The Web of Death (1976)

The Web of Death [五毒天羅] (1976)

Starring Yueh Hua, Lo Lieh, Ching Li, Wang Hsieh, Angela Yu Chien, Wong Chung, Lily Li Li-Li, Cheng Miu, Ku Feng, Kong Yeung, Norman Chu Siu-Keung, Chan Shen, Chan Mei-Hua

Directed by Chor Yuen

Expectations: Excited to see another Chor Yuen movie.


Chor Yuen re-defined the wuxia film genre with Killer Clans and The Magic Blade, but The Web of Death is more of a step in a different direction. Elements introduced in the previous films (like the focus on survival and the true danger of the martial world) are still present and relevant in The Web of Death, but they are no longer the primary focus. In The Web of Death, Chor Yuen goes full-on fantasy, delivering a tale of magical powers and deadly clan rivalries that could only come out of ’70s Hong Kong. If the previous films were about avoiding subtle tricks like a poisoned drink, The Web of Death is about more overt threats such as a trapdoor that opens into an acid bath. This move towards fantasy is significant, though, as Shaw’s prior wuxia films always contained elements of fantasy but were never all-out extravaganzas. In this way, The Web of Death is like a bridge between the early days of trap-laden, studio-bound wuxias and the fantasy heights the genre attained in the ’80s and ’90s. As a huge fan of those later offerings, I can’t help but love The Web of Death just a little bit more for pushing the genre in that direction.

The Five Venoms Clan is in possession of the most fearsome weapon in the martial world: the Five Venoms Spider. It may look like nothing more than a smoking lantern adorned with a red spider handle on its top, but it’s actually a cage for the fearsome spider within. This spider is capable of incredible things, including deadly lasers and a poisonous mist. Nothing is known that can defeat the power of the spider, or even defend against it. If your opponent wields the spider it’s basically time to say your goodbyes, if you only had the time. The spider is so deadly that even the Five Venom Clan itself is scared of it. They lock it away in an unknown location, and there it stays until a few members of the clan want to take control of the martial world at an upcoming tournament with it. The mere idea that the spider may re-emerge in the martial world sends shock waves through the clans. Fei Ying Xiang (Yueh Hua) of Wudang — or Wu-Tang if you’d prefer — and his brother Fei Ying-Jie (Wong Chung) are dispatched by their master to learn of the spider’s whereabouts and stop its use. The brothers split up to search separately, and the twisting, dense adventure begins.

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Big Bad Sis (1976)

Big Bad Sis [沙膽英] (1976)

Starring Chen Ping, Wong Chung, Chen Kuan-Tai, Chong Lee, Siu Yam-Yam, Ku Kuan-Chung, Wang Hsieh, Queenie Kong Hoh-Yan, Kong Oh-Oi, Daan Fung, Yeung Chi-Hing, Chiang Nan, Teresa Ha Ping, Wong Ching-Ho, Shum Lo, Chan Lap-Ban, Kong San, Wong Jing-Jing, Mak Wa-Mei

Directed by Sun Chung

Expectations: Excited to see another Sun Chung movie.


The Shaw Brothers catalog boasts many female-led action films, but rarely do they feel as actively feminist as Sun Chung’s Big Bad Sis. Themes of female empowerment and sisterhood are front and center throughout, elevating the film beyond its exploitation and action roots. Don’t worry, though, this is quite far from an Oscar-bait message film; Big Bad Sis gets its point across while being relentlessly entertaining. Unfortunately, it’s not as potent as it could’ve been — an incredibly overlong, gratuitous sex scene mars the film’s mid-section — but fans of Chen Ping and Shaw Brothers crime films of the era should find a lot to enjoy here.

Big Bad Sis is centered around Ah Ying (Chen Ping), the Big Bad Sis of the title. She works alongside many other women in a textile factory, but she is much more than a co-worker. The film begins when a new hire, Ah Fong (Chong Lee), is assaulted in the bathroom by a group of thuggish co-workers. Sai Chu (Siu Yam-Yam) senses that something is wrong and checks on Ah Fong. She tries her best to overcome the group of abusive women, but she is no match for them. By this time, the situation has attracted more attention, and Ah Ying steps in to break it up. Her fists and strong spirit are formidable, and in teaching the bullies a lesson, she gains the friendship of Ah Fong and Sai Chu in the process. Ah Ying is a woman who has the power to stand up to oppression in all its forms, and in helping her co-workers she finds a new purpose. She isn’t a trained martial artist, but she begins to teach Ah Fong and Sai Chu self-defense tactics.

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The New Shaolin Boxers (1976)

The New Shaolin Boxers [蔡李佛小子] (1976)
AKA The Choy Lay Fat Kid, Demon Fists of Kung Fu, Grand Master of Kung Fu, Grand Master of Death, Silly Kid

Starring Alexander Fu Sheng, Jenny Tseng, Johnny Wang Lung-Wei, Lo Dik, Leung Kar-Yan, Jamie Luk Kim-Ming, Chan Wai-Lau, Shan Mao, Phillip Kwok Chun-Fung, Wong Yiu, Wu Hsiao-Hui, Stephan Yip Tin-Hang, Wong Fei, Lee Ying, Wong Cheong-Chi

Directed by Chang Cheh (with Wu Ma)

Expectations: Excited for another Shaolin Cycle movie.


The New Shaolin Boxers is something of an anomaly in Chang Cheh’s informal Shaolin Cycle. It most resembles Disciples of Shaolin, with both films featuring a resonant dramatic core about practitioners of Shaolin martial arts far down the lineage from the folk heroes who survived the burning of the Shaolin temple. The New Shaolin Boxers isn’t nearly as effective or finely crafted as Disciples of Shaolin, but I must admit that it is a film that is growing in stature the more I think about it. The key to this blossoming love is how Chang Cheh and Ni Kuang wrote the film to reflect the dual nature of its featured martial art: Choy Li Fut.

Choy Li Fut is an interesting branch of kung fu developed by Chan Heung in the 1800s. He combined two of the five main Southern styles, Choy Gar and Li Gar, with Fut Gar (also known as Buddhist Fist, itself a combination of Choy Gar and Hung Gar), resulting in a well-rounded system that enriches all aspects of the artist’s life. Philosophy and similar non-physical teachings are not unique to Choy Li Fut, but it is my understanding that it is more of a focus here than elsewhere. The film opens with Fu Sheng demonstrating Choy Li Fut, while the narrator tells us of its history and the art’s lineage to contextualizes the movie’s timeline. After this intro, though, the film seems to dive into a standard martial plot without a lot of thought or care paid to representing Choy Li Fut. In thinking this, I was quite wrong; the teachings of Choy Li Fut influence every aspect of the film and its plot.

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Jumping Ash (1976)

Jumping Ash [跳灰] (1976)

Starring Josephine Siao Fong-Fong, Ga Lun, Michael Chan Wai-Man, Chan Sing, Nick Lam Wai-Kei, Lee Yin-Ping, Wu Fung, Lo Hoi-Pang, Lee Chi-Chung, Cheng Chi-Tun, Terry Lau Wai-Yue, Cheung Sek-Aau

Directed by Josephine Siao Fong-Fong & Po-Chih Leong

Expectations: Very interested. Don’t know what to expect, though.


Jumping Ash was a huge hit in its day, reaching #3 at the 1976 Hong Kong box office, but unfortunately I watched it faded, full-screen and dubbed. Hopefully it can be restored in the future and seen by fans in its original format, because in addition its success, Jumping Ash was also highly influential. It exhibited all the qualities of the Hong Kong New Wave, a few years before it really began in earnest. Some cite Jumping Ash as the first film of the New Wave, while others list it as a stylistic forerunner, but no matter what you call it, it’s a film that feels ahead of its time and far closer to what Hong Kong cinema would become than what it was in 1976. It’s hard to know from my position in 2018 America, but it also seems like it has its finger on the pulse of Hong Kong at the time, set in specific locations during May 1976 and then released just a few months later in August 1976.

Defining the style of the Hong Kong New Wave is a tricky thing to do. Like many film movements, it was something that happened organically and was only named and grouped together later on. Basically, the new crop of filmmakers in the late ’70s/early ’80s redefined what Hong Kong movies were, eventually taking over the industry from the fading studio-based model of Shaw Brothers. Location shooting and experimentation became the norm as this new generation of filmmakers put their artistic stamp on their films. Much of the previous generation thought of their work as nothing more than a job, so the emergence of singular talents like Tsui Hark, Ann Hui or Sammo Hung left a limitless impact on the industry. The films of this era firmly re-established Cantonese filmmaking as the dominant force of Hong Kong cinema, resulting in films that better reflected Hong Kong culture and society. It is also in this era where the genre-blending and multi-tone films took hold, bringing Hong Kong into what I consider its best and most fruitful period. This, too, is present in Jumping Ash, which deftly mixes drama, action and comedy on a moment’s whim.

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The Snake Prince (1976)

The Snake Prince [蛇王子] (1976)

Starring Ti Lung, Lin Chen-Chi, Helen Ko, Fan Lei, Wong Yu, Ng Hong-Sang, Wong Ching-Ho, Cheng Miu, Leung Seung-Wan, Lam Wai-Tiu, Norman Chu Siu-Keung, Tsang Choh-Lam

Directed by Lo Chen

Expectations: Excited, but I’m not sure what to expect.


The Snake Prince is easily one of the most unusual Shaw Brothers films I’ve seen. It combines a full-on musical with fantasy and folklore to create an unforgettable film you’ll either love or hate. I love a good musical, so to have one with funky ’70s music, the usual Shaw Brothers feel and a bunch of snake-driven fantasy, I thoroughly enjoyed myself. There’s also a bit of martial art action here and there, but it’s not treated like the fights of more traditional films. They aren’t edited for tension at all, instead there are a lot of long, unbroken takes that allow the physicality of the actors to really be appreciated. But don’t expect anything too exciting in this regard, it’s more like a few sprinkles on top of a donut instead of something more substantial. If you aren’t diggin’ the rest of the movie, the fights aren’t going to be enough to make it worth it.

A small mountain village is in the middle of a severe drought. The villagers pray (via a funky song, of course) for the rains to return so their crops can thrive again. After the opening credits introduce us to the Snake Prince, we return to the villagers, again in song. During this celebration, the Snake Prince (Ti Lung) and his two snake friends (Wong Yu & Ng Hong-Sang) enter the town disguised as villagers. They dance and sing with the humans, and a trio of sisters catches their snake eyes. The Snake Prince is especially smitten with Hei Qin (Lin Chen-Chi), but a trio of men from the village (who I assumed were the boyfriends of the sisters, but they never said they were) run the snake guys out of town. This is where one of the bigger action scenes happens, but it’s more like stage fighting than anything resembling what was occurring in the other films of 1976.

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1911 (2011)

1911 [辛亥革命] (2011)
AKA 1911 Revolution

Starring Jackie Chan, Winston Chao Wen-Hsuan, Li Bing-Bing, Sun Chun, Joan Chen, Jiang Wu, Jaycee Chan Cho-Ming, Hu Ge, Ning Jing, Yu Shao-Qun, Dennis To, Huang Zhi-Zhong, Mei Ting, Xing Jia-Dong, Bobo Hu Ming, Huo Qing, Qi Dao, Tao Ze-Ru, Olivia Wang Zi-Wen, Michael Lacidonia

Directed by Jackie Chan & Zhang Li

Expectations: I don’t expect traditional Jackie.


1911 was released in 2011 to celebrate the centennial of the momentous rebellion that ended 2,000 years of imperial rule and established the Republic of China. It is a film painted in broad strokes, seeking to tell the story of the Xinhai Revolution from the Second Guangzhou Uprising (April 27, 1911) to the swearing in of Yuan Shikai as the second Provisional President of the Republic of China. Major players like Sun Yat-Sen (Winston Chao Wen-Hsuan) and Huang Xing (Jackie Chan) are well-represented, but the film isn’t specifically about them; it’s about China and the overall effort of all involved that led to the revolution’s success. This makes 1911 more detached and broad than is traditional in American historical films, but it does exactly what it sets out to do very well. It’s a film likely to divide audiences, but I definitely enjoyed it and look forward to revisiting it in the future.

The film begins five months before the Second Guangzhou Uprising, as the members of the Tongmenghui are gathered in Malaysia for the 1910 Penang conference. There Sun Yat-Sen and the other leaders (such as Huang Xing) planned the upcoming uprising against the corrupt Qing government. The men are on the brink of going to war, but we see them in the quiet days beforehand, when they are still able to enjoy frolicking on the Malaysian beach. After the meeting, Sun Yat-Sen left to continue fundraising efforts among the overseas Chinese sympathetic to the cause. Over the course of 1911, we follow both Sun Yat-Sen in the US and Huang Xing as he leads the troops into battle. The importance of both men’s actions (and hundreds of others, as well) is brought into sharp focus by crafting the film like this, and it becomes easy to understand how the rebellion was able to succeed despite going up against the much more powerful Qing government. It was a war on two fronts, waged physically and mentally.

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Brotherhood (1976)

Brotherhood [江湖子弟] (1976)

Starring Lau Wing, Woo Gam, Lily Li Li-Li, Wang Hsieh, Shut Chung-Tin, Chiang Tao, Cheng Miu, Chan Shen, Leung Seung-Wan, Fung Ging-Man, Yeung Chak-Lam, Keung Hon, Ngaai Fei, Shum Lo, Liu Wai, Lee Sau-Kei, San Kuai, Hao Li-Jen, Wong Ching-Ho, Ku Kuan-Chung, Bobby Canavarro, Yuen Biao

Directed by Hua Shan

Expectations: Excited to finally see a Hua Shan movie that isn’t Super Inframan.


Brotherhood is a great piece of entertainment, but as a cohesive film it’s a little less successful. It tells a story of Liao (Lau Wing), a man who becomes part of a powerful Hong Kong triad, but long stretches of the movie leave this character by the wayside to focus on the triad itself and the politics within. It shifts its focus so seamlessly that I honestly didn’t notice until it had been at least 15 minutes, but once the realization hit it was hard to ignore. The movie works its way back around to Liao, but the two stories aren’t intertwined well enough. When we rejoin Liao, he’s also evolved into a different type of person. I would have preferred to see the evolution, although with tons of movies that already do this, perhaps I should just enjoy Brotherhood for cutting out the middleman. In any case, I had some troubles with the film (that might be resolved with a re-watch), but none of them really hinder the film’s constant, high-value entertainment.

Liao Da-Jiang is a petty criminal pulling robberies with a group of three other guys. We enter the movie mid-jewelry heist, and unbeknownst to the criminals it is to be a pivotal moment in their lives. Liao is older than your typical juvenile delinquent, so Brotherhood felt like it could be the next step from that sub-genre of Hong Kong crime films. We can assume that Liao’s poor choices as a teenager led him to this moment, but as an adult the consequences are more lasting and serious. The twists and double crosses come fast and brutal in Brotherhood, and they eventually lead Liao to join the San He Tang triad. The triad is also experiencing a time of huge change, with its own share of brutal double crosses. The plot follows these two threads in fairly obvious ways, but as I mentioned, Brotherhood is always highly entertaining thanks to a couple of factors (namely the well-rounded cast, the harsh brutality of the violence, and the action choreographed by Yuen Woo-Ping and Yuen Cheung-Yan).

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