Evil King Yeung Chang of the Qing Dynasty conquered the land. At the beginning of the movie, he commands an entire family to be killed, but a monk intervenes and manages to take the youngest children to safety. The sisters undergo intense Shaolin kung fu training at the monastery and once they become adults (portrayed by Chia Ling and Doris Lung), they are released by the monks and embark on a path of vengeance dedicated to the unforgivable slaughtering of their family. Two guards are placed to keep an eye on them (Carter Wong and Dorian Tan’s characters) which makes sense since the recently departed king was made aware of their plan to eliminate him. His response to the situation is by adequately preparing himself with two kung fu-trained gorillas who can handle the business while he sits back and relaxes.
With the revelation of the core theme and sub-title of the film, people think it is painfully boring but they do not know it has an underlying tale to tell. This is the one with the aforementioned gorillas. While the idea of an animal fighting sub-plot in a serious drama piece sounds like cringe and comic relief gags, one would assume the creators of the work simply did not want to forgo the mundane scrip premise and the surrounding cliches. It’s amusing if the serious gaze approach worked on them let’s make people want to laugh rather than try to tell a serious story and confront us the audience with these wild beasts. It’s a fresh of breath air it’s not just wishful thinking on their part, it’s putting in the work (even if lacking in the costume department) and it applies to the rest of the the project as well.
The scrolling text for the world’s tyranny and showing Doris Lung and Chia-Ling already grown up and thoroughly trained to fight for blood just makes sense. Everything is beautifully captured by standing, set pieces, and temple architecture alongside the costume and makeup artistry. Faced with traditional Chinese culture, civilization, and world politics, arguments can be recognized about how a movie can have these arts where people three minutes in can see the girls on the kung fu fighting road. These changes at the very beginning of the movie make for a very good narrative sense. It’s as if some form of reality is projected onto us, for in a TV room we used to sit on a mat as these movies played on a projector and all of a sudden everything begins to blur out because a set of wizards painted in both colors begins to fight while Cheng Hung Lieh our villain watches. You can clearly see the magic of these wizards put Cheng in this diorama that can endure sword cuts and watching and rewinding this movie barbarian just makes sense. And this is just one of the countless examples of director Hou Cheng’s work.
You must be thrilled that you’re having fun because the filmmakers sure were, and this world is now available for creativity. The gorillas have a weak point on their heads, and seeing how the finale will unfold has me placing bets. What is even more astonishing is that it is actually possible to preserve the core of revenge narrative’s dignity and Hou Cheng’s female leads manage to do that with style. With the animals’ choreography and drama fluidity taking a nosedive, the actors are now fully mobile and those pieces of outlandishness combine easily into coherent pieces. The destruction is a pleasure upwards of countless foes, and with everything else, including action, acrobatics, and wire assists, Chia-Ling and Doris Lung do the fury well. The hand-to-hand struggle with a specific monk is especially commendable for its speed and detail.
It is noteworthy that the producers capture the needed shots and edits to make this exciting. At one point, they manage to create a strong flow by overlapping several fights. Even some of the best Taiwanese independent kung fu films can lack compelling elements at certain stages, but this is not the case for Hou Cheng. The film is alive. With the latter stages, we get cool genre additions like a room filled with traps that use fire and gas. Even though they are brief, they do aid the rest of the material. Dorian Tan’s role is perhaps more shoehorned into the narrative than truly a part of it, and even his fight scenes are a little average and haphazardly thrown together. But the Shaolin Invincibles are never ignored nor neglected with their highlight content. They use animal characters for the leads and even have a white-haired villain with a knife hidden in his braid. It’s entertaining, but the audience somehow benefits from being injected with the unusually competent yet madman. Additionally, Carter Wong groundedly fights against his opponents: the long-tongued wizards, and is surprised to battle with Jack Lung in a cameo. Along with those elements, the job still gets done.
The jovial sentiment, mingled with the movie factor and paired with the witty snippet of the movie, is perfectly done. It posits that the martial world is so volatile that it can also includes wild trained beasts. The film is void emotionless and austere but it becomes vastly engrossing and may even shatter the barriers of hard core traditional martial movie enthusiast.
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