Xin Shaolin si

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.

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.

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.

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.

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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.