Protetores do Universo

This film, an adaptation of Tsui Hark's 1983 classic of Hong Kong cinema by none other than the original director is a visual feast of comic book style special effects and a superhuman battle between good and evil. This is an imaginative film, full of wonder and magic on an epic scale. Legends of Hong Kong cinema unite and come to life in this magical story of supernatural beings and the deeds they do.

The people who beat me to reviewing this movie here mostly seem to have forgotten the original film, "Zu, Warriors of Mystic Mountain." Anybody who has seen that film knows how confusing it was, yet a few viewings later you can figure it all out. This movie is the sequel to that film and it's a sprawling multi-character film with too much plot to easily decypher, but pay attention and you'll get it.

The film is beautifully shot, with wild special effects that make you wonder why US films can't do super-hero movies. While short on real kung fu, the action sequences are fantastic, fun, and constantly confounding your expectations. Aside from generally knowing that Good will overcome Evil, the movie is impossible to predict.

The movie is available on DVD now, so pick it up. It's much better than "Stormriders" or "A Man Called Hero" and ten times more fun as well.

I've read the the director made this film in order to present a vision that was not possible in the first iteration due to special effects limitations of the time. Apparently, he concentrated too much on special effects and left off the story. That being said, does anyone know if there will be a third movie that tries to concentrate on both story and effects?

Tsui Hark's "Zu Warriors" follow-up is a feast not only for the eyes, but the soul. It tells the tale of a collection of flying mountains, where God-like beings reside. After thousands of years of peaceful existance, another God-like character (Insomnia) begins to one by one destroy their worlds, in (what else?) a plot to destroy everything as powerful as he/she. The film stars a cornucopia of HK talents, including Crouching Tiger's Zhang Ziyi as a young soldier, Sammo Hung (of Martial Law and 40 years of HK fight films), and Akin Chang, of The Storm Riders, as the last remaining student from a mountain destroyed several hundred years ago. It is also written and directed by Tsui Hark (HK's number one action producer) and features fight choreography by Yuen Wo Ping of The Matrix and Crouching Tiger. The film is Chang's, and his sad story of having no home, and pining for the woman (and teacher) he once loved is the heart of the film. Like many Chinese period pieces, it occassionally ventures into melodrama, but the characters and story pull you along, with grand help by visuals that rival any US-made film. In short, it is an epic. And a good one. If you love films that are massive in scale, with a little more intelligence and heart than the action schlock we see over here, you definitely owe it to yourself to check this masterpiece out.

I rented this film in DVD form without knowing anything at all about it, part of a winter marathon of watching a film every night. After several awful American action adventure films (Ballistic, Daredevil, Cradle of Life) Zhu Warriors struck me as brilliantly original filmmaking. The story is complete nonsense, but I found the film's sincerity, good- heartedness and complete lack of irony refreshing, and the film looks spectacular. Sure, the special effects are not technically as flawless as those produced by Hollywood, but the filmmakers wisely are more interested in color, composition and movement than realism and so many of the shots are breathtaking. In one shot, two of the superhuman characters stand on craggy spires of rock, a huge moon rising before them, the image perfectly balanced by the three elements. In another, a princess-warrior spires through the heavens behind her glowing sword like a heat-seeking missile. And the colors explode from shot to shot, used to express emotion rather than to represent reality.

The characters have the same simplicity and directness of comic book characters, offering no great depth in themselves but referring to archtypes that resonate more deeply. Physically, several of the actors are astonishingly beautiful. They play their roles straight up, without irony or guile, and so are believable.

Most strange of all, despite the clumsiness of plot and thin characterizations, I found myself very near tears at the end, moved by the beautiful simplicity of the actors and the wildly original, good-hearted vision of the director.