This is considered by most aficionados to be the first great Kung Fu genre film to come out of Hong Kong in the 1960′s and is most certainly a great film by any standard. Produced by the inimitable Shaw Brothers and written and directed by King Hu, this film is an absolute technical masterpiece that defied the stereotypical films of Hong Kong at that time. The script, plot, performances, fight choreography, cinematography (compliments of master Tadashi Nishimoto) as well as direction and production values far surpassed the Hong Kong films of the era. One can make a very strong argument that the golden age of Hong Kong film making began with “Come Drink With Me” and ended with Bruce Lee’s passing.

At the time of this film’s release in 1966, it was selected as the Hong Kong entry for the Best Foreign Language Film at the 39th Academy Awards, but was not accepted as a nominee.

There are many remarkable and notable things about the film: Jackie Chan claims to be one of the choir children in the opening scenes. Pei Pei Chang plays Golden Swallow, at a time when female action stars were unheard of. Hua Yueh turns in a masterful performance as “Drunk Cat” (Fan Tai Pei).

The plot revolves around a general’s son who is taken hostage and used as leverage to free a bandit leader. The general’s other offspring, a girl named Golden Swallow, is sent to rescue the son. When the bandit gang encounter the Golden Swallow in a local inn, the prisoner negotiation escalates to bloodshed and the kidnappers are beaten to a pulp.

A local drunk beggar named Fan Tai Pei acts as Golden Swallow’s guardian angel, secretly helping her avoid being ambushed at night. That morning Fan Tai Pei, whom we now know only as “Drunken Cat” tips off Golden Swallow to the bandits whereabouts. They have occupied a Buddhist monastery.

Under the guise of an acolyte, Golden Swallow penetrates the temple and confronts the man who’s taken her brother hostage. During the brawl she is injured by a deadly, poisoned dart. She escapes and is rescued in the woods by Fan Tai Pei who nurses her back to health. While she’s convalescing, Golden Swallow learns that Fan is actually a martial arts master and a leader of a Kung Fu society, which he otherwise keeps a secret.

The monastery is led by an evil abbot, Liao Kung, who is also a kung fu master and has allied himself with the bandits. He finds out that the beggar carries a bamboo staff and then realises that the beggar is the former student of the same master. The abbot has in fact killed their master in order to get his bamboo staff, which was rescued by Fan Tai Pei. Now abbot Liao Kung sees the opportunity to gain control of the staff.

Fan Tai Pei is hesitant to confront Liao Kung for two reasons. First, Liao Kung’s Kung Fu skills are unparalleled, and he thinks he has no chances against him, or at the very least, one of them would not survive a confrontation. Second, despite his evil ways, Liao Kung has actually done a good deed to Fan Tai Pei: he persuaded the master to accept Fan Tai Pei into the Green Wand Kung-Fu school when he was a mere homeless orphan, thus giving him a chance in life. For this reason, Fan is reluctant to fight the abbot even though Fan knows about the abbot’s criminal deeds.

In order to release the General’s son, Fan stages a prisoner exchange. During the exchange, the government soldiers receive the General’s son, but Fan prevents the bandits from releasing their leader. As the government soldiers march the bandit leader back to prison, the bandits attack the procession. Golden Swallow, leading her female warriors, fights off the bandits. The evil abbot forces a showdown with Fan Tai Pei.

And the rest, as they say, is history…

This is one seriously bad ass Shaw Brother’s classic that will totally blow you away. This film easily ranks as one of the top 10 Kung Fu Movie classics, and has influenced many of the films that came after. The venerable Chang Cheh directs this unintentional masterpiece and stars Kuan Tai Chen, Feng Lu and Philip Kwok light up the screen.

The plot revolves around a wealthy Kung Fu expert, who is turned bitter and evil by the slaying of his wife and the loss of his son’s hands. He lashes out with rage, bullying the local township with terror and brutality, crushing any perceived slight. The father along with his iron-handed  son (the father has a local blacksmith make his son spring-loaded iron hands) find sadistic pleasure and satisfaction by crippling anyone who gets in their way. Four of those who are crippled, a hawker who is blinded, a blacksmith made mute and deaf, a drifter who loses his legs, and a fighter who loses his sanity, band together to use their disabilities to the best of their advantage.

This film was made during the “Venom’s” era films and features many of the same actors that starred in the “Five Deadly Venom’s” series. While the production values of this film are quite good for their day, Chang Cheh does not seem to be intent on making a classic here. He merely wants to make a movie suggestive of Chinese folk legends, allowing the stable of Shaw Brothers talent to show off their athletic talents.

For added measure, at the center of the film Kuan Tai Chen, a classically trained martial artist who had also developed considerable skill as an actor. His presence adds much credibility to the film.

What is truly impressive is Chang Cheh’s ability to weave a film that doesn’t seem to take itself to seriously, remaining slightly abstract, yet is so rich in detail. This film is a bit of a caricature in some ways and despite itself, turns out to be one of the Shaw Brother’s most memorable classics.

When people say “they don’t make them like they used to”, this is the kind of film they’re talking about. A genre-defining moment in the history of “old-school” Kung Fu films, this film was frequently imitated but it’s charm and artistry could never be duplicated. Enjoy!

A sequel to the International smash hit “Ip Man”, Wilson Yip takes another turn in the directors chair and Donnie Yen reprises his role as the title character, Ip Man. Picking up right where the first film left off, the sequel centers on Ip’s life in Hong Kong, which is under British colonial rule. Newly arrived in Hong Kong, martial arts master Ip Man (Donnie Yen) encounters stiff opposition when he begins teaching the Wing Chun fighting style. This action packed sequel is a worthy heir apparent to the original film and Donnie Yen delights with another stunning performance.

Edmond Wong’s screenplay is tightly paced and focused like a laser, contemplating the deeper quest of one’s life, one’s heritage, integrity and morality. Life is a series of compromises and in the case of Ip Man, it’s also about getting serious about kicking some ass.

This is a great juxtaposition against the corrupt environment of Hong Kong at this time. Ultimately, Ip Man and his rivals unite to face their oppressors. Thankfully, this time out, Ip Man is matched against an opponent who is equally skilled and sparks fly as they duke it out.

Sammo Hung does an awesome job as the action choreographer, and the film is chock full of some of the best action sequences the genre has ever known. Sammo’s presence is strongly felt throughout the film.

The air of invincibility surrounding Ip Man dissipates a little, as other Wing Chun practitioners rise up and we discover the limits of Ip Man’s abilities. This only serves to rally us to cheer him on as he stands up for his ideals. This film is a worthy, must-see movie! Enjoy!

This is Donnie Yen’s breakout performance and one incredible Kung Fu movie. The plot, fight choreography, setting, cinematography, overall production value and performances are superb. When Ip Man’s son, Ip Chun, saw the movie for the first time he was exuberant, and it’s no wonder. Donnie Yen inhabits this movie like he was possessed by the soul of Ip Man, and as Ip Man himself states early in the film: “the key is the person”.

For those who don’t know: Ip Man is a biographical martial arts film based on the life of Ip Man, a grandmaster of the martial art Wing Chun and master of Bruce Lee. The film focuses on events in Ip’s life that took place in the city of Foshan during World War II when the Japanese occupied the city. The Japanese soldiers relentlessly torment Ip Man, goading him to spar with them. Eventually he consents and the action explodes across the screen.

The film was directed by Wilson Yip, with Wing Chun master Sammo Hung handling the martial arts choreography. Ip Man’s eldest son, along with martial arts master Leo Au-yeung and several other Wing Chun practitioners served as technical consultants for the film.

Ip Man premiered in Beijing in 2008, to resounding widespread acclaim from critics and audiences. Following its success, the film was nominated for 12 Hong Kong Film Awards, winning awards for Best Film and Best Action Choreography.

This wonderful film serves as a loose sequel to 1977′s Executioners from Shaolin, but the film is technically more of a remake. I know what you’re thinking: How can they re-make a film 1 year after it’s release? Let me assure you: With Shaw Brothers Studios producing, Liu Chia Hiu (otherwise known as Gordon Liu ) starring, and Lo Lieh directing as well as portraying Pai Mei’s evil twin “Bai Mei” (the White Lotus), you can’t go wrong. This is one FANTASTIC Kung Fu Movie! We even get an incredible new entry into the pantheon of Kung Fu styles with the advent of the all new the “Acupuncture Kung Fu”.

If you watch this film back to back with “Executioners from Shaolin”, you may get a little confused as the opening sequence is at odds with the ending of the “prequel. It begins with two Shaolin warriors fighting against the vicious “White brows” aka Pai Mei, in some burnt out ruins. By combining their respective tiger and crane styles, the two heroes defeat Pai Mei in an acrobatic display of martial arts prowess.

After Pai Mei is killed, his evil twin Bai Mai seeks revenge, managing to kill one of his brothers assailants. Gordon Liu’s character manages to escape with the sister of his comrade. From here we get into the traditional revenge plot, where Liu goes away to learn to combine the Tiger and Crane styles in preparation for another show down with evil Bai Mei. Liu fights his way into the White Lotus palace using his new Kung Fu combo, but Bai Mei has mastered the art of chi power and he’s able to use his Chi force to avoid blows.

Liu retreats to train some more to defeat Bai Mei. It is his slain companions sister that shows him her special technique of how to attack paper dummies without disturbing the air around them. “It’s a special woman’s style,” she tells him. She also forces him to babysit and learn to knit. Yet again, he sets off to do battle with the White Lotus Clan.

Will his crazy-quilt Kung Fu work, or will danger loom over his every move? Only Time (and acupuncture) will tell!

This is one amazing Kung Fu classic, compliments of Shaw Brothers Studios circa 1977. Even more incredible is that this film is directed by none other than the venerable Lar Kar-Leung, the same director who brought you the “36th Chamber of Shaolin”. This is a very unusual entry into Shaw Brother’s Shaolin Temple series, introduced by the great Chang Cheh, marked by the inclusion of a strong, complex female role played by Lily Li.

Lily Li’s character “Fang Yung” proves to be a formidable match for her future husband from her very first scenes as a traveling street entertainer who defends her turf in a duel with the famous Shaolin fighter ‘Hung Sze Kuan’ (played by Kuan Tai Chen). She marries him, but keeps him at bay in an entertaining wedding night sequence showcasing her martial arts prowess.

“Hung Sze Kuan” is a vengeance obsessed Shaolin monk who has survived a temple massacre orchestrated by evil Abbot Pai Mei (“White Brows” played by the awesome Lieh Lo). Kuan and his men only manage to escape the ambush because one of his friends, Brother Tong, sacrifices himself to give them all time to escape.

Unfortunately, history is destined to repeat itself when Kuan decides to challenges Pai Mei a second time; even though he is clearly no match for him. Sadly, he has rejected the wise advice of his wife who tries to convince him to learn her crane-style Kung Fu, which would have at least given him a chance against the seemingly invincible Pai Mei.

When Hong returns to fight White Brows a second time, there is a sense of inevitability. The son fights to stop his father, who dissuades him with empty rhetoric and then goes to his death. Thankfully, Kuan’s son has mastered the crane-style taught to him by his mother and need only become proficient in the Tiger style to challenge Pai Mei.

This movie casts a strong message and is unusual in the sense that it is rooted in s strong family unit that is torn apart by a paternal figure who is bound by honor and unable to change his ways.

This is an incredible entry into the golden years at Shaw Studios, which encapsulates a wonderful mix of combat and training sequences, a touch of romance, a pinch of humor and well structured plot to weave all of these great ingredients together. You will love this film.

Here’s a little gem you may have overlooked, starring the venerable Bruce Li and the wonderful Angela Mao. Loosely classified as a Bruceploitation film and once promoted as the sequel to “Exit The Dragon, Enter the Tiger”, though it has absolutely nothing in common with the former film. Return of the Tiger centers around a vicious narcotics smuggling operation in Bangkok that is controlled by rival American and Chinese interests.

Team America is headed by the menacing hulk of a bearded nightclub owner, played by Paul Smith. He’s one mean unstoppable bad motor finger, hell bent on maintaining his iron grip on the trade. His bitter rival is played by Tse-Chan who goes to elaborate lengths to to try and have Mr. Smith “eliminated.”

Enter Bruce Li and his lovely assistant Ms. Angela Mao: Bruce Li is an undercover narcotics agent playing a high stakes game by pitting one side against the other. Mao plays his dutiful, high kicking assistant.

Bruce Li turns in one of his best performances and seems at his best when he isn’t trying too hard to emulate Bruce Lee. Angela Mao plays more of a supporting role, but she is still astounding to watch. This Kung Fu classic, is well worth your time and I highly recommend it.

This is the original “Bruceploitation” classic and arguably the grand daddy of them all. This film encapsulates all things good and bad about the post-Bruce Hong Kong cinematic era.

Our story centers on a former disciple of Lee (the inimitable Bruce Li) who launches a private investigation in an attempt to determine the circumstance surrounding Bruce’s death, and ends up avenging the brutal death of his own girlfriend.

The investigation into the death of Lee by his pupil, and supposed successor, is paper thin leaning heavily on innuendo and conjecture. We never really find out why Bruce Lee was killed, but Lee’s real death provides the basis for a purely fictional plot about a drug smuggling ring that wishes to use martial arts stars as couriers.

The cinematography, editing and overall directing is excellent. It’s good film technically and what Li lacks in presence and charisma he more than makes up for with some tasty fight sequences.

All of the positive elements of the film come together at one moment in the final sequence when Bruce Li is fighting the drug kingpin (named “The Baron”) who unsheathes a sword-stick and slashes away at our hero. Li’s shirt is cut off and bare chested and bleeding, he looks just the image of Bruce Lee in a famous scene from Enter the Dragon…go figure.

Overall, a solid film and a must see movie for all you die hard Kung Fu fanatics! Enjoy!

The Guy with the Secret Kung Fu stars Meng Fei and Li Chung Chien as two anti-Qing rebels and kung fu fighters who frequently rescue damsels in distress. The action kicks off when thugs try to board a boat carrying a pretty lady and  the two heroes (who are fishing nearby) leap onto the boat and proceed to kick some ass. Based on this exploit, the two are later recruited to go after the evil “Dragon Gang”. This slim plot line serves as the perfect excuse to go on an ass kicking spree throughout the Chinese countryside.

The wonderful Wang Hsieh co-stars as a corrupt official and Sally Chen Sa Li play to perfection the icily beautiful female head of the Dragon Gang. With an artful flourish of classic Kung Fu camp, a Taoist monk uses his spells to turn a massive fighter (Cheng Fu Heng) into an unstoppable zombie warrior and the coffin maker’s daughter (Nancy Yen) joins in to helps out the two heroes by teaching them Dragon Fist. It all culminates in a series of superb high flying battles with the two chief villains.

The real surprise here is Li Chung Chien as Meng Fei’s partner. He’d earlier appeared with Meng in “The Invincible Kung Fu Trio” a lesser known Kung Fu film from the same director, Joe Law. Li’s technique and acting are spot on, and it is a shame that he didn’t make more films like this one. Enjoy!

Master of the Flying Guillotine’ is a sequel to the film the One Armed Boxer. It is very rare that a sequel exceeds it’s counterpart, but ‘Flying Guillotine’ is a clear exception as this is one of the greatest martial arts movies from the post-Bruce Lee era 1970′s Hong Kong.

This is the story of a murder crazed maniac who is obsessed with vengeance for the loss of a loved one at the hands of a one-armed man. His plan is simple: kill every one-armed man in China by use of a guillotine attached to the end of a rope.

He meets his match at the hands of the movie’s director and star Jimmy Wang Yu who reprises his role from the “One Armed Boxer’. Before these two screaming, screeching antagonists meet at the climax in a fight that lasts about 45 minutes we are treated to an amazing tournament sequence where each contestant is more bizarre than the one before and includes a Hindu who can stretch his arms out yards like Plastic Man from the Fantastic Four.

This is one violent, blood and guts kung fu movie. If you are any sort of self respecting martial arts fan, you need to see this great classic!