Last Hero - Once Upon a Time in China II

Set in the early twentieth century amidst civil unrest and nationalist demands for independence, _Once Upon a Time in China II_ is enjoyable and very watchable. Much is made of the clash between Oriental and Occidental culture and the lack of understanding between the two. Comparisons between superstitious, reactionary Chinese nationalism and its more educated counterpart are made in passing.

_Once Upon a Time in China II_ is very similar in feel and approach to such adventure films as _Raiders of the Lost Ark_, and is probably best viewed as such. Although fictional and real-life events and characters are interwoven, it is doubtful that the film was ever intended as anything but enjoyable viewing.

When we last saw Wong Fei Hung (Jet Li), he emerged as a hero to his people in fighting against the invading foreign forces that were wreaking havoc in his hometown. By part 1's conclusion, he has also come to realize that his country is going through inevitable changes and that acceptance to western cultures is the best possible answer to the dilemmas.

Like Wong's change in view, part II shifts from its predecessor's themes of nationalism and self-strengthening to an exploration of cultural and ideological tolerance. With all that said, Once upon a time in China II is one of those rare sequels that manages to cast a shadow over its original and brings the franchise to a new height.

Li once again delivers a towering performance reprising his role as Wong. Although there's very little development to the character since the last time we met him, we are immediately won over the second he raises his first kick to the sound of the beautifully familiar score. Accompanied by Aunt 13 (Rosamund Kwan) and his mischievous student Leung Foon (Max Mok replacing Yuen Biu of the original), the trio travels to Canton only to find a town ravaged by chaos and violence. Instead of foreigners being the chief baddie this time, the White Lotus Sect and its zealous leader priest Kung (played wonderfully by Xiong Xin Xin) takes over as the story's primary antagonists. First introduced by a breathtaking prologue, they are portrayed as a fanatical cult bent on eradicating all foreigners and those that follow foreign ways, even going as far as murdering little children.

One of the film's most refreshing features, however, was the inclusion of a complex villain in the form of Donnie Yen's Charismatic Manchu military commander/imperial guard General Lan. Despite being pitted against our heroes, he is a man that is hard for the audience to despise when he's telling his men not to hurt civilians or having a brief heart to heart with Wong on their country's chaotic state.

Once upon a Time in China II is without a doubt the pinnacle of the series and quite possibly the career peak of everyone involved especially for one Tsui Hark. After this, it is the slow decline for the former new wave auteur who would attempt to dip his hands into mainstream Hollywood (only to stink up his CV with Double Team and Knock Off) before taking a stab at the recent trend of big budget wuxia epic only to come up with the woeful Seven Swords. If any of you were unfortunate enough to have seen those movies I've just mentioned, I can guarantee that Once upon a Time in China 2 is the perfect antidote for you.

Taking up where the first part left off, this is effectively more of the same – which is no bad thing. Li and Rosamund Kwan return, but Yuen Biao elects not to reprise his role of Foon. His replacement Max Mok does a great job in the role.

Most of the wire work action is left for the climax, giving Li a chance to demonstrate just how good he is at stylish (and FAST) kung fu earlier in the movie, when he takes on a mob intent on lynching his beloved 13th aunt armed only with a fan, and faces off against Donnie Yen in a great pole fight.

As for the plot, this time us dopey westerners are the ones in danger, rather than being the outright villains. After a raid on an embassy, Wong Fei Hung decides enough is enough and takes on the White Lotus cult, who are intent on rubbing out all western influences from China. Cue high-flying kicks, punches and leaps, and a crazy fight atop a construction of tables.

The climax, a memorable fight with Donnie Yen, is an absolute classic, with both giving their all. The speed and technique shown during the double-pole fight is staggering, and Yen's moves with his cloth staff are gob-smacking. It's a real treat to see kung-fu cinema of this quality.

Two of the finest martial artists still working in action cinema (Jackie Chan in my opinion lost skill in favor of gimmick in the late 1980's) the always incredible Jet Li and the fantastic Donnie Yen (New Big Boss, Iron Monkey, New Dragon Inn) combine with the director who almost single handedly re-invented the genre Tsui Hark and arguably the greatest action choreographer of all time Yuen Woo Ping (crouching tiger, iron monkey, the matrix)to create a powerhouse of a martial arts movie. What it lacks overall in action it more than makes up for in the fight sequences that do take place. Jet and Donnie is a mouth watering prospect and they do not dissapoint. I dont care if wires were used, it takes someone extremely special to perform like these two guys do and you can do little but watch in awe.

The plot is pretty thin so I wont waste time going into it. I will merely say, see this movie, just to experience and appreciate what Jet Li can really do, before hollywood softens him up even more. The fight with the leader of the White Lotus Cult is almost forgotten between the two showdowns with donnie, but wow, just incredible

I have to disagree with a lot of the comments. This is a great martial arts movie !! The fight scenes are few and far between, and the plot a bit convoluted -- but the quality of fighting is absolutely superb. Tsui Hark has managed to restrain himself and just get some really kick-ass moves out of Jet Li and Donnie Yen (the later movies in this series are just way too fantastical for a classic kungfu movie). I have seen almost all of Jet Li's movies (and several of Donnie Yen's) and I will have to say that the two fight sequences between Li and Yen are the best ever filmed. I found myself skipping over the rest of the movie just to see these two scenes over and over again. Their techniques were simply marvelous...(It was refreshing to see David Chiang, an old favorite of mine back in the 70s, though). How they ever filmed it boggles the mind. "Fist of Legend" and "Tai Chi Master" may have more colorful fighting, and the latter may be a better overall movie, but the true afficionado (and I have been watching these kungfu flicks for about 30 years) will really appreciate the quality of fighting here. Tsui Hark has distilled the essence of HK kungfu movies into these two scenes.