Chocolate

For a start this movie has a story line without to many hickups and the main actors show a certain sensibility not common in a martial art flick. Basically it's about how athletic a human body can be and, if you put behind the idea of a young girl capable to fight a LOT of men, quite enjoyable. The truth goes on in the end, where they show a couple of scenes from production, making people understand this is a movie, not the real life. The acrobatic scenes on the building and the fight are the best scenes, even if ripped from Ong Bak and The Protector, but it's good to see there are many people capable to do this. Sit back and enjoy a good ride from the Thai cinema.

In this part of the world, there's no dearth of male action heroes, you know, those with real martial arts background. Think Jet Li, Jackie Chan, Donnie Yen, Wu Jing, and closer to home, Tony Jaa. How about a female counterpart? You're likely to struggle hard to name a credible one, Michelle Yeoh notwithstanding. So Thai director Prachya Pinkaew is probably shrewd enough to identify this golden opportunity, and so introduces us to Yanin Vismistananda in her debut feature Chocolate.

Those familiar with Pinkaew's martial arts extravaganzas with Ong Bak and Tom Yum Goong, will know roughly what to expect from Chocolate. Since the rumoured falling out with his main star of those movies, there's definitely some big shoes to fill, and Yanin fills them quite nicely, martial arts wise, though there were certain scenes which were quite clear that she's still a diamond in the rough with many edges left to polish. But that's not to put down her effort, except that I thought as a lady, her final delivery of those choreographed punches and kicks lacked some really hard hitting edge to them, and the curious observation that some required some speeding up, was left to be desired. What could also be improved, is the transitions between fights, because each seemed pretty much stand alone, even though you know that she's supposedly to be battling enemies continuously, but with each combatant, there seemed to be a "reset" to on-guard mode.

But what was learned from the earlier two Thai action movies, was that it was no longer necessary to repeat the action from different camera angles. This would stem from confidence in showing off the stunts from a single viewpoint, and not feel sore from not being able to cover it from multiple angles. And Chocolate had some really nice buildup in the complexity of these set action pieces. It teases with what's over the horizon starting from a few thugs at a street performance, and sets up carefully crafted action sequences for our heroine to flit from one to another, each being an excuse to dispatch goon after goon coming at her.

Influences from Hong Kong action movies are without doubt, as you can recount similar settings in various HK movies being incorporated here, such as Fong Sai-Yuk's half- crouching styled fights under a stage. What was internalized in Chocolate, was probably from the Jackie Chan styled school of action, which fuses some bit comedy, with the utilizing of everyday objects in one's surroundings to throw off opponents, or worked into the action piece as a prop for acrobatic stunts to be performed. I'd bet there are numerous sequences here that Jackie Chan himself would approve and be proud of.

And in true Jackie Chan culture, besides the end credits featuring some of the NG shots and injuries to the stars and stunt folk, you'll be glad to know that Yanin did most of her own stunts, and it's indeed no mean feat fighting in a skirt of that length, without it getting in the way. While the finale battle involves countless of Crazy88 types ala Kill Bill in wave after wave of attacks, culminating in battling it out on the facade of a multi-storey shophouse building complete with smashing windows, ledges and neon signboards, my personal favourite had to be at the abattoir. In reddish hues, the villains are sans shirts, meaning risks of personal injury are higher without padding that can be hidden underneath the clothes. And with menacing looking meat hooks hanging, and using cleavers as projectiles, just make your job drop at how these fights were choreographed and filmed, especially the slamming of bodies against concrete stalls.

Action aside, the first 30 minutes or so was devoted to developing Yanin's Zen (heh) character, a young autistic girl born of gangster parents - Dad Masashi (Hiroshi Abe) is a non-self-respecting Yakuza member who doesn't have a body full of tattoos, and Mom Zin (Ammara Siripong) belongs to the Thai triads, and ex-moll of its head honcho. In a Romeo- Juliet styled love springing from only hate, only in Singapore do you have the sex scene severely edited, which I thought was important as that's how Zen was conceived. Violence is OK, but sex is zero here. Anyway Dad had to exile himself back to Japan to avoid an all out gang war, and Zin now becomes an outcast single parent, who has to struggle with cancer, as well as raising an autistic child.

Children of such nature are usually referred to as special, and the specialness of Zen is her ability to pick up martial arts by observation. Hence thanks to DVDs of Pinkaew's earlier movies, and having to reside beside a Muay Thai school, Zen picks up the skills necessary, and get to use them when she goes hunting for her mother's debtors in order to pay for chemotherapy sessions. Money's everyone's problem, so Zen gets to use her fists, knees and elbows on her opponent's face, body and shin. I'd always love watching knees and elbows connect to deliver blows on opponents and inflicting excruciating pain, and in her lithe form, Zen delivers them with balletic grace.

Anyway I'd guess no one's really interested in how the story gets developed, which is not without its fair share of loopholes, but we're all here to watch Yanin Vismitananda kick some serious butt. And she does so convincingly enough to warrant a fan following onto her next movie, and make it an action one please!

Though the English subtitles on the copy I watched were nearly indecipherable, it seemed to me that the point was that her autism allowed her to absorb the fight skills of whomever she watched, and though the filmmakers couldn't afford to include clips from Bruce Lee, Jackie Chan, and Jet Li movies in the film, I thought it was clear that - in addition to watching Tony Jaa movies, she had been watching Bruce's, Jackie's and Jet's. In the ice-house scene, she's clearly mimicking Bruce, just as she's clearly mimicking Jackie in the next scene with the locker doors and the knee-slide under the glass table. Then, in the next scene, she does some pole fighting that looks to be modeled after moves by Jet Li, and then, she starts doing some Tony Jaa knee and elbow work. She also defeats the spasmodic guy by almost instantly memorizing his style, and then she watches (her dad?) take on a bunch of baddies in a sword fight, and immediately picks up a couple of bludgeons, using them just as he did his sword.

In other words, I thought the mimicry was not only intentional, but intrinsic to the plot.

I must have seen a totally different film than Kazuo_Kiriyama and archip57, I found it to be an exciting,entertaining and at times even touching martial film chock full of well choreographed and cringe inducing fight scenes. I'm not pretending it's Lawrence of Arabia (which, by the way contained a lot of historical inaccuracies)and its a notch below Ong Bak, but it does what it sets out to do and succeeds where so many Hollywood films fail in that it simply delivers the goods: well choreographed, bone crunching fight scenes. Its the kind of film that makes me feel giddy like a kid again and I felt the same way watching Ong Bak,Born to Fight, and Tom Yum Goong. I found the lead actress Jeeja Yanin to be demure and her performance very charming and sympathy inducing, not irritating in the least.

Also contrary to other claims made by one reviewer , there are no wires used in this movie and the blooper reel at the end of the film reveal that Miss Yanin's kicks actually did hurt some of the stunt men (did you happen to watch that Kazuo_Kiriyama?) and not all of her kicks were stationary as I recall she did many flying kicks, spin kicks and multiple kicking attacks, but I guess some people we're too busy thinking of stuff to criticize the film about to really notice the great fight choreography or maybe they should be watching something more cerebrally challenge and artistic fare like "The Diving Bell and The Butterfly" and stay away from immensely entertaining films like Tom Yum Goong, Born To Fight, and this one.

Note: Check me out as the "Asian Movie Enthusiast" on YouTube, where I review tons of Asian movies.

Chocolate is the perfect "acid test" to determine who are fans of action movies and who are not. How so? Let me explain. A true fan of action movies has the ability to overlook some flaws in film-making (e.g., script, acting, character development, etc.) if the action sequences are exceptional enough to make up for them. This is no different from fans of art-house dramas who can overlook minimal content if the film can portray everyday life in interesting ways. With that said, Chocolate is one of the best examples of an action movie that has such extraordinary fight sequences that they easily overpower any deficiencies in the script.

An autistic girl with martial arts skill attempts to collect on the debts of her sick mother. This movie has a mediocre script, and requires some patience from the viewer to slug through the early moments. Once the 30 minute mark arrives, however, the viewer is treated to one of the most amazing displays of asskicking by a female protagonist in the history of action cinema. Virtually all of the remaining 50 minutes is devoted to high quality choreography and bone-crunching maneuvers. The settings and scenarios change frequently, thereby avoiding any feel of repetition or monotony. This is brainless action at its very finest. JeeJa Yanin – an amazing specimen with her fluid moves and hard strikes – catapults herself into the upper echelon of female action stars with this single movie. Her punches and kicks start off rather basic, but get increasingly more complex until they peak during the jaw-dropping finale that lasts a whopping 20 minutes. Lots of fun to be had here.

Now, a snobby moviegoer will cry about the negatives without even considering the positives. Anyone who does not enjoy the action in this movie seriously needs to get their pulse checked, or at least schedule for a re-alignment of their action movie tastes. There's nothing more scintillating than watching a cute girl kick the living hell out of hundreds (quite literally) of stuntmen in a variety of environments. Basically, if you're not entertained by this, you're not a fan of action movies. (You probably didn't like So Close or Azumi either, right?) Stop fooling yourself and go watch another Tsai Ming-liang film.

Some critics have claimed that this movie "ripped off" other movies. It didn't. There are a few homages that last a few minutes at most (a few Bruce Lee references, a locker scene reminiscent of Jackie Chan, and some footage from Tony Jaa's movies). These few scenes are only a drop in the bucket, because 95% of the action is independent of any references to other movies. The sign-post battle on the apartment complex balconies is one glaring example of a completely novel (and breathtaking) sequence that pays homage to no one but itself.

This is definitely worth a blind buy. True fans of martial arts mayhem will end up re-watching the action scenes about a thousand times.