Il était une fois en Chine 2 : La Secte du lotus blanc

What this movie lacks in volume it makes up for in weight. The fights scenes aren't as plenty as Tai Chi Master or Iron Monkey, but they rank with and above them. This movie tell the story of Wong Fei Hung dealing with the racist White Lotus cult who wish to drive the foreigners from China. Things are complicating by the arrival of Commander Lan (Donnie Yen) who is trying to crush a rebellion led by Dr. Sun Yat Sen. The movie drags in the middle but picks up with 3 fights that are among Jet Li's best. Donnie proves a worthy opponent in his two duels with Jet. A must see.

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.

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.

Another excellent entry into the series dealing with China coming to terms with foreign influence and an uncertain future, infused with romance, humour and some outstanding choreography. The well-drawn cast includes Dr Sun Yat-Sen which brings some historical credibility, but adds irony as well, since Dr Sun's idealism may have been misplaced. Oh yeah, its got some great fighting in it too...

I find previous accusations implying racism in this film to be misguided and deeply ignorant. The Wong Fei-Hung series highlights the historical turmoil felt in China from external trade interest and internal political pressure. Foreign characters are shown as both villainous and sympathetic (just like the Chinese characters). OUATIC II portrays the xenophobia of the White Lotus Cult as a Very Bad Thing, and the confusion at western objects and inventions varies from the hilarious train sequence to the superstitious fear of the camera. It's self-mockery, but it's bittersweet. If anything, Tsui Hark is implying a loss of innocence.

If the foreign powers are portrayed in a negative light, it's because our presence in China was motivated by greed and imperialism. Hardly the most noble of motives. But then nobody's perfect, and China's human rights record is less than great before and after the revolution.

I'm staggered that anyone could be so utterly stupid as to ascribe Nazi overtones to a film which goes so far to portray nobility, humanism and honour. Anyway, great film.

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.