Deadly Weapon - Ein Mann für Gerechtigkeit

This movie reeks of 1980s, straight-to-video action: zero budget special effects, "filler" action sequences and some utterly loony acting. It may sound bizarre, but those are also the very reasons why I enjoy this film so much.

In comparison the action movies of today, Low Blow seems positively wholesome. There is not much blood, no sex and the emphasis is more on fist fighting than high-tech weaponry. However, the film is never boring. The action is fairly constant and there are occasional touches of humour along the way.

Leo Fong plays private detective, Joe Wong. Joe is hired to find a missing rich girl, Karen. Karen not only has a very unattractive hairstyle but is also completely moronic, as evidenced by her falling in with one of the most ridiculous cults ever depicted on film - complete with a black sheet wearing blind guru and a crazy woman played by real life Ghanian princess Akosua Busia. Leo Fong's dead-pan delivery and no frills martial arts style suit his character perfectly. A special mention must be given to Akosua who turns in the most ludicrous performance of her career.

After having his butt kicked trying to infiltrate the compound, Joe realises that he needs assistance taking out the wackos and naturally enough, decides to hold a tough man contest to find some extra muscle. The scenes of the contest are some of my favourite in the movie. The fights are brief but varied and amusing. I particularly liked the wrestlers and the bizarre iron lady with the blond mullet. The film then comes to its rather predictable climax with some fun action and a good dose of humour.

I wouldn't be surprised if this movie was made on a $500 budget with its bad acting an ultra poor sound quality. I bought the DVD for $3.00, and after watching it I felt like I had payed $2.95 too much.

The DVD cover displays a steroid freak (main character), a huge truck and a group of 80's punk rockers with M16 machine guns. Well, in the actual movie, there was no truck, no 80's punks and the main character was far from a steroid freak.

The most enjoyable thing about this movie was the main character's bomb car and his mad parking techniques, but other than that it's a complete waste of time. Although this movie is a great cure for insomnia, my advice would be to avoid it.

The bootless trio from the annoyingly haired 'Killpoint' is back : director Frank Harris, and 'stars' Leo Fong and Cameron Mitchell. A triumvirate of terrible. Harris in particular, should be ashamed of himself.

'Low Blow' isn't as sick, racist or downright nasty as 'Killpoint' - and that's it. It's just as amateur, vacant, irritating and soul-destroying in every other regard. Fong, despite slightly improved hair, drudges through this all-out dog's breakfast like a stop-motion clog.

A ridiculous, dozy cult led by Mitchell in a hood and sunglasses; and - the film's only plus-point - dishy but demented disciple, Akosua Busia, have kidnapped some girl and are brainwashing her on a farm. It's up to somnambulant Fong and a few bumpy grunts to rescue her.

All Fong films' selling point is chiefly the fact he knew Bruce Lee, but so did a lot of other people. I met Sir Michael Hordern once, but I don't go around doing Lear at the Old Vic.

You may ask - justifiably - why even watch this turnip ?

Good question.

Low Blow, the piece d'resistance for legendary Hollywood heavyweight, actor/director/screenwriter and cinematographer Leo Fong, sees Fong reprise his crowd pleasing role as ex-cop Joe Wong. In this installment, Wong is commissioned by capitalist tycoon (Troy Donahue in a standout performance) to rescue his daughter from a dangerous and mind warping cult. Set in the seedy underbelly of the outer areas of San Francisco, Wong must use all his guile as a street smart private investigator to penetrate the fortress of cult leader Yarakunda's compound and rescue the life of the movie's young heroine. A life held desperately in the balance, it is truly a race against time. Realising the limitations of a one man attack, Wong brings together a crack force of street fighting soldiers of fortune, much in the style of Hannibal's A-Team, with the promise great rewards. Wong and his salty mercenaries set in place a sophisticated plan that can't possibly fail. But is it too late?

It is set against this seedy and powerful background that Fong sets about fully exploring the socio-economic imbalance and segregation in modern society, as well as the resultant effect on the innate human need for inclusion and interpersonal relations. Fong craftily using extreme physical violence as a metaphor for self-actualisation and positive external affirmations of inter-conceptual self discipline. In so doing, he demonstrates that while verbalisation of interpersonal conflict can be at times a useful tool in the subtle art of open ended dispute resolution focused dialogue, where concepts cannot be expressed using excessive and unnecessary force they are often not worthy of expressing at all. Further, in so doing, Fong furnishes the viewer with a useful forum for discussing the usefulness of ruthless and relentless violence in their own lives. In light of the currently repressive attitude of society toward aggression and hostility, in presenting this film, Fong bravely champions the cause of antagonism not only as a form of potentially hilarious entertainment, but as a most useful tool to be utilised in everyone's day to day existence.

And in closing, while this movie contains vast offerings for a wide range of cultures, creeds and beliefs, is true to say that the underlying message of this film, as it should be, is that the deadliest weapon is still your fist.

Fong – we can only say thankyou, thankyou, thankyou.

Private dick Leo Fong is hired by millionaire Troy Donahue to rescue his runaway heiress daughter from Cameron Mitchell's pan-theistic "Universal Enlightenment" cult. Mitchell calls himself "Yarakunda", has a pentagram on his cheek, a red dot on his forehead, a cross around his neck, wears big Jim Jones sunglasses, dresses like a druid and hardly ever stands up during the entire film, so you know he means business, or possibly wasn't paid enough to actually act. Oh yes, and he's also blind, which means his Godly visions are more better than yours, so there. But Fong means business too! The sign on his office door reads: "Joe Wong, Private Investigator, Bounty Hunting, Conflict Management, Kung-Fu Fighting Lessons and World Headquarters of the Wei Kuen Do Association". (and yes, that's supposed to be funny) When he's not blasting away scumbags at his local deli ("Hey, forget the ham sandwich!"), taking down redneck purse snatchers, or deflating stereotypes about Chinese food and Asian drivers in Big American Cars, he's rounding up a motley team of specialists to aid him on the rescue mission by staging a tough man contest that attracts ninjas, kung-fu masters, Hispanic knife-fighters, black boxers, redneck purse snatchers and a female bodybuilder in red panties. Really. Frank Harris' direction here is a very slight improvement over his work on KILLPOINT, but it's Fong's screenplay that saves the day, using popular contempo action/buddy movie clichés to buttress his rather loopy main story. The puzzler here is real-life Ghanian princess Akosua Busia, who squanders the goodwill she engendered in Steven Spielberg's THE COLOR PURPLE by appearing here as Mitchell's conniving, sadistic daughter-slash-wife. Fortunately, her career would survive. One the plus side, Fong kicks Billy Blanks' ass, puts his foot THROUGH another man's head, and cuts the roof off a Mercedes-Benz hiding three goons who apparently can't find the door handles during the several minutes it takes Fong to run around the car cutting the roof supports. Hilarious stuff!