Wong ga si je IV: Jik gik jing yan

Director Woo-ping Yuen who also created other classic martial arts flicks, Iron Monkey 1993, Thi Chi Master 1993 and another classic modern martial arts flick, Tiger Cage 2 1990 and was action choreographer on other classic flicks, The Matrix 1999, The Matrix Reloaded 2003, The Matrix Revolutions 2003, Fearless 2006, Kung Fu Hustle 2004, Kill Bill: Vol 2 2004 and was martial arts adviser on the classic flick, Kill Bill: Vol.1 2003 has created another gem in In the Line of Duty 4.

Starring Donnie Yen who has also been in other classic flicks, Ip Man 2008, Ip Man 2 2010, Flash Point 2007, S.P.L. 2005, Hero 2002, Blade II 2002, Once Upon a Time in China II 1992, Dragon Inn 1992, Cheetah on Fire 1992 and Woo-ping Yuen's Iron Monkey and Tiger Cage 2.

Also starring Cynthia Khan.

Also starring Michael Wong who was also in another classic flick, Beast Cops 1998.

I enjoyed the fight and chase scenes.

If you enjoyed this as much as I did then check out other classic modern day martial arts flicks, American Samurai 1992, Best of the Best 2 1993, Bloodmoon 1997, Bloodsport 1988, Broken Path 2008, Chocolate 2008, The Hunted 1995, Kickboxer 2: The Road Back 1991, The King of the Kickboxers 1990, Martial Outlaw 1993, Mission of Justice 1992, Ninja 2009, Ninja Assassin 2009, No Retreat, No Surrender 3: Blood Brothers 1990, The Perfect Weapon 1991, Ninja: Shadow of a Tear 2013, Death Grip 2012 and Versus 2000.

Between 1984 and 1991, after the demise of the traditional kung fu film, and before things really started going downhill with excessive wire-work, Hong Kong action movies moved through a kick-boxing phase which introduced more pragmatic fighting but retained some old-school sensibilities. Of all the films produced in these five/six years "Witness: ITLOD 4" is hands down the best. Here's my reasons why:

• the pacing is superb. You watch action films for action - and Yuan Ho-Ping,as is his wont, keeps the movie going at a breathless pace with a fight or chase almost every five minutes.

• Yuan Ho-Ping uses his strict rhythmic parameters so the action is clear and we can enjoy every movement. Some classical moves are dropped in just to make the action a little prettier. Long shots and close ups are used when appropriate and to give variety - all typical Yuan Ho-Ping trademarks and this is what sets him apart from inferior filmmakers in the genre. He also introduces some great novelty fighters - the female foreign fighter who looks like an English teacher with a heroin habit, the crazy eyed foreigner in the alley with the eccentric fighting style and of course Michael Woods.

• The syncronisation of the action and sound effects is SO crisp here and the sound effects have never sounded better - deep body blows and crisp "pak" sounds - music to my ears!

• The soundtrack music is superb! A little bit like the repeated theme of "Halloween" - it's icy and sinister - a delicious backdrop for the brutal and surgically precise action. There's a way that the theme anticipates the action in the way that a repeated theme introduces particularly nasty sequences in a Lucio Fulci film.

• Silence accompanying action. I love the way that characters roll over, across in and out of cars and buildings in silence. It may not have been a deliberate device - but the fact that HK films are shot silent and then dubbed later sometimes results in some very interesting dynamics.

• You enter into a world of claustrophobic and relentless brutality - which slips in and out of a cartoon universe where people take beatings with tire-irons and walk away intact one minute, and end up bleeding and lifeless in lift shafts in another. Yet in this icy universe of remorseless violence there are moments of compassion - for example when the "witness" is allowed to visit his mother - but this touching scene is, once again, abruptly terminated and violence resumes.

On top of the best action you will ever see, there are also the qualities to the film I have listed above. This all results in a quite extraordinary film with a very distinctive feel and ambiance. It's strange - I've never experienced the same kind of quality with any other Hong Kong film. When I first showed this to friends they demanded repeat viewings - it's like a roller-coaster ride that leaves you craving yet another adrenalin rush.

Great addition to the series.

The film opens in Seattle where, after meeting Cynthia in the obligatory opening kung fu scene, an innocent dockworker, Luk, accidentally runs across some corrupt CIA agents making a double-cross for a secret film negative. In a Hitchcockian twist, the negative is thought to be in the Luk's hands, when it actually has rolled into the water. Of course, no one believes the unlucky Luk doesn't have the film negative- not the CIA and not Donnie Yen, Michael Wong, or Cynthia, the cops on the case, who export Luk back to China. It is early on that Donnie is established as the hot tempered one, Cynthia is just Cynthia, and after playing a good guy in Royal Warriors (In the line of Duty 1) Michael Wong clearly is playing the good looking, but underhanded bad cop in league with the corrupt CIA. Despite trying to wine and dine Cynthia, she suspects Michael is a turncoat, and it takes awhile, and a lot of action for her to convince Donnie that Michael, his friend, is bad. All the while, they have to deal with protecting poor Luk from the renegade CIA agents at every corner.

The action (thanks to the great Yuen Woo Ping) is typical of the series, inventive and brutal, but what sets this one apart is the sheer number of action scenes. There are three kung fu fights and a shoot-out in the first fifteen minutes. In total (Yes, I counted) there are fourteen kung fu battles, three shoot-outs, a brief ice locker torture scene, a car bomb, two scenes involving hitmen on motorcycles, and two interrogation room beatings. Cynthia's highlights are a great fight on a moving ambulance in witch she is shoved though the window, her head dangling above the pavement, fighting on top of it, hanging off the front grill, and another fight with a fugly gwailo woman in a warehouse that involves some precarious scaffolding and elevator shaft fu. Donnie, however, has a the majority of the good fights, like a motorcycle chase and joust, as well as his fantastic final fight with a beefcake Ike Turner lookalike. If you are looking for action every three minutes, look no further.

The In the line of Duty series is mainly known for showcasing the talents of female action stars, Michelle Khan (Yeoh) and Cynthia Khan, however this entry is mainly Donnie Yen's chance to shine and one of the first films to gain him any notoriety as a lead. Before this films success, he was essentially going to give up hope for a movie career. Donnie actually saves Cynthia in most of her scenes. When she is drugged and fighting a knife wielding assassin, its Donnie to the rescue! When they are attacked by a motorcycle psycho hitman, its Donnie who takes him on. When Cynthia is fighting Michael Wong in the finale, it's only with Donnie's help that they finish him. So, its rather clear that Woo Ping favored Donnie, and, no disrespect to Cynthia, but kung fu fans are all the better for it.

This movie is really just an excuse for a series of superb action scenes. The stunts are awe inspiring. There is one very funny moment at the end of a crazy motorbike chase /fight sequence involving hatchets which reminded me of The Marx Brothers.

I have seen the first two movies. Both get an 8 from me. I still have to watch the third.

Highly Recommended.

It's non-stop fight action all the way in director Yuen Woo-ping's amazing martial arts classic 'In The Line Of Duty'.

Sporting a great line in blouson jackets (leather AND tassled suede) and tight snow-washed jeans, feisty female fight star Cynthia Khan, aided by high-kicker Donnie Yen, battles nasty gangsters and corrupt cops in this prime slice of 80s kung fu cinema.

OK, the story might not be anything special—a witness to a crime is hunted by both the police and the gangsters—but with blistering chop-socky and dangerous stunts from the opening frames to the end credits, those who enjoy Hong Kong mayhem will be in heaven when they watch this.

Using virtually none of his trademark wire-work (that, in my opinion, ruins many of his films), Woo-ping presents the viewer with a roller-coaster ride of top action set-pieces and amazing acrobatic mêlées that show off his stars' skills to great effect. Khan is easy on the eye, but deadly in a fight, and gives her all in several brutal battles, one of which sees her performing an amazing routine with a couple of spanners standing in for a pair of nunchakus, and another which has her fighting atop a moving ambulance. Yen is also on fine form, performing more than his fair share of life-threatening action, but his best moment is undoubtedly the final rooftop punch-up with the massive Michael Woods—David and Goliath, kung fu style!

Throw in some great motorcycle-fu, loads of energetic gun fights, a sword fight or two, and good support from both Yat Chor Yuen (as the unlucky witness Luk) and Michael Wong (as a traitorous CIA agent), and the result is a hugely enjoyable masterpiece of the genre.