The Man with the Iron Fists the directorial debut of music artist RZA is clearly a love letter to all of the Wu Tang frontman's passions. An old school kung fu movie infused with hip hop beats and a comic book aesthetic Iron Fists rarely makes a lick of sense but it's a collage of imagination — and that earns it a few points. Like a cinematic version of the backyard games we all used to play RZA casts himself as a Chinese town's resident badass who teams up with a cowboy to take down an army of ninjas assassins. The freeform style allows him to run wild rarely providing actual thrills but resulting in an action movie overflowing with heart. Bloody bloody heart.
The manic script for Iron Fists written by RZA and Eli Roth (Cabin Fever Hostel) interlocks a handful of colorful characters with varying degrees of success: The Blacksmith (RZA) a freed slave who hopes to earn enough bucks to whisk his love prostitute Lady Silk (Jamie Chung) away from the Pink Blossom brothel; Madam Blossom (Lucy Liu) the brothel's owner (and local mobster); Silver Lion (Byron Mann) a murderous gangster out to overtake the city with the help of his magical metallic underling Brass Body (Dave Bautista); Zen Yi a.k.a. The X-Blade (Rick Yune) whose father was killed at the hands of Silver Lion and now seeks revenge; and Jack Knife (Russell Crowe) a mysterious British gunslinger taking residence at the Pink Blossom who may have ulterior motives. Iron Fists bounces between the plot threads without much worry — you never really know who is doing what or why. But if characters say what they're thinking with conviction then beat the daylights out of their opponent it's supposed to suffice. More often than not it does.
What Iron Fists lacks in coherency it makes up for in absurdity. RZA pumps up the volume on every element of the film from costumes that shoot daggers to flamboyant overacting evildoers to Jack Knife taking the goriest route to defeat an enemy (in this case using a knife gun to rip up a heavyset man's insides). Taking a page from mentor Quentin Tarantino's book anything can happen in this Eastern martial soap opera and everything does happen. It's money shot after money shot the rapid pace reminiscent of channel surfing — likely the way most kung fu fans stumbled upon the type of films that inspire Iron Fists back in the '70s and '80s.
Not every moment pops — unlike Liu and Crowe RZA doesn't exactly light up the screen when given the freedom to go crazy. Blacksmith is a muted mumbling character who doesn't throw himself into a fight the way a kung fu movie demands from its lead. Behind the camera the fight scenes are choreographed similarly to how the movie is structured: randomly with the occasional inspired moment. But the inventiveness of the mechanics keeps Iron Fists working. A scene with two twins using contortion to throw and kick and punch their way through hoards of bad guys is a joy. Seeing Crowe (obviously not an expert in martial arts) lay down a few moves is pure fun too.
The Man with the Iron Fists isn't as expertly crafted as Tarantino's Kill Bill but it has more mind-boggling oddities. RZA unleashes his passion into the film so even when the story or action isn't working something else on screen is.
Now here is a reboot to cheer for. The Muppets heralds the return of Jim Henson’s beloved furry creations resurrected from pop-culture irrelevance and lovingly restored to their former greatness in a vibrant comedy-musical.
Jason Segel in addition to co-writing and starring in the film served as executive producer and the project's resident evangelist. His choice of collaborators is inspired. Directing is James Bobin best known as the co-creator along with Bret McKenzie and Jemaine Clement of HBO’s Flight of the Conchords a show whose good-natured and yet slyly irreverent tone often recalled that of old Muppet Show episodes. (I’ve never quite recovered from its premature departure.) McKenzie served as music supervisor contributing several original songs to the soundtrack. Segel’s co-star Amy Adams is the rare breed of actress who can transition from playing a pugilistic potty-mouthed waitress (in The Fighter) to the role of an angelic schoolteacher with ease. And few actors portray cartoonish villainy with more verve than Oscar winner Chris Cooper.
The film opens with a montage introducing the character of Walter a Muppet raised in Smalltown USA who figures himself the first and only of his kind until he happens upon an old Muppet Show rerun after which he is inexorably transfixed. Together with his “brother ” Gary (Segel) and Gary’s fiancé Mary (Adams) he travels out to Los Angeles to meet his idols only to find their studio vacated and on the verge of being demolished by Tex Richman (Cooper) a sinister tycoon who covets the oil reserves beneath it.
The only way to save the studio naturally is a kick-ass variety show reuniting the Muppets long estranged after the demise of their television series. Kermit the Frog is now holed up in a sprawling Bel Air mansion which he once dreamed of sharing with his former flame Miss Piggy who has gone on to become Vogue’s “plus-size” editor in Paris. Consummate entertainer Fozzy Bear is slumming it in Reno with a tribute band dubbed the Moopets; Gonzo is consumed by his work as CEO of the plumbing company Gonzo’s Royal Flush; and Animal is seeking treatment at the Fresh Pathways anger management clinic.
Segel and company’s affection for the original Muppets property is clear so much so that some viewers may dismiss the film as a tedious exercise in nostalgia. Pay them no heed. Kermit and the crew are as fresh and funny as they were three decades ago and their anarchic brand of humor with young and old alike. The film suffers from an over-emphasis on its human characters (Gonzo’s miniscule screen time is particularly baffling) and McKenzie’s songwriting while more than adequate yields no memorable standouts in the vein of “Rainbow Connection” or “Mah Na Mah Na ” but these are minor quibbles. Only cynical curmudgeons like Statler and Waldorf would waste time finding fault with an experience this joyous.
The story of Lust Caution begins in the midst of WWII in Asia as the Japanese have a stranglehold on key areas of China including Shanghai and Hong Kong. The iron-fisted Chinese who are collaborating with the invaders are led by Mr. Yee (Tony Leung) a cruel and ruthless man who delights in the torture and murder of his fellow countrymen who are fighting against the Japanese occupation. When a patriotic band of college students (made up of four men and two women all part of the drama school) decide to strike a blow for Chinese freedom by assassinating Mr. Yee it falls to Wang (the mesmerizingly beautiful Wei Tang) to infiltrate his home and heart to pave the way for the killing. But as her compatriots--including handsome Kuang played by American-born Chinese rock star Lee-Hom Wang who loves her from afar--bid their time waiting for the moment to strike Mr. Yee and Wang enter into a torrid affair that begins to consume them both. Think of the Hitchcock classic Suspicion shift from Europe to Asia add in intensely explicit sex scenes and a completely unexpected ending and you have Lust Caution--a film that is soon to be considered a classic as well. Veteran actors Tony Leung and Joan Chen lead a fine cast of actors who together create this completely believable glimpse into Chinese culture during the dark days of Japanese occupation. Both give intense performances--he as the powerful emotionless Mr. Yee and she as his vapid shopping and Mah Jong-obsessed wife. But the most amazing performance is that of newcomer Wei Tang the Miss Universe finalist who makes her film debut in Lust Caution. Her fantastic face slim body and almost ethereal presence seem to blot out everyone else when she is on the screen; you can’t help but look at only her. Her transformation in the four-year span of the story is masterful. As she goes from a naïve young student to a mature woman whose physical obsession with a man she despises begins to overwhelm her. The ingénue proves that she is much more than just a pretty face. In fact she deserves an Academy Award nomination for her often subtle always fearless performance that is at the heart of the film. Ang Lee has a unique cinematic ability to begin a story very specific to a time a place and a culture and end with a universal tale that resonates across all societies and peoples. He did it beautifully with Sense and Sensibility Crouching Tiger Hidden Dragon as well as Brokeback Mountain and he’s done it again masterfully with Lust Caution. This newest film is an intense look at how war often causes an individual to make the ultimate sacrifice for the common good yet it also explores another underlying theme: the idea that there is a never-ending battle between the sexes for emotional dominance within a sexual relationship. Ang Lee’s deft hand is evident in every frame including the incredibly explicit (and often violent) sex scenes that have given the film its NC-17 rating. But this is not pornography; every scene is necessary to the story showing us that using sex as a means to an end (no matter how noble that end) is a very dangerous game to play especially during wartime. Look for Ang Lee’s name to come up on the Academy’s list again this year as awards season kicks into high gear. He deserves every honor for this emotionally disturbing masterpiece.
October 12, 2001 8:19am EST
The story takes place in Zhejiang a province ruled by a greedy governor who spends his days guarding his precious jewels and cavorting with his harem. But not even his legion of soldiers and mercenary Shaolin monks can stop the Iron Monkey a masked vigilante who steals from the rich to give to the poor from infiltrating the palace to stealing the governor's booty. Tired of continued defeat at the Iron Monkey's hands the governor orders his chief constable Master Fox to find and unmask the avenger. What no one realizes is that the Iron Monkey is also the benevolent town medic Dr. Yang. Caught up in the melee are Wong Kei-ying a respected physician and martial artist from Guangdong and his 10-year-old son Wong Fei-hong. In the ultimate kung fu showdown the Iron Monkey comes to the aid of those falsely accused of his crimes.
Yu Rong-guang as Dr. Yang a.k.a. Iron Monkey gives a seamless performance transitioning gracefully from the warm and delicate doctor to the deadly martial artist. Donnie Yen as the elder Wong a victim of the government's "monkey sweep " is saddled with the difficult task of portraying a tough militant fighter and a sweet and loving father yet he does so convincingly. The extremely talented young female martial arts champion Tsang Sze-man plays his son Wong Fei-hong the martial artist and patriot character featured in the Once Upon a Time in China movies and Drunken Master. Jean Wang also puts on a great show of skills as Miss Orchid Dr. Yang's assistant. The martial arts skills of the stars combined with their warm and realistic portrayals of their characters add depth to the otherwise comedic and clumsy minions who appear alongside them.
The fact that Iron Monkey was made in 1993 makes this film even more impressive than it already is. Originally released direct-to-video in the U.S. Miramax Films bought the theatrical rights in 2000 and re-released the newly restored subtitled print. While the subtitles help retain the sense of the original dialogue they also highlight its silliness. Characters for example announce their moves before doing them like "Shaolin Golden Palm!" or "Flying Sleeves!" The corny dialogue is at times reminiscent of old B-movies but the mind-blowing action sequences make up for that and the unoriginal story line. Why is the action so much better than the story? The director's skills lend a clue: -you might remember Iron Monkey director Yuen Wo Ping's action choreography from the recent hits Crouching Tiger Hidden Dragon and The Matrix.