Archive for marital arts

What happened to Generation Next?!

Posted in Amy Johnston, Gina Carano, Jeeja Yanin, Ziyi Zhang with tags , on May 5, 2017 by Michael S. Moore

Michelle Yeoh has been the standard-bearer for successful female martial arts heroes for decades, followed closely by the likes of Cynthia Rothrock and names like the original hero Angela Mao, Yukari Oshima, Moon Lee, and Cynthia Khan. Year passed, and each one faded into cinema memories as time went on. With the exception of the Wuxia films, there was a noticeable dearth of female action films.

But then things began to change. We were introduced to a new crop of potential action stars: Stateside MMA fighter Gina Carano came out with her first film, Haywire, which was a modestly successful film, and she seemed to be the one to pick up the American mantle left by Ms. Rothrock. Overseas, renewed hope continued in the form of Jeeja Yanin in Chocolate, and Veronica NGO in The Rebel and Clash. Not to miss out we also had Zhang Ziyi making her mark in films like the House of Flying Daggers and The GrandMaster. Toss in Ronda Rousey making her debut in both a Fast and Furious film as well as The Expendables 3 and one would think that female martial arts action cinema would be in good hands.

Until it wasn’t.

Carano, as of this writing, did well with Deadpool but her acting is hampering her. Jeeja Yanin is suffering from two important things: her film choices and the absence of the great Panna Rittikrai as her fight choreographer. Zhang Ziyi was the best thing about The Grandmaster, but it was also Tony Leung’s star vehicle rather than hers. I’m not sure what became of Veronica Ngo, and Ronda Rousey, well, it’s hard to say.

So where do we go from here? Cinema seems to be taking care of it…to a point. Scarlett Johansson had Ghost In The Shell (not a very good film) and we have Wonder Woman coming out soon, as well as Atomic Blonde with Charlize Theron, so women are progressing in action cinema to being more than a damsel in distress. But where are the martial arts stars at? Could Ni Ni pull off being an action badass in Enter The Warrior’s Gate? How about stunt woman Amy Johnston in her film debut Lady Bloodfight? Is she ready to take the next step? Charisma and charm are good, but martial arts skills need to be on point as well. Who else is out there in the world of female ass kickers ready to step up to the plate? We have plenty of male martial arts stars. But we need something more. We need kickass women. Action cinema needs kickass women.

We’re still waiting.

And that’s the problem.

Enter the Warriors Gate is now in theaters, VOD and Digital HD.

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Review: The Grandmaster (2013)

Posted in Cung Le, Tony Leung, Yuen Woo Ping with tags , on October 21, 2015 by Michael S. Moore

grandmaster3

Starring Tony Leung, Zhang Ziyi, Cung Le, Elvis Tsui, Lau Shun, Lo Mang, Yuen Woo-Ping, Zhang Jin

Fight Choreography by Yuen Woo-Ping

Directed by Wong Kar-Wai

When news came that another Ip Man film not starring Donnie Yen was being made, I had to roll my eyes. Much like Wong Fei-Hung everyone has to have their own take on Ip Man. Most have been okay to really good, but none have come close to the quality of the Wilson Yip/Donnie Yen series. Now toss in Wong Kar Wai, a prolific and one of the most talented filmmakers..well, anywhere, and I thought this was on the road to greatness.

But along the way Wong Kar-Wai decided to take a detour.

The film starts off by showing a rain-soaked fight between Ip Man (Leung) and a legion of gentlemen led by Iron Shoes (Le). After Ip Man tears ass through them we learn of his early years learning Wing Chun, and then his marriage and life with Cheung Wing-Sing. Ip Man’s life seems to be going peacefully until The Northern Boxing GrandMaster Gong Yutian arrives, challenged the southern schools to find their own Grandmaster, as he is retired and has made his son Ma San the Northern Grandmaster. The southern masters agree that Ip Man should represent them, and things get complicated when Gong Yutian’s daughter Gong Er (Ziyi) arrives, and Ip Man finds his heart may be going to her, but arrival of the Japanese and his flight to Hong Kong threatens to undo the perfect life he’s made for himself, and Gong Er must deal with a treacherous brother and ailing father in order to protect her family’s martial arts legacy. But how much is that worth to her?

the grandmaster

My issue with the film, and maybe it is a matter of expectation, is that it’s a little deceptive, and maybe not in a good way. I went into this thinking I was watching a Ip Man film. But from a  narrative perspective that’s not really the case; this film is really about Gong Er and her family. The Grandmaster title isn’t referring to Ip Man, but rather Gong Er. Ip Man is nothing more than a supporting character. This is not to say that Tony Leung doesn’t do a good job, because he does. He’s stoic as Ip Man, but at the same time conflicted. Zhang Ziyi is also excellent as Gong Er, a strong woman who was unfortunate enough to not be born a man, at least in her father’s eyes. The issue here is that the film takes a narrative turn away from Ip Man to follow Gong Er, and then jumps back to Ip Man toward the end, pretending as if the previous hour we had been watching an Ip Man film the entire time. Did Wong Kar-Wai simply decide that Gong Er was a more fascinating character to follow? I felt that there was a whole Ip Man film left on the cutting room floor, and with Wong Kar-Wai’s reputation, I wouldn’t be surprised if that was actually the case. I have to admit, however, the film is absolutely gorgeous to look at. It almost looks as if it could have been a black and white film, in the way that the camera plays with the shadows and golden skin tones, contrasted by the opening of the film in a rainstorm that never looked so good.

grandmaster

The fights are solid, though it had more wirework than I was comfortable with, but one was a big notch above the rest: Gong Er versus her brother Ma San at the train station. It was a cinematically gorgeous fight, and with the train passing by it added a layer to the composition of the visuals. Zhang Ziyi and Zhang Jin do excellent work here. Yuen Woo Ping still has a great big bag of tricks in his tool belt, but aside from looking beautiful, it just felt like something was missing.

Wong Kar Wai’s film asks the question “What is Kung-Fu?” but I’m not sure he knows the answer. Maybe that’s the point.

Kiai-Kick’s Grade: 6

The Grandmaster is a gorgeous film to look at, and Zhang Ziyi does a great job as Gong Er, and Tony Leung lights up the screen as Ip Man. If only Wong Kar Wai knew which movie he wanted to make.