San lung moon hak chan

One of the most beautiful of Hong Kong's 'New wave' sword-fight films, "Dragon Inn" has virtually nothing wrong to be said for it. A dark Romantic tragedy over-layered with a romantic comedy almost as dark, and filled with living breathing characters brilliantly portrayed by an excellent cast; still, the film's primary asset is its breathtaking imagery and carefully subdued (given the material) editing. You never have any doubt as to where your eye should light, nor are you ever disappointed.

After viewing any narrative film, we have the right to ask ourselves, "did I go any interesting places here? did I meet any interesting people? did I see anything I could not have seen otherwise?" The answers for this film are: "yes, yes, and again yes" Although this is not a 'magic kung fu' film, yet there is magic in virtually every frame. It takes us to another world and introduces us to interesting people, and then, when the end comes, it simply says 'adieu' and the film closes and we are home again - but far better informed on the nature of the world, and of the human heart, than we would be other wise.

True cinema magic, and certainly one of the best of its kind - perhaps one of the best of any kind.

Everybody loves "Crouching Tiger", but this movie made more than 10 years ago is a much better martial arts movie. Instead of trying to be everything like "Crouching Tiger" did, it was just designed and implemented as a martial arts movie, and nothing else. This focus made it great to begin with.

In addition to a stellar cast, great action scenes, its plot is solid and intriguing. The final fight is one of the greatest martial arts scenes ever made, especially to those who grew up reading Chinese martial arts novels.

It is interesting that those who have a problem with the imagination of Chinese martial arts movies do not have any issue with that of "Matrix". In fact, the logic is very similar. "Matrix": with hi-tech, everything is possible, including dodging bullets; Chinese martial arts movies: with kongfu, everything is possible, including running on the roof.

Having said that, I understand that those who have never read Chinese martial arts novels may have trouble with some of the scenes, especially if you are trying to find medical evidence to verify the possibility of some moves. However, this is just a movie based on a novel, so why don't you just relax and enjoy?

All the characters are remarkable, and the movie is really a classic.

DRAGON INN exibits the same great production values of every Tsui Hark film. It's a good movie all around, with some truly enjoyable performances by a stellar cast.

What both makes and breaks it is the shaky balance between the bulk of the film and its climax. The first 95% is rock solid. The last 5% goes off the deep end, in a crazy, supernatural gorefest fight between Donnie Yen and the varied protagonists. Film school diehards will want their money back. HK film fanatics will sit there in astonishment for a few moments -- then start laughing and cheering. It's truly insane, and I love it.

My only knock: not enough Donnie Yen.

But there are other films for that.

Superb reworking on the 1966 King Hu classic that pays greater homage to the old-fashioned swashbuckling epics of Hong Kong's yesteryear rather than a cash-in on the new wave crop: this is meatier than its contemporaries and offers expert choreography and top-notch performances throughout. Tsui Hark produces this historical affair, a costume drama detailing the plight of resistance fighter Zhou Huaian (Leung) and partner Qiu Moyan (Lin), relentlessly headhunted by evil eunuch Cao Shao-qiu (Yen), a powerful so-and-so and hottest contender for supreme control of the Imperial court. Zhou is his latest obstacle that deserves elimination and so he lures his orphan children into a trap, which summarily backfires and the resistance take up refuge at the isolated Dragon Gate Inn, situated in the middle of the desert. Cheung plays the delightful innkeeper in a light hearted and flirtatious manner, and truly shines in the role, however there are few comedic touches: the movie is dark and sinister due to its restrictions to the Inn, yet the action is lavish and radical, culminating in that legendary Gobi desert finale that'll just blow your socks clean off.