Avoid Donnie Yen in Polar Rescue (2022) (Some Rambling thoughts)

While on a winter vacation with his family Donnie Yen's son acts up. Fed up, Yen drives off without him in the hope of teaching the kid a lesson. When he goes back five minutes later the kid is missing. A manhunt results.

This is hands down the worst Donnie Yen film I've ever seen. I hope never to see it again. (It's even worse than the film Donnie Yen personally apologized to me and Hubert about before we saw it)

The film begins by giving us a family unit we instantly don't like, the filmmakers then up the ante by having them behave badly. Not only don't we like them we kind of want them to die. I truly hated the son. As  the film shifts into the rescue mode the film things go farther off the rails as the narrative has Daddy Yen do things that make zero sense. He's just wandering randomly in the wilderness. Worse Yen is required to do things that no one who has ever had even the slightest contact with snow and ice would ever do. I mean he walks across cracking ice, jumps into a frozen river.

I've never seen a Yen film where I simply said "and then he dies" every three or four minutes.

Who wrote this? 

Actually I want to know why Yen and his family are so badly written, but all of the other characters, all the police and rescuers, are so well written. Sure they have have to do movie sort of stuff, but they actually seem like real people. 

This movie is terrible. It's so bad that it may make you rethink what you feel about Donnie Yen.  I wouldn't care, but he produced this film. WHY? What do the other producers have on him? 

No. you do not want to see this. This isn't a so bad it's fun film, this is just a bad film.

Sakara (2023) in theaters and VOD now, on DVD and Blu-ray June 13

Donnie Yen’s SAKRA is the latest version of the novel Demi-Gods and Semi-Devils to hit the big screen. It is, for most of its running time, one of the most amazing and the best films that I have seen in 2023. It’s a high octane martial arts thriller that will keep you on the edge of your seat.

The plot of the film has a martial arts master and leader of the Beggar Clan being framed for murder and going off to find out who is actually behind it.

This is the first film that Donnie Yen has put his name on as a director in a decade and it’s pretty much an action masterpiece. I am in awe of this film which, for the most part does everything right. Yen’s camera work is incredible creating magnificent spaces for the action to take place in. His framing of the action sequences is such that we can follow and be amazed at the fights. There is no quick cutting but fantastic tracking shots. Yen has created a world that feels real.

Yen has also give us one of the great characters in his body of work. Qiao Feng is like many of Yen’s other character’s a man of absolute honor and righteousness. He is a man of his word and is willing to die for that.  The emotion this creates, particularly in the battle that ends the first half of the film is honest and earned.

Yen’s direction is as good as good as it gets and I can only compare it to S S Rajamouli‘s work on RRR. Yen has made a film that for most of it’s running time is one of the greatest action films I’ve ever seen.

Okay there are two things to know before you see this film. One is something that may effect your personal preferences and the other is a problem with the script.

First it is full of crazy ass wire work and jaw dropping special effects. The masters have super powers and they use them to great effect. Additionally everyone is bouncing off wall and ceilings in some of the most spectacular action sequences you’ve ever seen. If you don’t like that sort of thing, even when well done, stay away.

The other problem with the film is that just as the film gets into the final half hour or 40 minutes the plot explodes into “WTF” nonsense. Blame the efforts of trying to shoehorn the source novel into two and a quarter hours. All of these plot threads, several of which were never or barely mentioned  come crashing in as minor characters in the film become major ones (way too many characters are hiding in the wings the result of focusing on only one character from the novel). A couple of plot turns seem to be out of left field. As the final fights were happening I was wondering if they had changed films midstream because I felt very very lost. And the film doesn’t end, it stops as long sequences in the end credits fill in details, give us new characters and sets up a sequel(the source is part of a series). The final half hour made this go from one the greatest films of all time in my eyes, to a really good action film that still blew me away.

Reservations aside, I absolutely love this film. It is one of the most amazing films I’ve seen this year and highly recommended.

Raging Fire (2021) NYAFF 2021 Fantasia 2021

Cop Donnie Yen plays a deadly game of cat and mouse with a former partner tuned psychotic bad guy. As the bodies pile up it becomes a question of if anyone in the city will survive.

Let me get this out of the way- RAGING FIRE is a killer action film with some of the best fight sequences in Donnie Yen's career. It a film I wish I had been able to see on the big screen. Its gripping in a way that most recent thrillers are not and its a film I want to share with friends because it is so damn good. Seriously this film will blow you mind.

The set pieces, such as the shoot out in the mall, the various chases and Donnie Yen taking on an army of bad guy while trapped in a small room will make your eyes bug out and you jaw drop. The fights here are some of the most impressive I've seen. They are a reminder of what we lost with the death of Benny Chan. If he wanted to go out on a high note this is it.

If you can get to see this in a theater do so. You will be absolutely delighted. This is the sort of film that I missed seeing on a big screen.

That said the film presents a moral and political problem in light of the protests and ugly police behavior in Hong Kong.  I say that hoping that Benny Chan and Donnie Yen intended this just to be a balls to the wall action film, however watching the police hassle people in the name of "justice" in the early part of the film is really tough to watch.

If you don't know what I mean watch scenes of police misconduct in Hong Kong in Hong Kong and watch how the scenes of police raids and police striding through the streets in the first third of the film, they mirror what is actually happening in the city. Also explain to me how the film does not excuse police violence in the furtherance of justice. It seems to be saying cops can do really ugly things if its for a good cause. 

Yes, I am probably reading too much into the film, but I shouldn't be reminded of the bad things going on in Hong Kong. Additionally the fact that the Chinese government has cracked down on freedom of expression, and nothing gets made unless they approve of the message makes me suspect they see some good in this film. Perhaps its just an example of bread and circuses for the masses to distract them from the violence or make them expect police violence or perhaps they see it as a political tool in some other way.

I wouldn't care but the folks at New York Asian have been smart enough not to program anything remotely political so questions wouldn't come up, thus allowing them not to have to answer questions about Chinese government abuses (something they haven't done despite being asked by a couple of other outlets). The Hong Kong  and Chinese films that programmed by NYAFF the last few years have been unpolitical in the extreme (they seem to be the only major festival not to screen any film remotely questioning anything anti-Beijing), but intentionally or not in light of the ongoing protests and crack downs RAGING FIRE can make for uncomfortable viewing for the politically aware.  

Of course the NYAFF programming of the film was not intended as a political act but one simply to show a kick ass action film. And political echoes aside RAGING FIRE is most definitely a kick ass Action film  and recommended.

RAGING FIRE is the Centerpiece of NYAFF, is a special screening at Fantasia and  hits theaters Friday August 13

Joe Bendel looks at Donnie Yen as the Lost Bladesman

The Guandao is the Gibson Les Paul of spears. It is named after the heroic “Three Kingdoms” General Guan Yu, even though he likely predated the weapon’s earliest documented existence by several centuries. It hardly matters. At this point, most of the stories surrounding the virtuous warrior are largely fiction, but they all boil down to him being the good guy fighting against the despised Cao Cao. However, Alan Mok & Felix Chong (best known for the Infernal Affairs and Overheard franchises) give the legend a twist in The Lost Bladesman, which was released earlier this week on DVD, from Weinstein and Anchor Bay.

Guan Yu (Yunchang) was faithful to Shu Han warlord Liu Bei, arguably to a fault. Recognizing the loyalty and heroism Guan inspired, Cao Cao tried compromise his integrity, but he found he couldn’t corrupt a righteous man. Granted, Guan was willing to make common cause with his nemesis, under narrowly defined conditions, for the sake of the public good. Of course, he never did so at the expense of his higher principles.

Still, a devious schemer like Cao Cao was not willing to give up without a fight. Zeroing in on Guan’s Achille’s heel, the Imperial Chancellor arranged for him to escort Qi Lan, Liu’s intended consort and the love of Guan’s life, back to the Shu Kingdom, forcing them to run a gauntlet of Imperial forces and hopefully weakening them to amorous temptation.

Considering Donnie Yen will soon be even more world famous a Chirrut Ȋmwe in Rogue One: a Star Wars Story, it makes perfect sense a solid, representative 2011 Yen film would finally get a somewhat belated release. Bladesman features impressive work from Yen as both lead actor and action director. His close quarters spear battle with Andy On’s Gen. Kong Xiu is definitely worth multiple viewings. However, the real attraction is watching his fellow Rogue One-co-star Wen Jiang swagger and conspire as Cao Cao. Yet, he also displays such dry wit and sly subtlety, he totally challenges and subverts preconceptions of the notorious figure. It is impossible to reduce his version of Cao Cao to an easy strawman caricature, yet he always looks like he is having a jolly good time.

Regardless, Yen is still the star and he develops some agonizingly tragic romantic chemistry with Betty Sun Li’s Qi Lan. Bladesman is all about denial and yearning rather than consummation, which makes it quite a refreshing change of pace. Although Mak & Chong are more at home in a cops-and-gangsters milieu, they have crafted a classy looking period drama. It boasts a terrific cast, but it is also fascinating the watch Mak & Chong present a complex and humanized portrait of Cao Cao, ranking somewhere between the sympathetic Chow Yun-fat in The Assassins and the scenery-chewingly villainous Zhang Fengyi in Red Cliff. Highly recommended for martial arts connoisseurs and fans of the starry cast, The Lost Bladesman is now available on DVD, from the Weinstein Company and Anchor Bay.

IP MAN 3 (2015)

(This review contains potential spoilers)

IP MAN 3 is proof that some series get better as they go on. A wonderful continuation of the story of Ip Man it’s a film that will delight those who have seen the earlier films but it also will work extremely well for anyone who is using this as an entry point. The film has some of the best work Donnie Yen has done both in the action department but also in creating a character. Yen is so good that if Oscar wasn’t blind to international action films he’d be in the running for Best Actor.

The film picks up in 1959. Ip man is quietly teaching his students while his son goes to school and his wife takes care of the two of them. When a foreigner land speculator and bad guy, played by Mike Tyson, tries to force the sale of a school which is key to his real estate plans Ip man is drawn into the fray. Meanwhile, Cheung, the father of Ip Man’s son's friend is trying to set up his own competing school of Wing Chun and will do anything to rise to the top

The likelihood of Donnie Yen getting nominated for an Oscar for IP MAN 3 is almost nil. Not only is it a martial arts film from China which almost instantly disqualifies it out of the box, but it’s also his third time attacking the role which Oscar also frowns upon. Never mind that Yen’s performance is one of the finest I’ve seen in any film for years, Oscar simply is going to overlook what is quite simply a fine blending of physical (and I don’t mean fighting) and vocal acting of the sort that few anywhere in the world is capable of. Yen has become one of the best dramatic actors working today.

That Donnie Yen has tuned in a performance this good is not really surprising to me. I’ve suggested to him in interviews to give up the action and just do a drama because he is too good to be doing just fighting. I know it’s a ballsy thing to do, but when you see some of his performances over the last few years you realize just how good he is. Watch his films and you too will argue for him to do more with his god given talent.

I first noticed it in BODYGUARDS AND ASSASSINS where his portrait of a fallen cop trying to do the right thing breaks your heart as he tries to make a better life for his kids. This carries over to IP MAN 3 where Yen’s physical presence, his looks, his gestures and even his way of standing adds weight to whatever he does. Yes, he’s the uber cool Ip Man (watch him stride into battle during the fight outside the school) but at the same time for the first time in the series we see the life going on behind the eyes. He’s not just a fighter but a man who cares about his wife, his son and friends. The fact that Yen can make us feel what he feels makes everything better.

This is especially true in the fight sequences which, when taken in the context of the story, are some of the best Yen has ever committed to film. While not as spectacular as some of the fights in his other films, they have a weight that amps up the tension to the point you move to the edge of your seat.

Why?

Because there is a potential cost to what happens as we see the violence leaves many people broken. People get hurt, and the characters really feel for each other. It’s as simple as showing the kids having black eyes at the start or the principal with a bruised face later in the film, but more of it is the intensity in Yen’s eyes and the urgency in his movements- he fears some one will get hurt or die if he doesn't act. All you have to do is watch the shipyard fight sequence or the elevator fight and look beyond the motion to see Yen’s body language and expression. Yes, he’s cool as cucumber in many ways but it’s also clear that he is concerned for his wife in the elevator fight and son in the shipyard battle. Yen’s Ip Man isn’t just fighting for himself, he is fighting to protect that which he loves and holds most dear (a thought reinforced by the final line of the film).

If you want to know how important the emotional connection is to making the fight sequences better compare any of the Ip Man battles with the rapid fire fight sequences that his friend Cheung has with the heads of the various martial arts schools. The fights while spectacular  and more flashy than some of the Ip Man fights have much less weight. This is because we are not invested in them, partly because Cheung is a secondary character but also because there is nothing at stake. If he wins it’s a matter of pride it, it’s not to save the life of a loved one, which is the stakes Ip Man is always fighting for.

You want to cheer at the end of each of Ip Man's fights. The satisfaction that we feel at the end of any of the fights is why the truly great action films are more than ballet of motion. While I know seeing the fights out of context would be exciting, they don't measure up to seeing them in the context of the film, where we know the characters and back story which lifts them up. Its kind of like watching the chase in BULLIT with Steve McQueen, yes it’s a great piece of cinema that is frequently screened on it's own, but when you see it in context, with the back story of the characters and the tension of the plot attached it becomes something truly magnificent.

Despite being the best film in the series IP MAN 3 does have its share of problems. Chief among them is that the film has no conclusion to any story line other than the one concerning Ip Man’s wife's illness. The Mike Tyson story line literally stops when the fight between Yen and Tyson does. Seriously the fight doesn't conclude, it just stops. I know it's a spoiler to say this but the pair have a kick ass 3 minute fight that just stops with both parties walking away from each other. It’s an odd moment, but  you think it will play out later but it never does.  From that point on the film ignores that whole plot line and instead focuses on Cheung's‘s quest to be the Grandmaster of Hong Kong. It’s a plot line that goes until the battle between Ip and Cheung and when that's done the film just ends right there. Its a weird way to end the film that makes you feel like you’ve missed something.

When the film ended a bunch of us stood outside the theater talking about the weird way the film ends. As we all discussed what we thought we all had the feeling there is going to be another film in the offing. Additionally despite our feelings toward how it all ended we all were chomping at the bit to see the film again because we all enjoyed it so much we didn’t care about any flaws we just wanted to see the great film again.

I should probably mention Mike Tyson. If you're looking for him to be in the film for a large amount of time, you're going to be disappointed. He's in the film for perhaps ten minutes but his presence is felt all through out, so it was right to cast him in the role, His performance is uneven with some of his dialog dubbed in by a voice that doesn’t match his normal voice. But he fights like like hell and I'd love to see a rematch with Yen that runs longer. (The fight between Tyson and Yen is responsible for  some continuity goofs such as Tyson punches out a series of windows which are miraculously unbroken after the fight.)

This is the first film that's going on my lists for the best films of 2016, certainly for Donnie Yen's performance if not for the film as a whole.

An absolute must see- especially on the big screen.

The film gets a limited theatrical release Friday and is being released on VOD-but seriously if you can see it big with big sound make it a priority-its a trip and then some.

New York Chinese Film Festival Interview Donnie Yen

Donnie Yen at the Marriott Marquis photo courtesy  Hubert Vigillia

Donnie Yen is one of cinema’s most charismatic screen presences, yet if you were to happen upon him in a crowd, it would take you a minute to realize who he was since he so completely blends in. That anonymity disappears when Yen begins to speak and reveals himself to be a well-mannered, well-spoken man of thought. To be certain he is a man of action on screen, but his choice of roles is always based on the character and the opportunity to grow as an actor.

Hubert Vigilla and I were recently given the chance to sit down with Yen while he was in Manhattan for the New York Chinese Film Festival. The statement about Yen blending into the crowd was borne out while I was fumbling to figure out where we were to meet the actor. He walked past us completely unnoticed, or unnoticed until Hubert did a double take at the man in the winter jacket and ripped jeans.

The interview was held in a restaurant on the 8th floor of the Marriott Marquis in Times Square between screenings of Ip Man and Special ID. We were given 20 minutes to ask any questions we wanted with no restrictions. The questions had been prepared by Hubert and myself with input from Mr C. What follows is a slightly edited transcript of our talk. One question was moved from the end into the body of the interview to improve the flow, and one question and some of my stumbling was removed.

Before we start, I want to thank The New York Chinese Film Festival for bringing Donnie Yen to New York, Anne Takahashi from Springer Associates for arranging the interview, Mr C for his guidance, Hubert for being my wingman and co-conspirator, and I want to thank Donnie Yen for being gracious enough to sit down with a couple of crazy fans and letting them ask a lot of questions.

Now as you begin to read the interview, imagine yourself at a half-empty restaurant sitting across the table from one of the biggest stars in all of Asia. He’s slightly tired from the jetlag but game and you’re a bit nervous…



STEVE (S):  I find it interesting that you've been doing movies for thirty years and only now, a couple years since Ip Man was released that it's being heralded as your international break though when you've been making movies all  over the world. Do you think of it as your  break through film?

DONNIE (D):  I don't know,  I just feel like I'm learning every day. I'm growing. Every movie that I do now, is, I feel like there is so much space for improving so sometimes I forget that I've been in the business this for so long. I feel like a person who has only been in the business for a few years, that kind of freshness that I get, you know, every time I take on a new project. I feel there is so much, new ideas, and vibes that I feel for that film and I look back and I say "Wow man I've done so many films in the last 30 years". I just feel like it didn't feel like its been thirty years, I feel like I'm constantly getting new simulations

S: Talking about new simulations, I'd had always heard that you always shyed away from sequels or remakes..

D: Not really...

S...but then you did Ip Man 2...

D:...I think I get motivated by new projects,  new concepts, and new character. When I've been in Ip Man, 2 Ip Man, I want to take a break because I know there is no area for me to grow as as Ip Man. What am I going to do challenge 80 in it? So...but I know what the audience wants me to do one day and I probably will do, but I don't feel it now. I want to take on other challenges. I did Monkey King,I did some comedies, Monkey was a huge break for me, so I'm going to continue to  look for different materials that as an artist allows me to feel fresh.

S: I know you're doing comedies now...

D: I think it's fun I just want to try it. I don't stress out. I goof around with my colleagues  So why not? They pay me so why not?

S: Talking of Monkey King I'm really curious because I heard you talking about it last year at the (New York) Asian Film Festival. Are you following...

D: Following. Following

S: How Much...

D: It's Very different than the Stephen Chow...you know...

S: I didn't get a chance to see it yet...

D; We follow the basic classic novels but of course I added a lot of new elements.As far as playing that character, playing Monkey King. I draw from cartoons. I draw from animal studies in the hopes of creating a brand new Monkey King played by Donnie Yen but with in the frame work. Some people want to... in the past I set that example... Stephen Chow's Monkey King, what he did last year he came out with this blockbuster totally opposite from the classic novel which is something that we're not doing. We're sticking with the tradtional story lines but the way I deliver the acting, its like slightly different, slightly more modern of course.

S:  Is that being done...Super Hero Films is the new company?

D: Yea

S: Is being done  through Super Hero Films?

D: No Monkey King's been done two years. Its coming out  because of post production. Super Hero's first film will be Dragon City.

S; Which is Dragon City? I was looking at a list (of your films), I saw Iceman, something called The Master coming out.

D:The Master is in development. Iceman is coming out in April

S:There's two of those ?

D: Part one and Two

S: Is that a remake of...

D: Not really. not really we use the story line slighly but its big different

HUBERT (H): Whats Dragon City actually?

D: Dragon City is kind of like The Untouchables.

S: When does that come out?

D:After I make the film. Its not in the making until maybe next summer

S: Is that going to be producing your stuff or other people?

D:Probably primarily my stuff.

S:Are you using Super Hero to branch out to do more international co-productions?

D:Not really. Not really I have... I  don't have any plan, or so called  international or not international or what.ever projects that I like. If I like a project I'll do it. It doesn't have to be so called international.  I'm not even sure I want to do Crouching Tiger. I'm considering doing it but it's not at the top of my list that I must do one project or the other.  Not right now I don't have a favorable projects that I want to do right away.

S: Are you going to do more producing? Its like with Iceman, Special ID you're producing...I see that you're producing much more..

D: Probably produce...I'll probably produce more more because Special ID is really interesting. At the moment we had a lot of problems with the production. I helped out as producer but I think that later on when I'm wholly a producer of my own films I'll have more control of the quality, the over all quality of the movie- so yes I'm probably going to produce more.

S: Are you going to use that as a platform to to go back to directing? Writing...

D: I don't know when I'm going to direct again because when you direct you spend a year or two, you know I don't have that kind of time and I don't have the material where I'd really want to.

H: I have a question based on Special ID. This is the third time you're fighting Colin Chou and the second time you're fighting Andy On. Could you talk about choreographing fights with people you've worked with before and....

D: I don't... I mean I could choreograph with anybody so long as they have athletic potential. Thats part of my job as action director.  The role fits for Andy On... there is no fighting for Colin Chou. Like I said there are a lot of problems with Special ID. Like I said  a lot of production problems and I wish the film came. A lot of areas can be more all around quality wise. Unfortunately this  is a co-production between Hong Kong and China and sometimes, unfortunately, I can not call the shots, but the action is pretty kick ass.

S: I've heard about a couple of recent projects that also had problems with doing the co-production thing. Does the co production between Hong Kong and China make it that much more difficult ?

D: Co-production is complicated because of material, censorship...at the same time China is going through...like...the film industry is growing rapidly in China which allows all sorts of different people to be part of the film business,some of them may not be filmmakers and have their own agenda. Its not a good thing all the time. At the same time the its the process  that as a growing industry must face and it will take a few years or longer to be able to scan out these... Probably kind of like the early 80's of the Hong Kong movie industry. You had stock people or business people who just want to be part of the film business. They invest in a film. They have their own opinions that are not necessarily good opinions because they are not filmmakers... That pretty much gives you an answer about Special ID.

H: How do you feel about your being known through bootlegs which were the way that they were available in the United States almost like a cult thing?

D: I don't feel anything. I'm fine with it because that's just the way it is.

S: That was the way I discovered you in Iron Monkey and I feel bad because you never got the money..

D: I'm not getting the money anyway, because as an actor I was paidas a salary so who ever owns the films gets the money. Back in the old days it was bootlegging. Now there are proper channels. It doesn't really effect me.

S: Jumping back to the fighting, is there any sort of fighting style that you'd like to try on screen?

D: Fighting style on screen? I don't ... I've done a lot of different material. I get excited more about story lines and the characters. I find a character that I'm drawn into then I pick a style that fits the character. I don't pick a style and go okay that's the character . Like I did Ip Man, well Ip Man  was a Wing Chun master so I have to do Wing Chun. Special Identity I did MMA because I thinkthat a cop can't do MMA and be out of style, you're not up to date. You're not as well rounded capable, not all around capable fighter nowadays. Its not the 80's. The 80's you do full contact and throw a few kicks and you're well equipt as far as being the hero of a film. Nowadaysbeing the hero of a film people are used to watching  Bourne Identity, so even Matt Damon can do a few MMA so to be able to stay on top and say why you want to watch a Donnie Yen film. I want to show the audience I'm on top of my game I'm going to lead the trend to show you what I can do with MMA different from...but with that said I'm not going to continue to do MMA, don't get me wrong, I mean I think I like MMA but I like different styles of martial arts.I watch UFC but as a filmmaker, as a person who creates characters in my films I will move beyond ...I'll find a style when I get there.

S: Because you bounce between modern and period films do you ever want to mix up Modern and period?

D: I'll Mix it up

S:  Do you have a problem mixing it up?

D: I don't have a problem mixining it up. I like mixing it up. I like different...I like new stuff that surprises people and I have been  and I feel pretty good  about my work the past four years has been constantly bringing something new to audiences. "Oh this is something different". Monkey King is of course mythologies and flying around. that said that's one style. Iceman is another style. I did this movie called Kung Fu Killer, originally it was called Best of the Best. Its Kung fu. Its strictly Kung fu  style. But I like to mix it up to create excitement for an audience.

S: I know you've been asked this a thousand times, but do you have a favorite film?

D: I don't have a favorite film. I really don't have a favorite film

S: Do you have a film that you wish you could do over again?

D: Everyone of them because I know I could do a better job.

H: Do you notice that on first watch or is it one of those things where you get a few years out and you get critical of yourself?

D: I get critical  when I'm done finishing the film. I find an area where I can do better. I look back on my work and I can do it this way or that way. That's why  my motivation is to be striving to be better all the time.

S: What do you watch...

D: What do I watch?

S: ...when you're chilling out

D: I watch all kind of materials. Lets just say that when I'm on the plane I switch through all the channels, first and foremost I don't watch action movies

S: Oh no I figured you wouldn't, but what would...

D: I like interesting, (ponders) I like interesting  material. I like acting. I like watching modern films because I can reflect to it because it happens to us everyday. City people, I'm a city person, I live in the city right. Drama. I watch a lot of drama because of characters played by good actors I study and appreciate their performance and I try to learn from it as well as having a good time watching it.

H: What is it about a character that attracts you Is it a quality or a story?

D: Well first I want to see if I've done it before. If I haven't done it before then I go off and then I try to imagine  what I would look like? How would I come off? but at the same time I'm very level headed especially more and more nowadays as I'm getting even more experienced as a filmmaker. I'm constantly think about how an audience would feel if I played it. I'm not wise enough to take on any material and roles and think I can do everything. I'm not. I'm very practical in what I play. But as an action guy my range is really wide I can even play a fireman because it involves action.So I have a lot of choices. But I'm not smart enough to play I don't know, a doctor and a specialist. Why would I want to do that and why would an audience want to see Donnie Yen playing that so I first evaluate how the audience would feel and what I want them  to be.

ANNE: Okay thats time.

S: Thank You

H: Thank you

D: Thank you

New York Chinese Film Festival: Special ID (2013)

The New York Chinese Film Festival was this week running from Tuesday to Thursday.  I was there for part of the opening night (pictures are coming) and I'm trying to get reports from Wednesday's all day screenings, but for right now I'm going to talk about the screening of Donnie Yen's Special ID.

Actually what I need to say is that Thursday was all Donnie Yen, with a screening of Ip Man before Special ID. I skipped Ip Man having seen it several times before. That meant missing the Q&A after the film, but, as you'll see in a day or so, Hubert and I had  something better, a private interview with Donnie Yen where we could ask anything we wanted. You'll be able to read what happened when its finished being transcribed.

I mention the interview because Yen spoke about his disappointment with the film during the interview. It seems that while the film as a whole is less than he hoped, he feels, rightly, that the action "kicks ass". I also mention the interview because it ran until the films start time we missed-sort of- the opening of the film.

The plot of Special ID has Donnie Yen's deep cover police officer wanting to come back out of the underworld. Before that can happen he has to follow the orders of his criminal boss and go from Hong Kong to China to retrieve some stole property. His cop boss sees this as a chance to bring down a criminal organization, the crime boss sees it as a way of killing several rats including Yen.

There isn't much here. Donnie has a bunch of kick ass MMA inspired fights and meets his match in a beautiful mainland cop. To be honest the film is largely disposable, with a plot line that is more an idea of a plot which hampers several of the action scenes because there is no real connection to anything. By the time the final fight comes (which strangely and easily is the dullest fight Donnie Yen has ever been part of) I was ready to go on to the next thing.

 To be certain I'd love to see the film again, but only to watch all the fights, except the last one.

When the film ended. there was supposed to be a Q&A with Donnie Yen, but instead the film simply restarted, which meant Hubert and myself got to see the wonderful opening fight at the Mahjong game.

If you like kick ass Donnie Yen fights wait for this to go streaming, otherwise take a pass.

(And keep an eye out for our interview with Donnie Yen in where he talks about the problems with Special ID. It will be appearing in the next day or so.)

Donnie Yen's Dragon opens tomorrow

Donnie Yen’s Dragon opens tomorrow in select theaters. The film has been playing on VOD for a couple of weeks now, but if you can see it on the big screen you really should make the effort since it has some spectacular action scenes.

For those who don’t know Dragon is a slightly trimmed, retitled version of Wu Xia. This is a martial arts murder mystery that has Takeshi Kaneshiro coming to town to investigate the justifiable killing of a robber by Yen. As Kaneshiro investigates things don’t seem to add up and a dark back story is revealed.

We had extensive coverage of the film and Donnie's many appearances back in July when the film played the New York Asian Film Festival.

Here are links to our coverage of the film:
My review of Wu Xia (Dragon)
My Report on meeting Donnie Yen ( and see below)
Mr C on Wu Xia and Donnie's NYAFF award
Other Donnie Yen Coverage from NYAFF
Donnie Yen at the Secret Iron Monkey Screening
Mondocurry on Donnie Yen at SPL and on Lost Bladesman

As part of the coverage I got to spend a half an hour with Donnie Yen as part of a panel interview. I’m going to be lazy and link to the full interview over at Flixist. Good friend of Unseen Hubert Vigilla transcribed the interview and ran  it back in July and I can’t see the point of re-transcribing something I only asked one or two questions with. For those wanting to know my part in the interview here it is (With many thanks to Hubert):

Do you see a point where you give up action -- you were talking about comedies and stuff -- and say doing drama?

I wouldn't call it giving up. I would do non-action for just the sake of having the opportunity. I mean, not many action actors are being offered to play in non-action movies.

But just like watching you in Bodyguards and Assassins and Wu Xia...

Right.

The parts I remember are your scenes, you know, with your kids, not the fighting. One of the biggest parts in Bodyguards and Assassins is you breaking everybody's heart trying to do the right thing.

Well, maybe what I did in the last six years was working. [laughs]

[laughs] It's fantastic!

Thank you.

So I was wondering if you [had thoughts about purely dramatic roles]?

You know, I would try, but at the end of the day, I don't forget the business model of making a movie. At the end of the day, you're talking about reaching out to as many people in the audience as possible. People come to see a Donnie Yen film, they want to see action. You know, I understand that, I accept it, I respect it. So, if I'm being offered to play a non-action movie, yes, I'd take the opportunity. Why not? I just finished a romantic movie, right? I get paid, I don't sweat. [laughs]

[laughs]

It was a good experience for me, right, but I will never forget my roots and will continue to make action movies.


For those wanting to read the whole thing click here.

If you haven’t seen Dragon and you like action films its definitely worth the effort to track it down. Actually if its playing near you you really should make an effort to see it in a theater since it’s a spectacular film with some of Donnie’s best action set pieces.