ROMANTIC WARRIOR (2017) review

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In an age when amateurs have the tools to make professional-looking films, it beggars beliefs that professionals managed to produce something as amateur as Liu Xiatong’s Romantic Warrior. And we are not using the term “amateur” in the same childishly hyperbolic way as countless so-called film critics for whom competently-assembled films can be called “awful” or “shit”. No, Romantic Warrior truly boggles the mind with its utter lack of anything resembling filmmaking skill. The story unfolds in the thirties and concerns a cowardly Peking Opera actor (Chan Kwok Kwan) who meets a young woman (Xu Dongmei) claiming their marriage was arranged years ago by their now-defunct respective parents. He first tries to sell her to a brothel. Then, seeing she will not leave him in peace, and freshly humiliated by his nemesis (Wang Mei Ying) at an backflipping contest, he accepts her tutorship in martial arts and singing, to make him a better Opera performer. But she may have a hidden agenda.

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KUNG FU FIGHTER (2007) short review

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Featuring the same sets, costumes and many of the same cast-members as Stephen Chow’s Kung Fu Hustle, but only a quarter of its budget and a tenth of its creativeness, Yip Wing-Kin’s Kung Fu Fighter also borrows heavily from the Ma Wing Jing story, as told in the Shaw Brothers film Boxer from Shantung (1972) and Corey Yuen’s Hero (1997). Thus we follow a young country bumpkin (a vacant-eyed Vanness Wu) who comes to Shanghai in search of his father and ends up falling for a beautiful cabaret singer (Emme Wong), getting entangled in a turf war between mob bosses (Chan Kwok Kwan and Tin Kai Man), getting himself a portly sidekick (Lam Chi Chung) and meeting a kind master (an endearing Bruce Leung) who may know a thing or two about his father. It’s a puzzlingly half-baked film, in which some interesting visual flourishes and good choreography (by Fan Siu Wong) get undermined by a complete lack of focus and dramatic momentum and an excess of cartoonish visual trickery, again aping Stephen Chow’s film. The final fight scene is actually quite enjoyable, as Fan Siu Wong injects some charisma into the film by popping up as a dangerous grandmaster, and up-and-comer Max Zhang gets a good staff fight. But it’s not enough to prevent cartoonish surfeit and half-baked drama from dooming the film to mediocrity. *1/2