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KUNG FU PANDA 2 marks the return of Po and the Furious Five as they embark on a new adventure to stop a weapon so powerful it threatens the very existence of kung fu itself. Now the Dragon Warrior, Po is tasked with the responsibility of destroying this weapon, before the evil Lord Shen uses it to conquer all of China.

The first KFP was a pleasant and heart-warming surprise for most people, myself among them. To see the film actually respecting the culture they are portraying, and imbue it with multiple levels of philosophy while remaining hilarious and kid-friendly, is a dream come true in this age of trashy movies where money comes before quality and everything else. KFP 2 retains that sincerity, and delves even deeper into the little profound life messages that surpasses it's predecessor in every way.

Po is now enjoying his new life as a hero and a kung fu master, but is suddenly faced with the mystery of his dark past, and must deal with his inner demons as the truth slowly unravels. This leads to the character being far more emotive than in the last outing that affects those around him as well, giving this sequel a tone that is far less bright than it's predecessor. It offers the film a more emotional side as Po's investigation of his heritage and his new hero role causes ripples in his relationship with his Dad, and the father-son relationship serves as a powerful core to Po's inner conflict. His opponent this time, the albino peacock Shen, also contains far more character depth than Tai Lung in the first movie, and his ambitions more sinister and larger in scale. Both creatures of black and white compliment each other perfectly as the paths they choose are destined to meet and determine their eventual fate.

The references to Chinese culture and old kung fu movies are there yet again, with the dumpling fight in the original film succeeded by a terrific battle with Chinese musical instruments, playing to oriental music that evokes a vibe of several movies, Zhang Yimou's Hero among them. The action is fantastic with the Five having their distinctive styles, while Shen's thin limbs, sharp weapons and ferocious feather-blades come in stark contrast with Po's free flowing, soft-over-hard Tai Chi style.

As mentioned, the philosophical content, which I had previously feared would be toned down, gets full blown instead with many layers slid in. Po embarks on a quest to find inner peace, to create harmony within himself and "let things flow", as it is revealed that only when one's heart is unclouded with doubt and grudges can one tap into his or her hidden potential and, most importantly, attain true happiness. That is the main powerful message of the film and it is so brilliant in it's simple logic that makes it accessible to all races and religions. There are tons of other references to the theory of yin and yang throughout the movie that made me gasp and impressed with how much work the makers of the film have put in yet again.

Kung Fu Panda 2, as expected and anticipated, is touching, full of heart, awe-inspiring at times, hilarious in others, and constantly filled with meaning. It is a film that can entertain and capture a child's imagination, but also tug the heartstrings of adults and give them something joyous to think about when the credits roll. And it made my fist hungry for justice.

It's A Great Great World is a throwback to the lifestyle and culture of Singapore in the 1960s. The story begins with a young woman seeking the owners of several old photographs, and ends up finding an elderly man, who recounts four different stories involving the people in the photos. They include an underachieving man trying to please his mother, a young lady's first love, a past-her-prime singer waiting for her love, and a restaurant trying to give a couple the perfect wedding.

The film boasts some excellent performances from the stars of Singapore television, with veteran actress Xiang Yun easily standing out in her role as an aging, alcoholic nightclub singer. The rest of the cast made good use of the opportunity speaking in various dialect languages that can relate better to middle age audiences, with several gags wonderfully executed in Hokkien, Cantonese and the like.

The problem with the film can essentially be attributed to it's run time. Clocking at just over 90 minutes and having four different stories to tell, director Kelvin Tong was always going to have a problem of either having to rush things, or drag less comprehensive stories to fill up the time. He chose the latter, and the product was a film that was difficult to put strong focus on, as the chapters brushed past each other and most of the character development was at best paper thin.

Nevertheless, the sets and the look of the movie is impressive and deserves to be praised. I was born way after this period of time, but felt the movie was very close to my idea of how life was like when my parents were children. While not a great film in story-telling terms, it does a terrific job invoking nostalgia, or for me, an impression of it.

FEARLESS stars Jet Li in what is supposedly his final martial arts epic. The actor has mentioned that this is a summary of his thoughts and philosophy of wushu, an art he has so breathtakingly performed for decades, that has seen him not only become one of China's biggest movie stars, but also labeled possibly the greatest wushu practitioner in the contemporary era.

Li plays legendary pugilist Huo Yuan Jia, who is depicted here as a talented but cocky fighter from a well to do family. His own arrogance soon results in tragedy, which leads him to undergo a metamorphosis that lets him understand the true meaning of martial arts, and ignites his desire to enlighten others in an oppressed China marred by invaders.

Yuen Woo Ping shines again and puts Li's talents to wonderful use for one last time. Apart from the brilliant unarmed combat sequences, he also utilizes various weapons, the highlight certainly being the three section staff which Li maneuvers with such audacity and elegance. There is something about his performance that always makes him special; a personality of sorts. Amidst the mechanical choreography, he presents beautiful rhythm and fluidity, like investing emotions to a piano piece.

Kudos to Ronny Yu for presenting a film that is able to identify martial arts not as a tool to protect one's pride, but a path for liberating people. While the film still utilizes the typical foreign antagonists as a foil for Huo to defend Chinese pride(again), Yu can be forgiven for portraying them as respectful martial artists who, rather than wanting Huo dead, were shared his knowledge and qualities derived from wushu, humility and compassion among them.

All in all, FEARLESS is a wonderful film which not only showcases the artistic side to Jet's beloved craft, but also carries an important message about overcoming yourself and treasuring life, which is a rarity among kung fu movies.

Thank you, Jet Li, for your countless, brilliant performances of this magnificent art. It's been one hell of a ride.