51 reviews
If you are not familiar with Chinese cinema then "Shaolin" could be a good movie to start out with as an introduction to the wonderful world of Chinese cinema. It has lot of action, a phenomenal assembly of acting talents, a good story and nicely choreographed martial arts.
I have been putting off watching "Shaolin" for a long, long time after I had purchased this movie from Amazon. A thing that turned out to be a mistake on my behalf, because this really is a good movie. And of course it would be very unlikely not to be good with Andy Lau in the leading part.
I bought this movie for two reasons; the first reason was, of course, Andy Lau, and the second reason being that this is a Chinese martial arts drama.
"Shaolin" also has a small role for martial arts legend Jackie Chan, and even in a supporting small role he shines, and really did add his usual charms and charisma to the movie.
I enjoyed "Shaolin" quite a lot and was genuinely surprised at captivating the story was and how good director Benny Chan is at telling a story to the audience.
If you enjoy Asian cinema then you most definitely should take the time to watch "Shaolin". And for a historical drama, then "Shaolin" is a movie that is more than deserving a place in the movie Collection of any fan of the genre.
I have been putting off watching "Shaolin" for a long, long time after I had purchased this movie from Amazon. A thing that turned out to be a mistake on my behalf, because this really is a good movie. And of course it would be very unlikely not to be good with Andy Lau in the leading part.
I bought this movie for two reasons; the first reason was, of course, Andy Lau, and the second reason being that this is a Chinese martial arts drama.
"Shaolin" also has a small role for martial arts legend Jackie Chan, and even in a supporting small role he shines, and really did add his usual charms and charisma to the movie.
I enjoyed "Shaolin" quite a lot and was genuinely surprised at captivating the story was and how good director Benny Chan is at telling a story to the audience.
If you enjoy Asian cinema then you most definitely should take the time to watch "Shaolin". And for a historical drama, then "Shaolin" is a movie that is more than deserving a place in the movie Collection of any fan of the genre.
- paul_haakonsen
- Dec 14, 2015
- Permalink
Shaolin is an action packed, dramatic epic in the same vein as the Tom Cruise vehicle The Last Samurai. It also takes place on around the same time period, but in a time of turmoil in China where warlords fought over the land much at the expense of the masses. Warlords, which Andy Lau also appears in is great as well and I highly recommend that movie also. Anyhow, Andy Lau gives an outstanding performance here as Hou Jie. Hou Jie is a ruthless warlord general. His unscrupulous actions catch up with him that result in him taking refuge in a Shaolin temple he once disrespected. His second in command (played by Nicholas Tse) picks up where Hou Jie left off, exceeding his predecessor in immorality and cruelty. The legendary Jackie Chan appears as a lighthearted support role as cook for the Shaolin monks. This tale of redemption is a very well crafted film by HK veteran director Benny Chan. The film looks beautiful and is very well performed, shot and directed. Jet Li's preferred fight choreographer Corey Yuen set up the action, which of course is awesome and there are large helpings of it as well. Shaolin should please most action fans and has the potential to win over viewers who normally stay away from this sort of stuff, as this is very well made and an excellent dramatic film in its own right.
- dworldeater
- Jun 15, 2015
- Permalink
The Shaolin movie I know, was one in the 80s that launched the film career of Li Lianjie, who somewhat faded away until his portrayal of Wong Fei Hong in Once Upon a Time in China that launched him to superstardom. Superstars aren't lacking in this update of Shaolin Temple which promises spectacular action sequences, but what's surprisingly excellent here isn't the action, but the spirit of Buddhism and themes that come along with it.
It isn't a remake per se of the old Shaolin Temple movie given a fresh set of characters and a premise that's remotely similar, set after the fall of the Qing dynasty with warlords battling it out for supremacy and territory in China. In what I thought was quite a stark message in warning of any future infighting amongst the Chinese if they do not stand united, that foreign powers are more than willing to wait for an opportunity to exploit. Economic advantages offered should also be scrutinized beyond immediate gains, where corruption of the few in power would mean severe losses on a national scale.
That aside, this film centers itself squarely on the central character of the ruthless and cunning warlord Hao Jie (Andy Lau), who has no qualms in constantly gaining upper hands amongst enemies and allies even. In a wrongly calculated move to take on his sworn brother in an ambush, his protégé Cao Man (Nicholas Tse) probably had understood his mentor's philosophy that no man is indispensable to quash his insatiable appetite for power and glory, and through the countless of indoctrination in the Hao-Jie-School-of-Thought, it is no wonder that Cao Man ultimately decides to betray his master. Think of it as striking when the iron is hot to become top dog and making decisions, rather than taking them.
In a tale about retribution and karma, Shaolin doesn't deviate very far from those themes, of how evil intentions can lead one astray and suffer inconsolable consequences, only for religion to point one back to the path of righteousness and all things good. In some ways this resembled the story of Huo Yuanjia in Fearless, where pride comes before the fall of man, stripping him of everything and down to his core, then comes the rebuild of character, and ultimately walking the talk and redemption. Hao Jie's story follows this trajectory and there's no qualms about Andy Lau being cast in this dramatic role despite his lack of real martial arts skills as compared to his other counterparts in the film, opposite the likes of co-stars Nicholas Tse, Wu Jing, Xing Yu, Xiong Xin Xin and Jackie Chan who serves as comic relief as a Shaolin monk-cook.
But most of the co-stars were severely under-utilized, as the story, with responsibility coming from no less than five writers, didn't pay the others too much attention. Nicholas Tse probably had the meatier role as the chief villain who schemes and sneers, while the rest are in to showcase more of Shaolin martial arts in one film, except for Xiong Xin Xin being the villainous sidekick to Cao Man, with no dialogue. Wu Jing, Xing Yu and Ye Shaoqun all starred as the requisite monks caught up in the firefight as the latter two become part of a group who steals from the army to feed the villagers. Fan Bing Bing was a complete waste as the token female amongst the cast, and although she had a scene or two in a big action sequence in an ambush, little can be said once she appears on and off as the damsel always in distress.
Action direction came from Cory Yuen, with choreography courtesy of Yuen Tak (responsible for Gallants) and Li Chung Chi, all veterans in their field, so quality is almost assured when the combatants take on each other, although I must say that most fights ended as soon as they began, which is a pity. Quality also goes toward the art direction, with production values culminating in the recreation of the Shaolin Temple, made to resemble a bastion of compassion open to all and sundry displaced by warring factions seeking refuge at its doorsteps in tumultuous times.
Benny Chan's filmography may have blown hot and cold in recent years, but Shaolin establishes him back at the top of the game able to handle a big budgeted spectacle that doesn't necessarily rely on star power and action to deliver the goods, but actually is a thinking man's film on the philosophical aspects of Buddhism, and the balance of Martial Zen. Recommended!
It isn't a remake per se of the old Shaolin Temple movie given a fresh set of characters and a premise that's remotely similar, set after the fall of the Qing dynasty with warlords battling it out for supremacy and territory in China. In what I thought was quite a stark message in warning of any future infighting amongst the Chinese if they do not stand united, that foreign powers are more than willing to wait for an opportunity to exploit. Economic advantages offered should also be scrutinized beyond immediate gains, where corruption of the few in power would mean severe losses on a national scale.
That aside, this film centers itself squarely on the central character of the ruthless and cunning warlord Hao Jie (Andy Lau), who has no qualms in constantly gaining upper hands amongst enemies and allies even. In a wrongly calculated move to take on his sworn brother in an ambush, his protégé Cao Man (Nicholas Tse) probably had understood his mentor's philosophy that no man is indispensable to quash his insatiable appetite for power and glory, and through the countless of indoctrination in the Hao-Jie-School-of-Thought, it is no wonder that Cao Man ultimately decides to betray his master. Think of it as striking when the iron is hot to become top dog and making decisions, rather than taking them.
In a tale about retribution and karma, Shaolin doesn't deviate very far from those themes, of how evil intentions can lead one astray and suffer inconsolable consequences, only for religion to point one back to the path of righteousness and all things good. In some ways this resembled the story of Huo Yuanjia in Fearless, where pride comes before the fall of man, stripping him of everything and down to his core, then comes the rebuild of character, and ultimately walking the talk and redemption. Hao Jie's story follows this trajectory and there's no qualms about Andy Lau being cast in this dramatic role despite his lack of real martial arts skills as compared to his other counterparts in the film, opposite the likes of co-stars Nicholas Tse, Wu Jing, Xing Yu, Xiong Xin Xin and Jackie Chan who serves as comic relief as a Shaolin monk-cook.
But most of the co-stars were severely under-utilized, as the story, with responsibility coming from no less than five writers, didn't pay the others too much attention. Nicholas Tse probably had the meatier role as the chief villain who schemes and sneers, while the rest are in to showcase more of Shaolin martial arts in one film, except for Xiong Xin Xin being the villainous sidekick to Cao Man, with no dialogue. Wu Jing, Xing Yu and Ye Shaoqun all starred as the requisite monks caught up in the firefight as the latter two become part of a group who steals from the army to feed the villagers. Fan Bing Bing was a complete waste as the token female amongst the cast, and although she had a scene or two in a big action sequence in an ambush, little can be said once she appears on and off as the damsel always in distress.
Action direction came from Cory Yuen, with choreography courtesy of Yuen Tak (responsible for Gallants) and Li Chung Chi, all veterans in their field, so quality is almost assured when the combatants take on each other, although I must say that most fights ended as soon as they began, which is a pity. Quality also goes toward the art direction, with production values culminating in the recreation of the Shaolin Temple, made to resemble a bastion of compassion open to all and sundry displaced by warring factions seeking refuge at its doorsteps in tumultuous times.
Benny Chan's filmography may have blown hot and cold in recent years, but Shaolin establishes him back at the top of the game able to handle a big budgeted spectacle that doesn't necessarily rely on star power and action to deliver the goods, but actually is a thinking man's film on the philosophical aspects of Buddhism, and the balance of Martial Zen. Recommended!
- DICK STEEL
- Jan 22, 2011
- Permalink
- KineticSeoul
- Jan 7, 2013
- Permalink
This might be the first film I've ever seen with Jackie Chan in a genuine supporting role. Since he started in films in the early 80s he has either been the STAR, the star, the co-star, or a mere cameo. There has been precious little in between.
Until now.
In an are in China where many warlords fought and struggled over territory and power, the Chinese Army were cruel and violent pricks – at least that's how they are portrayed here.
One of the worst of these was leader General Hou Jie, he callously orders the killing of innocent villagers for fear that they may possibly be harbouring the enemy, and the killing of the enemy because well they're the enemy (can't argue that one). When his reluctant 2IC Cao Man expresses doubt at the level of violence and whether those targeted even deserve what is being dished out he receives an impromptu lesson: 'it is better to be the aggressor and be wrong than the passive dead guy', or something along those lines.
On this day though they follow an enemy into peaceful monk territory, a Shaolin temple. While the monks refuse to take sides they will not allow violence on their turf, and they protect the man. Initially.
Hou Jie backs down on his word and guns down the soldier in an act of proactive violence, pausing on the way out only to deface some sacred Shaloin signage. He gets home to his wife and adoring daughter who proudly shows him a drawing of him in action with the title 'My Daddy likes fighting' (I shouldn't judge, my boy might say 'My Daddy likes chips and beer!) Back in cautiously peaceful time Hou Jie becomes increasingly nervous about the prospect of being betrayed or attacked – even by his good friend and ally. In another unnecessary pre-emptive strike Hao Jie takes his friend out in cold blood purely to advance his own station and eradicate another potential rival and hindrance to his success.
Unfortunately though Hou Jie's actions and teaching eventually (and inevitably) work against him, his former 2IC Cao Man betrays him and Hou Jie must seek refuge immediately but where? What follows is a generally rewarding tale of realisation and redemption. Jackie Chan (see how long it took to even mention him!) plays a humble and peaceful – yet eccentric – cook who kindly takes Hou Jie under his care.
After a period of time Hou Jie embraces the life of a monk montage-style, shaving his head a la Britney for a clean start – albeit without the insanity – and finds peace for now. Because meanwhile Cao Man has effortlessly and successfully stepped into his shoes and is now just as ruthless and violent a leader.
Confusingly enough in a film about a violent and cruel man realising the error of his ways we always know that this pro-peace film will end in violence, and the action in the latter part of the film is worth the wait. There is an ax-fight that seemed quite realistic and dangerous, a chariot chase (of sorts) and the wire work was used sparingly enough to be forgiven for the most part. Andy Lau proves himself an adept and reasonably athletic martial artist, and there is no shortage of random monks ready to throw down in self defense of course.
It takes a long while but even Jackie Chan gets to try his aching muscles out near the end of the film, even though in truth his entire role and fighting scenes are thematically at odds with the rest of the film and stand out like a sore thumb. It is like Jackie has now entered the Brian Dennehy / Morgan Freeman phase of his career as the elder statesman, only every director – and perhaps even Jackie himself – can't help but remember that he was once the pre-eminent cinematic martial artist on the planet, so they clumsily try to work him in.
Shaolin is a film book-ended by violence, the redemptive tale in the middle is supposed to provide the moral of the story I guess, but that could easily be forgotten by the 30 minute finale that ends in many dead when even the monks say 'enough'.
Final Rating – 6 / 10. Muddled morals aside Shaolin is well acted, reasonably well paced (aside from one interminably long 'will she / won't she?' scene that I can't spoil here) and contains a few of the better martial arts sequences filmed in the last few years.
Until now.
In an are in China where many warlords fought and struggled over territory and power, the Chinese Army were cruel and violent pricks – at least that's how they are portrayed here.
One of the worst of these was leader General Hou Jie, he callously orders the killing of innocent villagers for fear that they may possibly be harbouring the enemy, and the killing of the enemy because well they're the enemy (can't argue that one). When his reluctant 2IC Cao Man expresses doubt at the level of violence and whether those targeted even deserve what is being dished out he receives an impromptu lesson: 'it is better to be the aggressor and be wrong than the passive dead guy', or something along those lines.
On this day though they follow an enemy into peaceful monk territory, a Shaolin temple. While the monks refuse to take sides they will not allow violence on their turf, and they protect the man. Initially.
Hou Jie backs down on his word and guns down the soldier in an act of proactive violence, pausing on the way out only to deface some sacred Shaloin signage. He gets home to his wife and adoring daughter who proudly shows him a drawing of him in action with the title 'My Daddy likes fighting' (I shouldn't judge, my boy might say 'My Daddy likes chips and beer!) Back in cautiously peaceful time Hou Jie becomes increasingly nervous about the prospect of being betrayed or attacked – even by his good friend and ally. In another unnecessary pre-emptive strike Hao Jie takes his friend out in cold blood purely to advance his own station and eradicate another potential rival and hindrance to his success.
Unfortunately though Hou Jie's actions and teaching eventually (and inevitably) work against him, his former 2IC Cao Man betrays him and Hou Jie must seek refuge immediately but where? What follows is a generally rewarding tale of realisation and redemption. Jackie Chan (see how long it took to even mention him!) plays a humble and peaceful – yet eccentric – cook who kindly takes Hou Jie under his care.
After a period of time Hou Jie embraces the life of a monk montage-style, shaving his head a la Britney for a clean start – albeit without the insanity – and finds peace for now. Because meanwhile Cao Man has effortlessly and successfully stepped into his shoes and is now just as ruthless and violent a leader.
Confusingly enough in a film about a violent and cruel man realising the error of his ways we always know that this pro-peace film will end in violence, and the action in the latter part of the film is worth the wait. There is an ax-fight that seemed quite realistic and dangerous, a chariot chase (of sorts) and the wire work was used sparingly enough to be forgiven for the most part. Andy Lau proves himself an adept and reasonably athletic martial artist, and there is no shortage of random monks ready to throw down in self defense of course.
It takes a long while but even Jackie Chan gets to try his aching muscles out near the end of the film, even though in truth his entire role and fighting scenes are thematically at odds with the rest of the film and stand out like a sore thumb. It is like Jackie has now entered the Brian Dennehy / Morgan Freeman phase of his career as the elder statesman, only every director – and perhaps even Jackie himself – can't help but remember that he was once the pre-eminent cinematic martial artist on the planet, so they clumsily try to work him in.
Shaolin is a film book-ended by violence, the redemptive tale in the middle is supposed to provide the moral of the story I guess, but that could easily be forgotten by the 30 minute finale that ends in many dead when even the monks say 'enough'.
Final Rating – 6 / 10. Muddled morals aside Shaolin is well acted, reasonably well paced (aside from one interminably long 'will she / won't she?' scene that I can't spoil here) and contains a few of the better martial arts sequences filmed in the last few years.
- oneguyrambling
- Jul 22, 2011
- Permalink
I almost skipped this flick when I saw the low 6.8 rating on IMDb. And to be honest, that would've been really unfortunate! Remember the kind of movies that leave something behind in your hearts long after they've finished running? Well, this is most certainly one of those. The background score and soundtrack will linger in your head, I guarantee you that. But most importantly, just when you THINK you've figured it all out and stamped it 'just another Kung Fu flick'; all ready to be discarded and disregarded, wait for the kicker...!
A simple yet significant moral, getting to know the Buddhist way, beautiful locations, and commendable direction to top it off; This movie truly had the potential to be an epic. Almost...!
I thought I'd go with an 8 at first...but finally decided on a full 10; forgiving its small flaws to make way for the bigger message this movie delivers..!
A simple yet significant moral, getting to know the Buddhist way, beautiful locations, and commendable direction to top it off; This movie truly had the potential to be an epic. Almost...!
I thought I'd go with an 8 at first...but finally decided on a full 10; forgiving its small flaws to make way for the bigger message this movie delivers..!
- ashil-john-
- Sep 18, 2011
- Permalink
I'm not a big fan of Asian movies, however, it captivated me most of the time. It has plenty of action, intrigue, beautiful scenery and some humor, especially in the scenes played by Jackie Chan. The film is one that condemns greed and thirst of power, which eventually lead some characters to self-destruction. It also has parts that I didn't like, such as the floating through the air of shaolin fighters (exaggerations like this are still found in Chinese movies) and the soundtrack copied from the one in the movie Braveheart. All in all, a good action movie.
- over-13829
- Jan 20, 2021
- Permalink
For some reason I passed on watching this a few times. Very glad I chose it to watch tonight. I think the story and message is so amazingly well portrayed as well as the choreography and quality of movie making extremely tasteful and well done. If you've seen Ip Man, or Fist of Legend, or any movie on those levels, and have any appreciation of this genre of martial arts movies...I completely and whole heatedly suggest watching this movie. I was going to suggest to see the trailer, but I think it is best to watch without seeing the trailer. The production and direction of story telling, acting, and showmanship is top notch and I believe anybody can become a better person after seeing this movie.
A competent and action pack Shaolin movie
It is of a moment of distinction to proclaim that Benny Chan's latest blockbuster, not only revisited the glory days of Jet Li's first ever movie, but also reunited two of the biggest Hong Kong actors ever. Mr. Andy Lau and Mr. Jackie Chan appears on screen together for the first time since 1994's Drunken Master 2. The moment they appear together, the screen goes on fire. It is a special little segment that excites HK cinema fans, including myself. However, Shaolin fails to exceed the audience expectation and the result is a competent and efficient movie that contains wonderful action sequences, but nothing more.
The real problem of director Benny Chan is not direction, but rather the criminal under usage of Fan Bing Bing and Nicholas Tse respectively. Tse for one, should be critical of his own performance. His villainous turn is neither convincing or menacing. In fact, he should take a leaf out of Mainland's actor, Liu Ye – book of acting. His evil laugh is more cheesy than imagined and his overacting is far too laughable than villainous. A poor effort from someone who have improved immensely in films like Beast Stalker and Pigeon Stool. As for Fan Bing Bing, she performs wondrously in her extremely limited screen time. Her teary eye caught my attention, but with just two significant scenes, she is officially wasted.
All in all, Benny Chan improves from his previous Aaron Kwok's endeavor – City Under Siege. From cheesy to competent action blockbuster, Chan perfectly casted superstar Andy Lau in a role that allows him to go through the motions. At the end of the day, this is a highly effective film for what it is. Unfortunately as with most Benny Chan's movies, the film entertains, but fails to delivers anything special or original to make a good film, great. Basically, Shaolin is a good film, but not great (Neo 2011)
I rate it 7.5/10
The real problem of director Benny Chan is not direction, but rather the criminal under usage of Fan Bing Bing and Nicholas Tse respectively. Tse for one, should be critical of his own performance. His villainous turn is neither convincing or menacing. In fact, he should take a leaf out of Mainland's actor, Liu Ye – book of acting. His evil laugh is more cheesy than imagined and his overacting is far too laughable than villainous. A poor effort from someone who have improved immensely in films like Beast Stalker and Pigeon Stool. As for Fan Bing Bing, she performs wondrously in her extremely limited screen time. Her teary eye caught my attention, but with just two significant scenes, she is officially wasted.
All in all, Benny Chan improves from his previous Aaron Kwok's endeavor – City Under Siege. From cheesy to competent action blockbuster, Chan perfectly casted superstar Andy Lau in a role that allows him to go through the motions. At the end of the day, this is a highly effective film for what it is. Unfortunately as with most Benny Chan's movies, the film entertains, but fails to delivers anything special or original to make a good film, great. Basically, Shaolin is a good film, but not great (Neo 2011)
I rate it 7.5/10
- www.thehkneo.com
- webmaster-3017
- Mar 13, 2011
- Permalink
I give this movie 5 stars, but that is just because of the action and the beautifully choreographed scenes.
The Buddhist wisdoms are thrown at you as if it were by a TV reverend on coke. I am not at all against healthy morals in a movie, but the way this movie tries to stuff you with them is getting irritating. This movie is more religious than the Vatican. The music is also very annoying, not because it's Chinese, but because it sounds cheesy (and often sounds very western).
The Chinese government can be proud. This is excellent stuff to feed your masses. It will keep them docile and loyal and hey, if we can feed them a healthy portion of distrust to western society... couldn't hurt either. Americans and westerners in general are all after our precious Chinese riches.
However, Jackie Chan was refreshing as a not-martial-arts-man and the bad guy isn't bad either. The film definitely has its moments and if the above doesn't scare you off, you might very well enjoy it.
The Buddhist wisdoms are thrown at you as if it were by a TV reverend on coke. I am not at all against healthy morals in a movie, but the way this movie tries to stuff you with them is getting irritating. This movie is more religious than the Vatican. The music is also very annoying, not because it's Chinese, but because it sounds cheesy (and often sounds very western).
The Chinese government can be proud. This is excellent stuff to feed your masses. It will keep them docile and loyal and hey, if we can feed them a healthy portion of distrust to western society... couldn't hurt either. Americans and westerners in general are all after our precious Chinese riches.
However, Jackie Chan was refreshing as a not-martial-arts-man and the bad guy isn't bad either. The film definitely has its moments and if the above doesn't scare you off, you might very well enjoy it.
In the mid-30s China has broken up into warring factions of warlords attempting to carve out power and influence between themselves. Amongst them Hou Chieh (Andy Lau), powerful and remorseless, aiming to achieve domination even at the expense of his blood brothers death. He disregards not only loyalties for his quest for power, but also tradition - openly ridiculing the Shaolin Temple in the opening sequence of the movie. His only deeper affection is directed towards his wife (Bingbing Fan) and sole child. However, such immorality rarely remains unpunished, as karma is a dog and is intent on biting back, when his second in command Tsao Man (Nicholas Tse) betrays Hou, thus causing the death of his daughter. Initially conquered by anger Hou plans revenge, but soon finds sanctuary in the Shaolin Temple, finding a friend and comfort in the local cook Wudao (Jackie Chan). Slowly he accepts his fate and finds peace within himself. Tsao Man however does not intend to leave his former comrade of arms alive...
Another blockbuster extravaganza from China with great settings, beautiful cinematography and some well researched, brilliantly crafted period reconstruction. However under Benny Chan's direction, visibly placing style and swashbuckling melodrama over substance, even the great Andy Lau delivers a sobbing and disappointing performance. Only Jackie Chan seems somewhat comfortable in his goofish guise, as the somewhat aloof super-cook. This stylistic over-reliance on soapish dramaturgy lacks the same required restraint showed by directors such as Ang Lee, Xiaogang Feng or even John Woo, thus making the effort at times a cringe-worthy lesson in bad filmmaking. The best moments come during fight sequences, but even here a severe overuse of slow-motion in order to 'imbue' the tragedy or drama just tingles all the wrong receptors. Instead of dramatic the multitude of such scenes make the movie a yawn-inducing watch, which could obviously use drastic editing to cut down run time with no harm to story or substance.
Another blockbuster extravaganza from China with great settings, beautiful cinematography and some well researched, brilliantly crafted period reconstruction. However under Benny Chan's direction, visibly placing style and swashbuckling melodrama over substance, even the great Andy Lau delivers a sobbing and disappointing performance. Only Jackie Chan seems somewhat comfortable in his goofish guise, as the somewhat aloof super-cook. This stylistic over-reliance on soapish dramaturgy lacks the same required restraint showed by directors such as Ang Lee, Xiaogang Feng or even John Woo, thus making the effort at times a cringe-worthy lesson in bad filmmaking. The best moments come during fight sequences, but even here a severe overuse of slow-motion in order to 'imbue' the tragedy or drama just tingles all the wrong receptors. Instead of dramatic the multitude of such scenes make the movie a yawn-inducing watch, which could obviously use drastic editing to cut down run time with no harm to story or substance.
The 1982 gongfu classic "Shaolin" introduced Jet Li to the world, but there is no breakout star to be found here in Benny Chan's take on the famed birthplace of Shaolin martial arts. No matter really- though Heavenly King Andy Lau may not have the moves or the agility to match Jet Li, his leading man performance here is no less terrific. Indeed, what Andy lacks in the physical department, he more than amply makes up for with his dramatic chops, delivering a deeply moving performance as the arrogant and scheming warlord Hou Jie who undergoes a 180-degree transformation under the tutelage of the Shaolin monks.
This transformation is at the heart of Benny Chan's film, which differentiates itself splendidly from the recent crop of period epics with a generous infusion of Buddhist teachings. These nuggets of wisdom elevate "Shaolin" into a surprisingly thoughtful film, meditating on the fruitlessness of anger, violence and hatred, and preaching ever persuasiveness the merits of peace, compassion and love. Non-believers however need not fear- Benny's sure hand never lets the film become sanctimonious, instead emphasising the universal truths of these teachings and demonstrating their truism through a heartfelt yarn.
Written by no less than four writers, the story is a gripping one of repentance and renewal set amidst a time when China was torn apart by internal strife and threatened by foreign powers. General Hou Jie was one such local warlord, his hunger for power matched by that of his second-in-command, the equally scheming Cao Man (Nicholas Tse). A compelling opening sequence introduces Hou Jie and Cao Man as the despotic men they are (at least at the start), chasing an enemy right into the compounds of the Shaolin temple and paying no heed to the abbot's words to let him save the dying man.
Hou's victory though is short-lived, as an ambush on his sworn brother whom he suspects of ill intentions goes awry. The orchestrator is none other than Cao Man, whose own tyrannical ambitions Hou had fomented over the years. In a reversal of fate, the film plants Hou at the doorstep of the Shaolin temple, seeking the monks' help to rescue his badly wounded young daughter. There is an obvious play on the Buddhist concept of karma here- but rather than dwell too much on these implications, Benny shrewdly grounds this turn of events in keenly-felt poignancy, underscoring their importance as a defining moment in Hou Jie's subsequent metamorphosis.
Whereas lesser directors may have been tempted to skim through Hou Jie's redemptive journey, Benny exhibits an assuredness in allowing the movie to settle down to a more measured pace before its action-packed, explosive (literally) finale. He also brings on Jackie Chan in an amusing role as the resident Shaolin cook Wu Dao, a laid-back fellow perfectly content with his circumstance. It is not unlike the one Jackie played in "Little Big Soldier" two years ago, but it's always enjoyable to see the veteran gongfu actor back on screen, especially in a particularly entertaining sequence where he uses his cooking skills to good measure against Cao Man's soldiers.
Other notable supporting roles include Wu Jing as the senior Shaolin monk Qing Neng and Hou's mentor, as well as Xiong Xin Xin (best known as Ghost Feet Seven in the Wong Fei Hung series) as Cao Man's evil henchman Jiang Yuan. Unfortunately, the script doesn't quite do justice to the actors playing these supporting roles- Xiong's character and Fan Bingbing's one as Hou Jie's wife Yan Xi are sorely underwritten and a waste of their considerable talent. If there is one consolation, it must be that Benny has given Andy ample screen time to flesh out the complexities of his character.
And what a job Andy does, equally effective as the egotistical warlord on the pursuit of riches and power and as the reformed monk who realises the folly of his past ways. There's never been a doubt that Andy possessed screen charisma, but here he rewards Benny's attention to his character with a richly nuanced and textured portrayal of a man struggling to overcome his angry and violent tendencies to become a better person. Just as impressive is his gongfu, though no match for Jet Li's naturally but still admirable nonetheless- especially when he duels with Nicholas with a long wooden pole.
Thanks to some nifty action direction by Corey Yuen and choreography by veteran stunt people Yuen Tak and Lee Chung Chi, the action sequences do not disappoint. But ultimately, the strength of Benny Chan's "Shaolin" lies in how surprisingly intellectual and deeply moving it is- intellectual in its Buddhist leanings of the vicious cycle war, hatred and greed perpetrates; and moving in its portrayal of one man's redemptive journey to free himself from his sinful past. It is a blockbuster in every sense, from spectacle, to emotion, and most of all spirit.
This transformation is at the heart of Benny Chan's film, which differentiates itself splendidly from the recent crop of period epics with a generous infusion of Buddhist teachings. These nuggets of wisdom elevate "Shaolin" into a surprisingly thoughtful film, meditating on the fruitlessness of anger, violence and hatred, and preaching ever persuasiveness the merits of peace, compassion and love. Non-believers however need not fear- Benny's sure hand never lets the film become sanctimonious, instead emphasising the universal truths of these teachings and demonstrating their truism through a heartfelt yarn.
Written by no less than four writers, the story is a gripping one of repentance and renewal set amidst a time when China was torn apart by internal strife and threatened by foreign powers. General Hou Jie was one such local warlord, his hunger for power matched by that of his second-in-command, the equally scheming Cao Man (Nicholas Tse). A compelling opening sequence introduces Hou Jie and Cao Man as the despotic men they are (at least at the start), chasing an enemy right into the compounds of the Shaolin temple and paying no heed to the abbot's words to let him save the dying man.
Hou's victory though is short-lived, as an ambush on his sworn brother whom he suspects of ill intentions goes awry. The orchestrator is none other than Cao Man, whose own tyrannical ambitions Hou had fomented over the years. In a reversal of fate, the film plants Hou at the doorstep of the Shaolin temple, seeking the monks' help to rescue his badly wounded young daughter. There is an obvious play on the Buddhist concept of karma here- but rather than dwell too much on these implications, Benny shrewdly grounds this turn of events in keenly-felt poignancy, underscoring their importance as a defining moment in Hou Jie's subsequent metamorphosis.
Whereas lesser directors may have been tempted to skim through Hou Jie's redemptive journey, Benny exhibits an assuredness in allowing the movie to settle down to a more measured pace before its action-packed, explosive (literally) finale. He also brings on Jackie Chan in an amusing role as the resident Shaolin cook Wu Dao, a laid-back fellow perfectly content with his circumstance. It is not unlike the one Jackie played in "Little Big Soldier" two years ago, but it's always enjoyable to see the veteran gongfu actor back on screen, especially in a particularly entertaining sequence where he uses his cooking skills to good measure against Cao Man's soldiers.
Other notable supporting roles include Wu Jing as the senior Shaolin monk Qing Neng and Hou's mentor, as well as Xiong Xin Xin (best known as Ghost Feet Seven in the Wong Fei Hung series) as Cao Man's evil henchman Jiang Yuan. Unfortunately, the script doesn't quite do justice to the actors playing these supporting roles- Xiong's character and Fan Bingbing's one as Hou Jie's wife Yan Xi are sorely underwritten and a waste of their considerable talent. If there is one consolation, it must be that Benny has given Andy ample screen time to flesh out the complexities of his character.
And what a job Andy does, equally effective as the egotistical warlord on the pursuit of riches and power and as the reformed monk who realises the folly of his past ways. There's never been a doubt that Andy possessed screen charisma, but here he rewards Benny's attention to his character with a richly nuanced and textured portrayal of a man struggling to overcome his angry and violent tendencies to become a better person. Just as impressive is his gongfu, though no match for Jet Li's naturally but still admirable nonetheless- especially when he duels with Nicholas with a long wooden pole.
Thanks to some nifty action direction by Corey Yuen and choreography by veteran stunt people Yuen Tak and Lee Chung Chi, the action sequences do not disappoint. But ultimately, the strength of Benny Chan's "Shaolin" lies in how surprisingly intellectual and deeply moving it is- intellectual in its Buddhist leanings of the vicious cycle war, hatred and greed perpetrates; and moving in its portrayal of one man's redemptive journey to free himself from his sinful past. It is a blockbuster in every sense, from spectacle, to emotion, and most of all spirit.
- www.moviexclusive.com
- moviexclusive
- Jan 21, 2011
- Permalink
I admire the effort and thought that's gone into the making of this movie. The producers obviously wanted something set at the much-revisited and revered Shaolin Temple, but in the meantime had to work in a storyline that's a bit different to the usual "novice monk training" style stuff. What we get is the tale of a very bad man (a glacial Andy Lau) who undergoes something of a crisis of conscience before being reborn as a pacifist fighter. Yeah, the motivations don't make a whole lot of sense, but in the end this is an action flick and it's absolutely packed with battles and that's what counts.
Director Benny Chan is an old hand at this sort of stuff, of course, although he's more familiar with contemporary fight flicks (INVISIBLE TARGET etc.). Still, he acquits himself well with the historical backdrop, throwing in elaborate chase scenes, some genuinely impressive and explosive set-pieces, and of course all manner of hand-to-hand combat. The entire film builds up to one massive, sprawling set-piece at the climax which mixes large-scale combat with fights on an individual basis, and it really works. The special effects are exemplary.
The story I'm less enamoured with. Lau seems slightly disinterested in the material, and I never felt much sympathy for his character's plight. The non-violence message is a bit preachy and faintly ridiculous when played out over two guys beating the hell out of each other. Nicholas Tse feels a bit uncomfortable in a role that's a far cry from the usual fresh-faced hero types he usually plays, and Jackie Chan doesn't get much of a look in at all. Nonetheless, action fans will be in their element, and I just wish I'd been able to catch myself up in the storyline a little better so that I actually cared about the characters involved.
Director Benny Chan is an old hand at this sort of stuff, of course, although he's more familiar with contemporary fight flicks (INVISIBLE TARGET etc.). Still, he acquits himself well with the historical backdrop, throwing in elaborate chase scenes, some genuinely impressive and explosive set-pieces, and of course all manner of hand-to-hand combat. The entire film builds up to one massive, sprawling set-piece at the climax which mixes large-scale combat with fights on an individual basis, and it really works. The special effects are exemplary.
The story I'm less enamoured with. Lau seems slightly disinterested in the material, and I never felt much sympathy for his character's plight. The non-violence message is a bit preachy and faintly ridiculous when played out over two guys beating the hell out of each other. Nicholas Tse feels a bit uncomfortable in a role that's a far cry from the usual fresh-faced hero types he usually plays, and Jackie Chan doesn't get much of a look in at all. Nonetheless, action fans will be in their element, and I just wish I'd been able to catch myself up in the storyline a little better so that I actually cared about the characters involved.
- Leofwine_draca
- Nov 24, 2012
- Permalink
There's just no need for stories that have been already told in a simpler and fresher way in 30 years of kungfu movie. This is not an action movie because the action is scarce and mediocre (there's should be a rule setting a minimum of martial arts, in terms of quantity and quality, in a martial arts movie). Is not an historical movie. It's not a kungfu movie, because the martial art scenes are nothing special. The movie is slow, with excesses of drama and floods of fake dark blood. The plot is unreal. The cameo of Jacky Chan slowly turning into a second Sammo Hung has been seen hundreds of times in hundreds of movies and has noting to do with the rest of the movie. With gems like Ip Man around, there's no one single reason to waste time on this pure nonsense. A boring melodrama, with poor action and an excess of histrionics.
- dbborroughs
- Feb 14, 2011
- Permalink
The Best: Buddha Nature. Realization of truth, although not detailed like in the movie soul. The thing is to get to that you need to have a certain mindset first.
The Good: Action in limited space.
The Bad: Weak story in third quarter.
The Worst: Action in extended space (flying kindaa stuff).
The Good: Action in limited space.
The Bad: Weak story in third quarter.
The Worst: Action in extended space (flying kindaa stuff).
This is one of my favorite movies, period.
It handles the evolution of a man from a brutal, uncaring fighter through the heights of success, to complete and shattering loss where he discovers what is truly important beyond himself.
I could watch this over and over: thrilling action sequences, along with the story of a man's growth to true maturity, compassion and valor. This has it all! Great acting, visually stunning, worthwhile plot. Highest recommendation if you enjoy martial arts and foreign movies.
It handles the evolution of a man from a brutal, uncaring fighter through the heights of success, to complete and shattering loss where he discovers what is truly important beyond himself.
I could watch this over and over: thrilling action sequences, along with the story of a man's growth to true maturity, compassion and valor. This has it all! Great acting, visually stunning, worthwhile plot. Highest recommendation if you enjoy martial arts and foreign movies.
Shaolin is one of those stories that integrates a number of life lessons into an action adventure. This movie is akin to top grade martial arts films such as Crouching Tiger, Hidden Dragon which has long been one of my personal favorites. The story gives the viewer something of a history lesson into the tyranny in China when warlords had no concern for the people only a desire to increase their territorial hold and gain power.
In this story Hou Chieh commands a massive army that wages war to take control of the city Tengfeng,Henan, China. This ruthless, dispassionate tyrant is portrayed very convincingly by Andy Lau, who has quite an impressive film career, I recall him from House of Flying Daggers. Second in command to General Hou is Cao Man (Nicholas Tse) who is very astute in taking in all the Tyranny 101 lessons.
This film had some off the chain equestrian stunts, with horses traversing stairs, doing front and side flips, whereas I could not help but to cringe at some of the scenes. I can only hope that no animals were harmed during the filming, so PETA is not up in arms, perhaps the visuals were the result of some very creative computer generated imagery, but things looked very real.
This is a religious based film where the territorial war spills into the Buddhist monks Shaolin temple, we see that the monks are the only entity that cares for the people and the temple is the only sanctuary that the people have against the warring armies. There is a bit of a Robin Hood mini story taking place in the background of everything else that is going on with some of the monks at its core. I found it interesting that the Shaolin temple was identified as the birthplace of martial arts, having seen quite a few of these tales I do not recall credit being given for where it all began.
There were several recognizable faces in this tale including the Shaolin cook, Wudao(Jackie Chan), this seemed like a small role compared to some of the other big movies he has performed in, but he did show he still has it where martial arts are concerned. This was a very entertaining story, with plenty of martial arts and other action so much so that the two hour running time is barely noticeable. I give this film a big Buddha green light.
In this story Hou Chieh commands a massive army that wages war to take control of the city Tengfeng,Henan, China. This ruthless, dispassionate tyrant is portrayed very convincingly by Andy Lau, who has quite an impressive film career, I recall him from House of Flying Daggers. Second in command to General Hou is Cao Man (Nicholas Tse) who is very astute in taking in all the Tyranny 101 lessons.
This film had some off the chain equestrian stunts, with horses traversing stairs, doing front and side flips, whereas I could not help but to cringe at some of the scenes. I can only hope that no animals were harmed during the filming, so PETA is not up in arms, perhaps the visuals were the result of some very creative computer generated imagery, but things looked very real.
This is a religious based film where the territorial war spills into the Buddhist monks Shaolin temple, we see that the monks are the only entity that cares for the people and the temple is the only sanctuary that the people have against the warring armies. There is a bit of a Robin Hood mini story taking place in the background of everything else that is going on with some of the monks at its core. I found it interesting that the Shaolin temple was identified as the birthplace of martial arts, having seen quite a few of these tales I do not recall credit being given for where it all began.
There were several recognizable faces in this tale including the Shaolin cook, Wudao(Jackie Chan), this seemed like a small role compared to some of the other big movies he has performed in, but he did show he still has it where martial arts are concerned. This was a very entertaining story, with plenty of martial arts and other action so much so that the two hour running time is barely noticeable. I give this film a big Buddha green light.
- EmmaDinkins
- Jul 23, 2011
- Permalink
Chinese compounded traditional martial arts is a fantastic and rather historic form of fighting, more commonly known as Wushu. This is a quite phenomenal mix of literally hundreds of forms and functional techniques in self defense. It of course is exceptionally popular in Asian cinema, and there is always that real sense of watching something unbelievably beautiful that has been passed down from generation to generation.
'Shaolin' brings much of the same fighting styles from previous martial arts films of the last decade. It's hard to compare it to anything I have seen in recent years. I found the movie to be quite enjoyable, if a rather typical ride for most fans of Chinese Cinema. There is the typical overuse of wired stunts, which gives that somewhat graceful 'float' effect on their jumps and movements. When it's just left to the choreography of Jackie Chan and Andy Lao it is actually quite breathtaking to watch the seemingly effortless way they move their bodies in a whirlwind of fists and kicks.
The story line is a rather serious topic for most films that come out of most successful communist country in the world. Most movies that come out of this part of the world are written, and re-written as to represent history in such a way that the government would approve of. This usually leads into a lot of fictionalization, just like any Hollywood drama. For example they leave out a lot of the history related to how many Shaolin Temples were destroyed over and over again in China's history, from the 16th century to even more modern times when rural warlords/generals set fire to monasteries throughout the country. The religious persecution during the communist cultural revolution still affects what can and cannot be shown in Chinese cinema, especially with religious themed films.
Anyways, it is a beautiful movie to watch, some excellent dramatic moments through the whole thing, and very well acted. Most definitely one of my favorite movies out of China in the last decade.
7/10
'Shaolin' brings much of the same fighting styles from previous martial arts films of the last decade. It's hard to compare it to anything I have seen in recent years. I found the movie to be quite enjoyable, if a rather typical ride for most fans of Chinese Cinema. There is the typical overuse of wired stunts, which gives that somewhat graceful 'float' effect on their jumps and movements. When it's just left to the choreography of Jackie Chan and Andy Lao it is actually quite breathtaking to watch the seemingly effortless way they move their bodies in a whirlwind of fists and kicks.
The story line is a rather serious topic for most films that come out of most successful communist country in the world. Most movies that come out of this part of the world are written, and re-written as to represent history in such a way that the government would approve of. This usually leads into a lot of fictionalization, just like any Hollywood drama. For example they leave out a lot of the history related to how many Shaolin Temples were destroyed over and over again in China's history, from the 16th century to even more modern times when rural warlords/generals set fire to monasteries throughout the country. The religious persecution during the communist cultural revolution still affects what can and cannot be shown in Chinese cinema, especially with religious themed films.
Anyways, it is a beautiful movie to watch, some excellent dramatic moments through the whole thing, and very well acted. Most definitely one of my favorite movies out of China in the last decade.
7/10
- kdavies-69347
- Feb 23, 2016
- Permalink
In 1982, The Shaolin Temple puts Jet Li into the spotlight as a young man highly skilled in martial arts, which path-ed his acting career into the fame he has today.
Around 29 years later, director Benny Chan comes with a new adaptation of the classic, which shares a similar story with a new cast. Here, we have Andy Lau, Li's co-star in The Warlords (2007) taking the leading role of Hou Chieh, a ruthless warlord who crosses path with Shaolin Temple and sees transformation of himself from a ruthless warlord to a monk with compassion. Together with Nicholas Tse and Jackie Chan in a special appearance, Shaolin marks the first Chinese blockbuster to hit the screens of Asia in 2011.
The story is set in China after the fall of Qing Dynasty with various warlords fighting over the territories. Hou Chieh, a ruthless warlord who bear grudges with Shaolin Temple and sets to get rid of the people around him for his own benefits, was betrayed by his right-hand man, Tsao Man (Tse). It not only leads to the death of his daughter, but also makes his wife (Fan Bing Bing) decided to leave him for good. After being taken refuge by the cook (Chan), the cook enlightens him and Hou decided to become a monk in Shaolin, leaving down the past behind him and start a new life. Though disciples in Shaolin bears grudges with Hou in the past, they accepted Hou. Eventually, we will see how Hou and the disciples defend Shaolin from the invasion of Tsao's army and the Western powers.
The plot sounds no novelty in it, where we can see how the protagonist repents from his sin to the mistake made in the past, to how they will defend in what they believe in. Here, we have seen how the Buddhist teachings have been integrated into the plot. In relating to the Buddhist teaching on the term 'you reap what you sow' with cause and effect, Hou saw the fall of his power and death of loved ones by betrayal, which he gets it from his belief of the dog eat dog world.
Another perspective of Buddhism that can be seen in Shaolin is 'evil begins with the greed and obsession for power'. This is shown by the portrayal of the sufferings from the civilians during the civil war, with warlords fighting for power and wealth. The perspective has become the main theme of the movie, where not only we have seen how Tsao wanted to control the territory, but also the Western powers who aims to take over China using gun power. This has somehow reflect on what has happened in today's society, on how stronger bodies are getting rid the culture, values and history using destructive powers.
Lau's role of Hou Chieh is different from Li's leading role in Shaolin Temple, in terms of characters and the incidents they have been through. Both shared similarities in their fate and enlightenment, to how they find a way to save the majority of the people around them. Chan's cameo appearances as the cook provides some comic relief for the audience after having a long intense and pressure from Tse's evil character. The comic relief did not last very long, since the fate of Shaolin Temple is the main concern of the film.
Overall, Shaolin makes a very good start for Hong Kong's film industry in the beginning of 2011, where it not only shows how Hong Kong film industry are making a turn from various disappointments in 2010, but also pins hope for better productions in the coming months.
Around 29 years later, director Benny Chan comes with a new adaptation of the classic, which shares a similar story with a new cast. Here, we have Andy Lau, Li's co-star in The Warlords (2007) taking the leading role of Hou Chieh, a ruthless warlord who crosses path with Shaolin Temple and sees transformation of himself from a ruthless warlord to a monk with compassion. Together with Nicholas Tse and Jackie Chan in a special appearance, Shaolin marks the first Chinese blockbuster to hit the screens of Asia in 2011.
The story is set in China after the fall of Qing Dynasty with various warlords fighting over the territories. Hou Chieh, a ruthless warlord who bear grudges with Shaolin Temple and sets to get rid of the people around him for his own benefits, was betrayed by his right-hand man, Tsao Man (Tse). It not only leads to the death of his daughter, but also makes his wife (Fan Bing Bing) decided to leave him for good. After being taken refuge by the cook (Chan), the cook enlightens him and Hou decided to become a monk in Shaolin, leaving down the past behind him and start a new life. Though disciples in Shaolin bears grudges with Hou in the past, they accepted Hou. Eventually, we will see how Hou and the disciples defend Shaolin from the invasion of Tsao's army and the Western powers.
The plot sounds no novelty in it, where we can see how the protagonist repents from his sin to the mistake made in the past, to how they will defend in what they believe in. Here, we have seen how the Buddhist teachings have been integrated into the plot. In relating to the Buddhist teaching on the term 'you reap what you sow' with cause and effect, Hou saw the fall of his power and death of loved ones by betrayal, which he gets it from his belief of the dog eat dog world.
Another perspective of Buddhism that can be seen in Shaolin is 'evil begins with the greed and obsession for power'. This is shown by the portrayal of the sufferings from the civilians during the civil war, with warlords fighting for power and wealth. The perspective has become the main theme of the movie, where not only we have seen how Tsao wanted to control the territory, but also the Western powers who aims to take over China using gun power. This has somehow reflect on what has happened in today's society, on how stronger bodies are getting rid the culture, values and history using destructive powers.
Lau's role of Hou Chieh is different from Li's leading role in Shaolin Temple, in terms of characters and the incidents they have been through. Both shared similarities in their fate and enlightenment, to how they find a way to save the majority of the people around them. Chan's cameo appearances as the cook provides some comic relief for the audience after having a long intense and pressure from Tse's evil character. The comic relief did not last very long, since the fate of Shaolin Temple is the main concern of the film.
Overall, Shaolin makes a very good start for Hong Kong's film industry in the beginning of 2011, where it not only shows how Hong Kong film industry are making a turn from various disappointments in 2010, but also pins hope for better productions in the coming months.
- samuelding85
- Jan 21, 2011
- Permalink
- Headturner1
- Feb 24, 2024
- Permalink
It's a martial arts movie with impressive special effects but the plot and dialog of a cartoon, which is just fine so long as you remember this is a Jackie Chan movie and suspend your disbelief. You will be invited to believe this film has depth but that's just window dressing played up by convincing actors. I felt like I was watching a grammar school production of King Lear since the directing kept on insisting it be taken seriously.
Relax it's just a flick so eat your popcorn and have fun. I had to give it a 5 because of its inability to decide what kind of movie it wanted to be, a Kurosawa or a Jackie Chan with high production values.
Relax it's just a flick so eat your popcorn and have fun. I had to give it a 5 because of its inability to decide what kind of movie it wanted to be, a Kurosawa or a Jackie Chan with high production values.
- myloveincruz
- Sep 14, 2011
- Permalink
There's nothing better than a film with an uplifting moral message bought to you interspersed with lots of martial arts action and blowing stuff up. I can therefore heartily recommend this film.
Whilst being a good watch there is also some good old-fashioned silly translations to add to the enjoyment. "Don't mess with the Shaolin Temple" is one fine example and another is "You bastards come and attack the temple, I'll send you to the Netherworld." (I don't know if you get this with the English soundtrack as I was watching the subtitled version.)
There's a solid storyline and the usual stuff about the baddie finding redemption and making good his evil ways but it's not as 2-dimensional as these plots often are as you see the effect on Andy Lau's wife and daughter in no uncertain terms. The martial arts action is good though not outstanding. Jackie Chan has a supporting role but when he does eventually get an action scene it is laugh out loud funny and absolutely true to the character he plays in the film.
It's not the world's best film but it would be hard to go wrong with this if you want to watch an entertaining epic with lots of action. I'm intrigued to know how much of the battles scenes and destruction of buildings was CGI and how much miniatures. I suspect it was a mixture. I'll have to listen to the DVD commentary to find out
Whilst being a good watch there is also some good old-fashioned silly translations to add to the enjoyment. "Don't mess with the Shaolin Temple" is one fine example and another is "You bastards come and attack the temple, I'll send you to the Netherworld." (I don't know if you get this with the English soundtrack as I was watching the subtitled version.)
There's a solid storyline and the usual stuff about the baddie finding redemption and making good his evil ways but it's not as 2-dimensional as these plots often are as you see the effect on Andy Lau's wife and daughter in no uncertain terms. The martial arts action is good though not outstanding. Jackie Chan has a supporting role but when he does eventually get an action scene it is laugh out loud funny and absolutely true to the character he plays in the film.
It's not the world's best film but it would be hard to go wrong with this if you want to watch an entertaining epic with lots of action. I'm intrigued to know how much of the battles scenes and destruction of buildings was CGI and how much miniatures. I suspect it was a mixture. I'll have to listen to the DVD commentary to find out
- basilisksamuk
- Jan 13, 2012
- Permalink
I recently rewatched Shaolin (2011) on Tubi. The storyline begins with two rival warlords indifferent to casualties, so much so even the Shaolin monks get caught in their conflict. When one warlord is left for dead and seeks help from the Shaolin for healing and purpose, a former enemy becomes China's potential savior against a ruthless conqueror enslaving the people.
Directed by Benny Chan (New Police Story), the film stars Andy Lau (Infernal Affairs), Jackie Chan (Rush Hour), Jing Wu (Meg 2), and Shaoqun Yu (1911).
Despite a compelling storyline, a stellar cast, and captivating settings, props, and attire that immerse you in the era, the movie is uneven. The dialogue varies in authenticity, and the action scenes, while sometimes impressive, suffer from inconsistency. Jackie Chan's underutilization is noticeable, though his scenes are well-executed. The final battle is epic and contains fantastic explosions.
In conclusion, Shaolin offers enough compelling elements to merit a watch but falls short of its potential for greatness. I would score it a 6-6.5/10 and recommend seeing it at least once.
Directed by Benny Chan (New Police Story), the film stars Andy Lau (Infernal Affairs), Jackie Chan (Rush Hour), Jing Wu (Meg 2), and Shaoqun Yu (1911).
Despite a compelling storyline, a stellar cast, and captivating settings, props, and attire that immerse you in the era, the movie is uneven. The dialogue varies in authenticity, and the action scenes, while sometimes impressive, suffer from inconsistency. Jackie Chan's underutilization is noticeable, though his scenes are well-executed. The final battle is epic and contains fantastic explosions.
In conclusion, Shaolin offers enough compelling elements to merit a watch but falls short of its potential for greatness. I would score it a 6-6.5/10 and recommend seeing it at least once.
- kevin_robbins
- Jan 26, 2024
- Permalink
When hearing the name of Shaolin I immediately think kungfu. And there is just enough of that to make this movie your worth wile.However,this movie is just too serious and melodramatic for my taste. It is one tragedy after another. You will see people dying in almost every scene. Shaolin tries too hard to tell a message which for some reason doesn't get clear except for the most obvious one.Greed is bad and makes you kill people.Or something in that fashion. One could also argue if the message is that war in general kills people. Duh! Whatever the message is,it is killing the flow in the movie. Of course I like to see a nice story in an action movie. But most of the time that doesn't go together. The actors are completely wasted in this and they have shown much better in the glory days of the Kungfu genre. Try to enjoy this movie for the action and forget the rest or if you are up for it bring tissues.
- chrichtonsworld
- May 3, 2011
- Permalink