to his wounds.

The supporting cast are not given a lot to do: Simon Yam has basically a cameo, and Gordon Lam does well as a policeman awash with guilt over his collaboration with the Japanese. All well and good. Special mention to Fan Siu-Wong for imbuing Jin Shan Zhao with pathos; it's clear his aggression is misguided and that he feels that he is a victim of circumstance, rather than working on using his considerable talents for the benefit of others. Ikeuchi Hiroyuki and Shibuya Tenma play 'Dashing-but-Sadistic-Occupying-General™' and 'Cowardly-Weasel-Dogsbody-Colonel™' by the numbers.

Themes: As with The Chinese Boxer and Fist of Fury to mention but two, this is a very basic representation of the Japanese occupation. The infighting between the rival Kung Fu practitioners highlights the fragmentation which enabled the smaller Japan to succesfully invade. However the ability to overcome a technologically superior aggressor is highlighted by Ip Man calmly disarming the pistol wielding policeman using his bare hands.

The Japanese are shown as simply evil nihilists; I'm not saying that's not accurate for that time and place, but I did enjoy the 'benevolent enemy' of Yasuaki Kurata in Fist of Legend, or the honourable Japanese opponent in Fearless who refuses to press an unfair advantage. Such a touch would have added a welcome extra dimension to the story. It is notable that before fighting all the fighters (except the furious Master Lin) pay respect to their enemy.

Fights
Ah, now we get to it. Absolutely top notch. With Sammo and Tony Leung (no, not tghat Tony Leung) at the helm we get masterful choreography and camera tracking. We start with a 'courtesy Kung Fu' challenge with Ip Man politely deflecting and firing minimal counters; but the fireworks really start when Jin Shan Zhao storms into town and goes through the Masters like a boot through butter - vicious foot and heel work. He gets short shrift from Ip Man, though, who angers Jin into using a sword, which Ip counters with a feather duster! Fast, crisp arm work throughout. We get some tasty polework at the Cotton Mill, but the fight highlights are in the barracks dojo. The soon-to-be-legendary '10 v 1' sequence is incredible, varied, and intense' a barrage of chain punches taking down the Karetaka one at a time. The final fight against the General is maybe over a bit quickly, but at least there's some concession to 'actually,Karate's not that bad, let's let him get a few strikes in'. Again a fury of armwork, working the General like a Wooden Dummy, wins the day. Terrific stuff, although there's some unneeded wire enhancement (punting prostrate opponents off the mat, for example).



Note there has been some controversy regarding exactly how 'Wing Chun' the combat was (dark talk of 'elbows not being in the centreline', 'dodgy footwork' and 'wrong knuckles') but it certainly didn't stop my enjoyment.

Training: Disappointing compared to Warriors Two and Wing Chun, here is clearly a chance to explain why Wing Chun is effective and counter Jin's insults that 'it's only for women'; but all we get are some Wooden Dummy montages. A real shame, hopefully this can be explored in the sequels.

Overall: 5/5, an action movie that blends incredible fighting and drama very well. Not many dimensions to the characters but don't let that bother you - enjoy!

Version watched: Universe 2-Disc HK edition, with a host of extras.

Chocolate (2008)

Thai producer Prachya Pinkaew's Ong Bak and semi-remake Tom Yum Goong were a huge breath of fresh air for kung fu cinema in the last 5 years: while Jackie Chan continues to produce pockets of brilliance, Jet Li focussed on wire work and wuxia, which to me is a massive waste of his talents, with only Fearless getting back to his wushu roots. Prachya Pinkaew's near-suicidal stunt team have built a reputation for gleefully hurling themselves into real danger: few kicks or punches are pulled, and the scenery becomes a part of the action again in a way not seen since Jackie Chan's heyday. The brilliant (if uncharasmatic) Tony Jaa was the first star to emerge from this formula, with brutal Muay Thai techniques showcasing more unusual kicks (especially knee strikes) and elbows. The plots to his movies are paper-thin (baddies steal something, Tony gets it back), so it's good to see that with Chocolate the formula has been extended to something more complex, and with a different debutante: 22-year old female JeeYa Janin.

The plot: An ex-mob mother is ostracised due to her love of a rival yakuza. He returns to Japan, leaving her to care for their autistic daughter (Zin) who is brought up in a Muay Thai training school. When mother falls ill , Zin and her tubby chum discover an accounts book of people that owe her mother money - they do not realise this a loan shark book from her mob days. Zin has copied the Muay Thai techniques from the school, and avidly consumes Tony Jaa's movies and violent Playstation games.

And so cue a series of fights with the debtors - all of which are set in different factories: ice, packing, meat. Finally the old boss and his transvestite(!) gang get wind of this and we end with two showdowns: one involving the returned Yakuza dad in a restaurant, and then spilling out to the city for the final showdown.

And she's called Chocolate because she collects M&M's.

Treatment: Now, this has caused quite a split among the Kung Fu forums. As mentioned, Jin is autistic (apologies if this is a genaralisation) and her mother is struck with (presumably) leukemia. In my opinion both conditions are treated respectfully, and (as far as I can see) realistically. Zin's mood swings and perception of the world are well realised. Of course, this doesn't have the depth of, say, "The Curious Case of the Dog in the Night" or "Rain Man", but its both good enough for this context and touching in its own right. The point that she could not possibly be such a good fighter without formal training is, well, pointless: Ong Bak and Tom Yun Goong are equally ludicrous but just as exciting.

Fights: Again, controversial: some believe these to be slickly edited to make JeeYa Janin look better, and that she is merely flexible/acrobatic with no real technique. I completely disagree, I've tried some of the kicking combos she pulls off and have got nowhere close. The combos are varied and imaginative, making very good use of kicks/elbows/ad-hoc weapons as well as the scenery. The stunts are superb; especially in the end fight on the side of a building (Harold Lloyd would be proud). Only let down is the swordplay sequence, which is just as weak as the one in Kill Bill.

The outtakes show several meaty smacks in the face, the stunt team really earned their keep.

Overall: 4.5.out of 5, another modern day classic from Thailand with plenty of action, and nice to see that plot complexity is improving.