This film ranks as #9 on the Hong Kong Film Awards Best 100 Chinese motion pictures of all time and is one of two King Hu films to make the top ten. This Kung Fu classic is a very unusual entry into the cannon of Kung Fu movies and has often been imitated. Thematically, ‘A Touch of Zen’ contemplates the violent asceticism of Zen Buddhism as a means of spiritual enlightenment.

The plot is fairly straightforward, though the mortal combat aspires to spiritual perfection; An artist, Ku, lives with his mother near an abandoned fort, reputed to be haunted. One night, investigating strange noises, he meets the beautiful Yang who is living there. She is being pursued by agents of an Imperial noble who have murdered her family. Ku finds himself caught up in her struggle to survive and many fierce battles take place before all is resolved.

Released in 1971 as a Taiwanese Wuxia film, by renown director King Hu, who is arguably the first true genius of the genre. The film won significant critical acclaim and became the first Chinese language action film ever to win a prize at the Cannes Film Festival, claiming the Technical Grand Prize award.

Although filming began in 1969, A Touch of Zen was not completed until 1971. The original Taiwanese release was in two parts in 1970 and 1971 (filming was still ongoing when the first part was released) with the bamboo forest sequence that concludes Part 1 reprized at the beginning of Part 2; this version has a combined run time of 200 minutes. In November 1971 both parts of the film were combined into one for the Hong Kong market with a run time of 187 minutes. Its running time of over three hours makes it an unusually epic entry in the Wuxia genre. This is one of the greatest Kung Fu classics of all time and a must see for any serious martial arts fan!

Produced by the Shaw Brothers, The One-Armed Swordsman would help define Chang Cheh as a premier director with his own eclectic blend of Japanese-style action, western rebelliousness and Chinese wuxia heroes. This film would not only be the first film to break the 1 million dollar box office barrier in Hong Kong, but it would also be a watershed moment for the area’s cinema. The popularity of this film as well as King Hu’s hit the year before with “Come Drink With Me” christened a new era of Hong Kong martial arts films.

But it would be the brutal style of Chang Cheh that would come to dominate the regional efforts and not the Peking Opera influenced King Hu, despite the fact that King Hu’s films such as “Touch of Zen” and “Dragon Inn” would live on to be considered two of the best Hong Kong films of all time.

Chang Cheh’s classic Kung Fu movie would also be the first in the sub-genre of “one-armed” films that stereotyped the career of star Jimmy Wang Yu. Wang Yu had already acted in a couple of Chang Cheh films, but it is his performance here as Fang Gang that would make him a star in Hong Kong and beyond. Wang Yu gives a great performance as the stoic brooding loner who is a combination of a wuxia hero and James Dean.

The Plot: An evil gang attacks the Chi school of Golden Sword Kung Fu. One student sacrifices his life to save his teacher and his school, his dying wish is that his son be taken in as a student. Young Fang Kang grows up in the school and treasures his father’s broken sword and the memory of his father’s sacrifice. The other students (including the teacher’s daughter) resent him and try to drive him away. The teacher’s daughter challenges him to a fight and when he refuses she becomes enraged and recklessly chops off his arm! He retreats, broken and bloody, and is found by a young poor girl living alone who nurses him back to health. Meanwhile, the evil gang who originally attacked the Golden Sword school develops a weapon that renders the Golden Sword useless and starts killing off all of the schools students. Fang Kang eventually recovers with the girl’s help but must now face a life with only one arm. Will he be able to recover and live to defend the school as his father did? Or will he perish…?

This Kung Fu classic would spawn several sequels, remakes and retreads and certainly up the ante for use of blood packets, missing limbs, evisceration’s and vivisection’s. Please enjoy this most important Hong Kong film of the 1960s!

This is arguably Jackie Chan’s best movie and truly exemplary of his unique ability to combine Bruce Lee martial acumen with three stooges-like humor. Director Yuen Woo-Ping really brings out the best in Chan and this film is one of his finest performances, setting the bar for all films to come.

The plot centers on the young and wily Wong Fei-Hung, who is a born hellion. His day culminates in a comedy of errors when he hits on a beautiful young woman, only to be soundly thrashed by her matronly guardian. His shame is compounded when these two are later revealed to be his visiting aunt and cousin, whom he has never met. To top things off, he lays a beat down on a hooligan who is the son of a very influential man in town. His father decides he needs to learn some discipline and to punish him for his behavior, hires a new Master named ‘Beggar So’ to train his son in the martial arts.

Initially Wong resists training with Beggar So but through a series of mishaps relents when he is humiliated by the notorious killer Yan Ti San, known for his “Devil’s Kick”, a swift and deadly kicking style which has never been defeated.

Wong learns Beggar So’s secret style of martial arts, a form of Drunken Boxing called “The Eight Drunken Immortals”, named after the eight mythological figures that the fighting style emulates. Wong masters seven of the eight styles with the exception of “Drunken Miss Ho’s” as he feels that her style of fighting is too feminine.

Meanwhile, Yan Ti San is contracted to kill Wong’s father. Wong’s father fights with Yan and is critically injured. Wong and Beggar So arrive in the nick of time and Wong uses his new found ‘drunken style’ to outmatch Yan’s kicking style.

Yan then resorts to his secret technique, the Devil’s Shadowless Hand, which Wong is unable to defeat. Wong confesses that he did not master the last style so Beggar So tells him to combine the seven styles and create his own version of the last style. Wong follows the instruction and discovers his own unique style of Drunken Boxing, which he uses to defeat Yan and become the new Drunken Master. Enjoy!

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.