Tag: jackie chan

Police Story


Police Story (1985)
★★★ / ★★★★

Right from its opening sequence which involves a sting in a squatter area, “Police Story” proves to be no ordinary action picture. Director Jackie Chan, who also stars as Ka Kui, a cop for the Royal Hong Kong Police Force, demonstrates his keen eye for location, the people who take up space in a particular area, and how they move, whilst interacting with the environment, when chaos is turned up to 11. This sets the tone for the film. On the surface, there appears to be pandemonium. But look closer and realize there is great control—discipline—in how action is set up and executed while incorporating happy accidents along the way to create an exciting, fun, and unique final product. There is plenty to appreciate here.

One is Chan’s penchant and talent for doing his own stunts. There is electricity and intention behind every move: whether he’s throwing a punch or the one avoiding it, whether he’s dangling off a double-decker bus with an umbrella, or whether he’s sliding down a pole—smashing glass along the way—several stories high. The eye-popping and jaw-dropping sequences demand attention. Even more impressive is when Chan is required to lug another actor around as their characters get themselves in sticky situations.

But the magic is not just the actor doing his own stunts, you see. Observe a little more actively and note how Chan always accompanies his physical prowess with easily readable emotions on his face. His expressions help to amplify the mood of a scene. Compare the silliness that unfolds in the apartment of a key witness (Brigitte Lin) Ka Kui must protect so she can testify in court the next day to the desperate, nail-biting final confrontation in a mall. Chan delivers a real performance; he steps on set not as a stuntman but an actor who just so happens to do his own stunts. It makes a whole world of difference, especially considering the fact that the work is prone to sudden shifts in tone.

For the most part, the picture commands a comic feel: mistaken identities, the ennui of the every day while on the job, ironic details among cops, lawyers, and crooks. It is a movie that works hard to make us smile. In just about every scene, a wink can be found. Even when Ka Kui steps on manure, the obvious comedy is never treated as the punchline. But when it changes gears suddenly—a cop who struggles to shoot at suspects in the middle of an operation, when a girlfriend is thrown down a flight of stairs—it is jolts us into paying attention. Chan is the anchor—as actor and director—that holds the ship together. He doesn’t rely on charm.

I wished we got to know more about the main woman in Ka Kui’s life, particularly the girlfriend, May (Maggie Cheung), who appears to have more in her than simply looking concerned. Our protagonist seems to love her, but we never get a chance to see them engage in real conversations. At times I felt annoyed that just when May is about to say something of substance, possibly about his safety (or lack thereof) in his occupation, she finds herself cut off by the more dominating personalities. This is not a knock on Cheung, but I felt her talent can be utilized better in slower, thoughtful stories. This one zips along with energy to spare.

Despite this shortcoming, “Police Story,” delivering astonishing practical effects right after another, is a delight from start to finish. Even the final minutes dare to hint at a deeper conversation surrounding limitations cops come across when facing men who possess considerable wealth, power, and influence. There is suggestion that everyone is just dancing around the fire. Ka Kui makes a decision. And there is catharsis.

The Foreigner


The Foreigner (2017)
★★★ / ★★★★

12 dead, 38 injured from a clothing store bombing in London claimed by a group called “Authentic IRA.” Minh, a restaurant owner, played with a permanently dour expression by Jackie Chan, demands to learn the identities of those responsible after his teenage daughter perished in the terrorist attack. His target: Northern Island First Minister Liam Hennessy (Pierce Brosnan), a former IRA leader who works with the British to maintain peace between the two countries. Martin Campbell’s action-thriller “The Foreigner” is not a straightforward action picture with revenge at its core. As can be expected from a Chan flick, there are jaw dropping stunts and energetic violence. Surprisingly, however, our protagonist’s methods can be downright questionable at times, particularly when he sets off bombs to try to get what he wants. Even the minister’s loyalty is obfuscated, a politician who holds his cards close to his chest while at work and at home. There is intrigue, even if it is the superficial variety, because David Marconi’s screenplay ensures that the audience has an appreciation of each key player’s motivation. It moves at a brisk pace and never wears out its welcome.

Kung Fu Panda 2


Kung Fu Panda 2 (2011)
★★★ / ★★★★

Young Shen, a peacock, was supposed to lead Gongmen City when he grew up. But when Soothsayer (voiced by Michelle Yeoh), a goat, predicted that someone in black and white was going to thwart his thirst for power, Shen (Gary Oldman) decided to kill pandas all over China. When he returned home, his parents banished him from the city. Years later, bitter Shen reappeared, equipped with newfangled metallic weapons and ravenous but dim-witted wolves, to take back the city, eliminate kung fu, and gain control of China. “Kung Fu Panda 2,” written by Jonathan Aibel and Glenn Berger, was a hasty but scrumptious sequel filled with non-stop action, cuddly rabbits, funny jokes about the anthropomorphic characters, and gorgeous animation. With a relatively simple storyline, the film wasted no time in sending Po (Jack Black), Tigress (Angelina Jolie), Monkey (Jackie Chan), Mantis (Seth Rogen), Viper (Lucy Liu), and Crane (David Cross) to release Gongmen City from the evil peacock with feathers as knives. But it was far from an easy task. Each successive action sequence became increasingly difficult for our heroes which meant more complex plans of attack and trickier camera angles. It also meant more scenes where Po had to clandestinely blend into the environment to no avail. I loved the aerial shots especially when the Dragon Warrior and his friends attempted to sneak into the city while in a dancing dragon costume. Looking down, it looked like a helpless caterpillar desperately trying to find its way out of a labyrinth while avoiding nasty predators. I also enjoyed the scene in which our protagonists had to run to the tip of a building as it slowly collapsed. There was a real sense of peril as Po and company were thrown around like rag dolls. Since Shen wielded a myriad cannons, the city was eventually thrown in a state of calamity, its residents dispersing like flies. Although potentially too violent for kids, the filmmakers found a way to hide certain realities. For example, someone who was hit by a cannonball was almost always immediately shown as only slightly wounded but ultimately safe. There was an interesting subplot involving Po’s origins. Po finally realized that Mr. Ping (James Hong), a duck, wasn’t his biological father. Mr. Ping was heartbroken from the prospect of Po treating him differently other than the father who found him in a box, raised, and fed him tons of radishes when he was a baby panda. Fragments of memories began to manifest themselves and they caused turmoil in Po’s mind. It proved to be inconvenient because the only way he could learn a special kung fu move, with the aid of Master Shifu (Dustin Hoffman), was to find inner peace. “Kung Fu Panda 2,” directed by Jennifer Yuh, was surprisingly fresher than newly dug radishes. It is a product of synergy among comedic asides, kinetic martial arts, and the more sentimental scenes between Po and his dad. Most of all, it is a testament that sequels need not rely on typicalities to duplicate the successes of its predecessor. Its ambition and execution make it a solid companion piece.

The Karate Kid


The Karate Kid (2010)
★★★ / ★★★★

A mother (Taraji P. Henson) and her son Dre (Jaden Smith) moved to China for better opportunities. On their first day in China, Dre developed a crush on a girl (Wenwen Han) with a talent for music but a bully (Zhenwei Wang) just as quickly interrupted their conversation. It turned out the bully was not just someone Dre needed to watch out for around his apartment complex because they both attended the same school. The fact that the bully knew kung fu did not help Dre’s confidence. The film was without a doubt commercial and at times cliché, but I could not help but enjoy it. There were three elements I loved about it. First, the maintenance man (Jackie Chan) did not teach Dre kung fu until about an hour and fifteen minutes into the story. I thought it was a big risk because the film had the challenge of keeping the audiences interested. It was a smart decision because it successfully established why Dre was someone worth rooting for. For instance, although Dre was bullied, he was not afraid to fight back. Unfortunately, he did not have the technical skills to stand up against other boys who knew martial arts. I found it very easy to relate with Dre moving to a different country and having trouble fitting in. When I moved to America when I was twelve, to say that the transition was difficult is an understatement because I didn’t know the language well and I wasn’t fully equipped to adapt a new culture. So when Dre finally confronted his mom about how much he hated being in China, that scene had a special meaning to me. Second, Henson was pure joy to watch. I’ve mostly seen her in Tyler Perry’s movies so I knew that she was very capable of delivering angst and sadness. I was surprised that she could actually be funny. Every time she was on screen, I couldn’t help but smile because she injected a certain enthusiasm in her character, that everything in China was great, and she was ready to be strong for her son when the occassion called for it. Her facial expressions were priceless. Lastly, the scenes in the tournament made me feel like I was there. The build-up regarding Dre’s hardwork, the bullying, and honor at stake finally came to fruition. Even though Dre’s mentor consoled him that winning or losing did not matter as long as he earned the audience’s respect, I thought Dre had to win no matter what. I was so invested in what was happening, I couldn’t help but vocalize my thoughts. “The Karate Kid,” directed by Harald Zwart, worked as an interpretation rather than a remake. It did not have anything to do with karate (the filmmakers should have just named it “The Kung Fu Kid” to silence the haters–a simple solution) but I was entertained for over two hours.