Siu Tai Gik

Donnie Yen's breakout role comes at the tail end of the old school martial arts boom in Hong Kong. Under the direction of Yuen Woo Ping it could go one of two ways: A kung fu based movie in the vein of Drunken Master and Snake in Eagle's Shadow or an even sillier excursion like Miracle Fighters or Shaolin Drunkard. This lands somewhere in the middle. I won't go over the plot, you can find it on other reviews.

This is mainly a goofy comedy with the fighting for the most part played for laughs. Puppets, fireworks, break dancing, bicycles are used as gags through the fights with the last couple fights displaying more of traditional styles. So is it any good? Let's get one thing straight: there is no drunken tai chi. I'm guessing the title was chosen to cash in on the drunken boxing craze that was on its last leg at the time. There is some great Tai Chi on display here. The training sequences are fun and the application is great. Donnie Yen also has a couple scenes using the rope dart which are stand outs.

If you are a big fan of Donnie Yen or just very goofy comedies with the Yuen clan's usual weirdness this will be up your alley. If you are looking for something more packed with fights and less goofy comedy I'd recommend Magnificent Butcher, Knockabout, or Legend of a Fighter, all classic Hong Kong films directed by Mr. Yuen.

One of donnie yens first. It is pretty funny, the obligatory training sequence is well done and the fight scenes are pretty decent. Its one of the last of the Shaw Brothers style films. No wire work and the like.

If you really need a reason to see this film check out the practice scene, set to 'Love is the drug' by Roxy music. Very funny.

First off let me say that most people that give reviews don't know what they are talking about. This movie is Donnie's first and is a very good one. He definitely did better on his first than Jackie Chan (Young Tiger) and Jet Li (Shaolin Temple). This movie is not about drunken tai chi, it's about a drunk teaching a young man tai chi. That's the difference when you get original titles vs American titles. Yen's action is remarkable as well as his acting skills, and the fact that the Yuen family backs him up more than proves his credit in the movie business is A+++.

In this movie you can't help but to feel sorry for Yen as he tries to make his brother feel just as special as he is vs his rotten greedy father. Only to wind up losing them both is when the heart break shows up, but back to the review Donnie more than proves that he is the man for the job once he gets his hands on the Killer Bird. If you want some good ole Asian action, then try this movie out. There are a lot of critics out there but let's see if they can recall America ever coming out with action this good.

Donnie Yen's first movie with Yuen Wo Ping. RE: similarities between this film and DRUNKEN MASTER -- there is so much crossover between their casts and crews, and HK filmmaking in general was so homogenous at the time, I find any similarities not only forgivable, but forgettable.

Donnie wasn't much of an actor at the time, but his performance is bolstered by a supporting cast which includes two of Yuen Wo Ping's brothers: Sunny Yuen as the villain, Killer Bird, and Yuen Cheung Yan as the Master. I have a lot of affection for both actors. You might remember Yuen Cheung Yan as Jet Li's mentor in TAI CHI MASTER, or as police Captain Jie in FIST OF LEGEND. Sunny Yuen played a similar villain in DREADNAUGHT opposite Yuen Biao, the brave-but-bumbling Chief Fox in IRON MONKEY, the protagonist Shang in BUDDHIST FIST... and if you look closely you'll notice him getting clobbered by Hwang Jang Lee in the opening battle of DRUNKEN MASTER.

Anything Donnie lacked in the acting department was more than made up for by his martial arts skills. DRUNKEN TAI CHI is an enjoyable first look at a promising new action star.

A simple way of describing this uniquely odd old school kung fu movie -- which also marked among the last movies of its' kind during the rise of contemporary action movies of the 1980s -- is that it's a fresh mix of old-fashioned goofball/slapstick comedy and creative martial arts choreography that you can find any pretty much any previous Yuen Woo Ping-directed kung fu gem. The movie actually was only a moderate success which did not do much for the traditional kung fu genre -- that was already drying up, with countless of similarly themed movies resuming the milking of the success that was SNAKE IN THE EAGLE'S SHADOW and DRUNKEN MASTER -- and was just made to be different, and introducing some new blood.

The biggest revelation of the movie is, of course, the exposition of leading actor Donnie Yen debuting in his first movie, and only aged 19 when the movie began production in 1983. Donnie had previously just finished his training course at the Beijing Wushu Academy. From there he stopped by Hong Kong before flying back to the US and was discovered by Woo Ping, who was looking for the next big thing in MA action movies. As a testament to Woo Ping, Donnie had to work for him and his "Yuen Clan" on a movie before signing a movie contract. That movie was THE MIRACLE FIGHTERS where Donnie was doing stunt doubling duties for the Yuen brothers. The movie was a success, and Woo Ping ended up so impressed with Donnie's extraordinary MA skills and gave Donnie his approval. Donnie signed the contract, and off was his movie career which has gone forward less and more years later till this day.

For a debut movie, DRUNKEN TAI CHI does wonders for Donnie Yen as the main performer. It's nothing new though, and pretty much consists of the basic aesthetics of a Yuen Woo Ping movie. The goofy humor, the pacing, the violence (reasoning behind it); the overall message. Although I enjoy Yuen Woo Ping's kung fu movies very much, most of his output contain this type of content making me wishful that he could've done a lot more serious movies at the height of his career as a director. Movies such as LEGEND OF A FIGHTER, TIGER CAGE, IN THE LINE OF DUTY 4, and IRON MONKEY clearly shows that Woo Ping can helm action movies without heavy comedy elements present. That being said, Woo Ping does a good job of applying his movie style onto Donnie's action performance and in his limited acting skills without making things awkward. Donnie Yen is wonderfully supported by Yuen brothers Yuen Cheung Yan, Yuen Yat Choh and Yuen Shun Yi, the late Lydia Shum (RIP), recurring old school kung fu actors Don Wong Tao and Lee Kwan, and Donnie Yen's fellow Chinese-Bostonian friend Mandy Chan who also made his acting debut with this movie. As usual in Yuen Woo Ping movies the comedy is tailor-made for the Yuen brothers, with Yuen Cheung Yan getting most of it, and for the most part his moments are pretty funny despite going towards overdone slapstick level of comedy after a while. Lydia Shum -- who was known for using her overly loud voice and screaming in movies to great comical effect -- is probably the one who delivers the best comedy performance in the whole movie, which is nowhere near as slapstick-ish or exaggerated like Cheung Yan's. Yuen Shun Yi -- who started out playing villains in minor or supporting roles, and occasional heroes as the lead actor -- continues the villain route here playing a ruthless killer showcasing his physical skills along with a strong antagonistic onscreen presence marking this particular performance one of his best ever done. The rest of the cast also provide some decent stuff in between the comedy and the action scenes assuring that the story flows and progresses with enough captivation to hold viewers' attention.

A Yuen Woo Ping movie is of course all about the fight scenes, and they are numerous enough to not disappoint. The action choreography by Woo Ping and Yuen Clan are very fun to watch and features the usual routines of movements as well as fascinating training montages, and certain details that shows the fighting techniques effectively and compellingly. The best attribute of the action scenes though is the storytelling behind them. Somewhere along the story, the action scenes takes a big shift once Yuen Shun Yi enters the story proving to be an extreme adversary for everyone, with a hardened fighting style that is difficult to defeat. What is the opposite of hard? Soft. And what would be a perfect style to counter a hard one? Woo Ping has all the answers and pulls it off with conviction and to maximum effect. Donnie Yen -- at the time the movie went into production -- was just getting a hang of things in the Hong Kong movie industry, and wanted to prove himself. And to the point that he was so gung ho about it that he was willing to do most of his own stunts -- something he gave up on not long after the movie's release though. And his physicality is on full display doing all the fighting techniques and stunts. The way Donnie performs here is unique as he doesn't move like a typical taolu wushu practitioner or a Hong Kong martial artist-turned stuntman. It's like Donnie followed Woo Ping's instructions while putting a contemporary twist to the techniques creating a blend of old and new in his overall performance. This has always been Donnie's way of performing onscreen, and it's so attractive to watch. It's no wonder viewers over the years have come to appreciate his movies even to this day. Credits to the Yuen brothers, Don Wong Tao, and even Lydia Shum (and her stunt double) for being eye-catchy in their action performances too.

My verdict is that the movie makes good use of Donnie Yen's mere athleticism as a taolu wushu practitioner -- the same forms-based wushu discipline (opposed to sanda wushu, which is based on full contact combat) that Jet Li excels in -- as well as his true martial arts abilities and knowledge -- gained from learning and training actual practical fighting styles after migrating to the US in his late childhood. But Donnie's talents could've been utilized for a more serious and fitting movie, as it's apparent that Donnie looked uncomfortable in some comedy scenes -- Donnie has went on record stating that Woo Ping's comedy style isn't to his preference. Nevertheless, the movie is a strong contender in Donnie's filmography proving to be a decent debut for him as well.