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Posts Tagged ‘Ronny Yu’

Saving General Yang

Thursday, May 4th, 2023

It wasn’t until 2013, a full seven years after directing FEARLESS (and four years after not directing BLOOD: THE LAST VAMPIRE), that Ronny Yu released another film. In interviews he credited the hiatus to only being offered horror scripts in the U.S. “I don’t want to do this kind of thing anymore,” he said. Instead he wanted to “learn more about my Chinese roots.”

Written by Yu with Edmond Wong (DRAGON TIGER GATE, IP MAN 1-4, MASTER Z) and Scarlett Liu Shi-Jia, SAVING GENERAL YANG is based on The Generals of the Yang Family, a famous set of stories about a real military family that lived early in the Song Dynasty. (I didn’t figure this out while watching, but EIGHT DIAGRAM POLE FIGHTER comes from the same story, as do THE 14 AMAZONS and several other films.)

Adam Cheng (SHAOLIN AND WU TANG, ZU WARRIORS FROM THE MAGIC MOUNTAIN, SEVEN WARRIORS) plays the titular General, and this is the story of his seven sons (deliberately cast with hearthrob actors, many of them pop stars) coming to rescue him during a battle. But in the opening scene he’s at home, about to whip Sixth Brother Yanzhao (Wu Chun, 14 BLADES) and Seventh Brother Yansi (Fu Xinbo of the boy band BoBo) for “breaking Family Law.” (read the rest of this shit…)

Blood: The Last Vampire (2009)

Wednesday, May 3rd, 2023

While Ronny Yu was promoting FEARLESS, he talked up his next movie: a live action adaptation of the 2000 anime BLOOD: THE LAST VAMPIRE. So, a Hong Kong director in Hollywood remaking a Japanese movie originally made mostly in English because many of the characters were American. When Yu mentioned it while talking to Martial Arts Entertainment the interviewer asked if it was “sort of a wuxia movie.”

“Maybe. Sort of. You’re right!” Yu said. “It’s sort of cross-cultural, because the whole thing takes place in a U.S. Army base in Japan. Yeah. It’s like a cross-cultural wuxia.”

Alas, it was not to be… exactly. Instead of Yu it was made by French director Chris Nahon, known for helming one of Jet Li’s English language films, KISS OF THE DRAGON (2001). Yu was credited as a producer, but I’ve found no evidence of him staying on during filming in, say, a George Lucas or Steven Spielberg capacity. I suspect he left but got the credit because he’d done so much of the pre-production that Nahon built off of. Yu is not mentioned or shown in a 20 minute making-of featurette on the DVD and blu-ray, but I think it’s reasonable to assume Nahon kept a decent amount of what he put into place, since the sole credited writer Chris Chow and the cinematographer Hang-Sang Poon are both holdovers from FEARLESS. Yu was also still reported as director when Korean actress Jun Ji-hyun, credited as Gianna, was cast as the main character, Saya. (read the rest of this shit…)

Fear Itself: “Family Man”

Tuesday, May 2nd, 2023

From 2005-2007, Showtime aired 26 episodes of the anthology Masters of Horror, created by SLEEPWALKERS director Mick Garris. Well known directors including Stuart Gordon, Tobe Hooper, Dario Argento, Joe Dante, John Landis, and Takashi Miike were given an hour running time and a TV crew and budget, but few other limitations, to make little mini horror movies. The results were mixed, but there were some good ones (my favorites were by Lucky McKee, Don Coscarelli and John Carpenter) and it was an opportunity to get new material from great directors who for the most part weren’t getting as many opportunities as they should’ve in those days.

When Showtime opted not to renew Masters of Horror for a third season, Garris took basically the same premise to NBC, under the new title Fear Itself. This was kinda different not only because it had a new theme song by Serj Tankian of System of a Down, but because it had commercials and was censored for network TV. So if you haven’t heard of it, that’s why. They made 13 episodes, but NBC only aired five. Along with official Masters of Horror Landis and Gordon were more directors from a younger generation including Breck Eisner (THE CRAZIES), Brad Anderson (THE MACHINIST), and Mary Harron (AMERICAN PSYCHO), plus – you guessed it – the master of such horrors as THE TRAIL, THE OCCUPANT, BLESS THIS HOUSE, BRIDE OF CHUCKY and FREDDY VS. JASON, Ronny Yu. That’s right – his followup to FEARLESS was the opposite, Fear Itself.
(read the rest of this shit…)

Fearless (2006)

Monday, May 1st, 2023

“First level is the physical contact. Use your physical skill against your enemy. That’s most action films doing this kind of genre. The second level is use your knowledge, languages, strategy, everything you could before physical contact to stop your enemy. Third, use your honor, belief, your love, show to your enemy. Turn your enemy into your friend. I tried to share those three levels in the movie.” —Jet Li on FEARLESS


After the success of FREDDY VS. JASON, it seemed like Yu might continue his relationship with New Line Cinema, making the sort of slick studio b-movies both parties were pretty good at in those days. As I mentioned in my review of THE 51ST STATE, Samuel L. Jackson tried to reteam with the director for the company’s weirdly anticipated goof SNAKES ON A PLANE. But Yu believed Jackson’s star power would outshine the snakes, so he wanted his character to be swallowed by a python in the middle of the movie.

“Now the audience is intrigued. Now everyone on the plane will group together and kill the snakes,” he later told Blackfilm. “That’s the way I thought it would be interesting. Of course, they said ‘Take a walk!’”

So walk he did – all the way to Shanghai, China. And there he met up with Jet Li, a fellow Hong Kong cinema export who’d made even more of a go of it in Hollywood than Yu had. Since the handover Li had been the villain in LETHAL WEAPON 4 and then starred in the English language films ROMEO MUST DIE, KISS OF THE DRAGON, THE ONE, CRADLE 2 THE GRAVE and UNLEASHED. (He had also made 2002’s HERO in China, so this was not his official return to Asia like it was for Yu.) (read the rest of this shit…)

Freddy vs. Jason

Wednesday, April 26th, 2023

Now we come not to the end of this Ronny Yu series, or to its peak, but at least to a watershed moment. If you read this whole series, or at least the BRIDE OF CHUCKY review, you don’t need to ask the question “how the hell does the guy who made THE BRIDE WITH WHITE HAIR end up making FREDDY VS. JASON?”

But at the risk of reptitition, let’s run through it again real quick. For starters, Yu had been making horror movies for 20 years (THE TRAIL, THE OCCUPANT, MUMMY DEAREST, BLESS THIS HOUSE), so that part wasn’t out of the blue. Then in the ‘90s two things happened: the new wave of Hong Kong cinema became popular around the world, and many Hong Kong filmmakers began to worry about what would happen to artistic freedom once colonial rule ended in 1997. That combination of circumstances led filmmakers like John Woo, Ringo Lam and Tsui Hark, as well actors like Jackie Chan, Chow Yun Fat, Michelle Yeoh, Donnie Yen and Sammo Hung, to start finding opportunities in Hollywood. (read the rest of this shit…)

The 51st State (a.k.a. Formula 51)

Tuesday, April 25th, 2023

“THE 51ST STATE is very dear to me, because it was the first time in Hollywood that I didn’t have to deal with dolls.” –Ronny Yu, 2004

Three years after the unlikely career milestone of BRIDE OF CHUCKY, Ronny Yu made easily the weakest of his English-language films – a UK-Canada co-production called THE 51ST STATE, but we call it FORMULA 51 here so people don’t think it refers to DC statehood. (Actually I’m not totally clear what it does refer to. But the number 51 is in the name of a super-drug that’s central to the plot.)

Under any name it’s a thoroughly 2001 film, with wall-to-wall dated music (score by somebody called Headrillaz), annoying whooshes and flash cuts, character names and descriptions written on screen as they’re introduced, a long scene at a rave type dance club, and two stars – Samuel L. Jackson and Robert Carlyle – who had ridden the ‘90s indie wave to the specific level of commercial viability where they could be cast in stuff like this. It’s one of a handful of movies, along with THE NEGOTIATOR and SHAFT, that could arguably be considered a straight up Samuel L. Jackson vehicle. But even though it starts and ends with him he’s kind of a mysterious, unexplained character, while co-star Carlyle gets to have the love story and sex scene. (read the rest of this shit…)

Warriors of Virtue

Tuesday, April 18th, 2023

“Virtue be yours!”

There are several reasons I wanted to do a Ronny Yu retrospective, and coming in at around #3 (but maybe it should be higher) is the existence of this, his first American production, which is (to date) his only movie about kung fu kangaroos. WARRIORS OF VIRTUE is a crazy fuckin PG-rated family action adventure fantasy that mixes some of the elegant imagery and mythology of Yu’s previous work with a bizarre mix of NEVERENDING STORY and TEENAGE MUTANT NINJA TURTLES. It could be argued to be Yu’s worst movie, or his most unusual one. It’s totally derivative, yet there’s absolutely nothing like it. It’s hard to imagine it happening in any year besides 1997, and also it’s hard to imagine it happening in 1997. But it happened. I was there.

I mean I wasn’t in the magical world of Tao where it takes place, or on the soundstage in Beijing where it was filmed, but as a BRIDE WITH WHITE HAIR devotee at the time I did pay to see WARRIORS in the theater, and I’ve been fascinated by it ever since.

It’s the story of ordinary American kid Ryan Jeffers (Mario Yedidia, JACK), and it’s one of those depictions of youth that seems like it was concocted by a 150 year old who lives in a containment unit on Mars but has read some old magazine articles and thinks he has a pretty good idea what life must be like for the kids these days. To this guy it makes sense to open the movie with a dog dropping toast through a window to Ryan as he excitedly reads a stack of comic books in the bathroom. (read the rest of this shit…)

The Phantom Lover

Monday, April 17th, 2023

THE PHANTOM LOVER is sadly not a documentary about me and how much I love the movie THE PHANTOM, but it’s the next best thing – a 1995 Hong Kong romantic melodrama. It has no martial arts, but it’s director Ronny Yu and cinematographer Peter Pau doing another lush, operatic fantasy about forbidden, doomed lovers, like THE BRIDE WITH WHITE HAIR. And like THE OCCUPANT it has a set of young characters learning about and having their lives influenced by the tragedy when they visit the site years later.

In this case the location is not an apartment building, but a magnificent Beijing theater. In 1936 it’s fire-damaged and cob-webbed enough that the broke-ass fledgling Sprout Troupe think they can afford to rent it for their musical Flaming Blood.

Ten years earlier the theater was known from here to Tianjin, Shanghai as the home of the great Song Danping (played by the groom of the Bride With White Hair, Leslie Cheung), brilliant actor, beautiful singer, dreamy heartthrob, definitive essayer of Romeo (cheesy musical version). Hungry up-and-comer Wei Qing (Huang Lei, CJ7) bribes the caretaker with chocolates to tell the story, and it takes up the first half of the movie. Danping was in love with Du Yunyan (Chien-lien Wu, EAT DRINK MAN WOMAN), daughter of one of the local rich dudes (Wong Bing, THE FOUNDING OF A REPUBLIC), and she would meet him in the theater after hours for romantic interludes. (read the rest of this shit…)

The Bride With White Hair 2

Thursday, April 13th, 2023

THE BRIDE WITH WHITE HAIR 2 (1993) is directed by part 1 editor/co-writer David Wu, with Ronny Yu as producer and co-writer. I guess since he’s the editor Wu throws in a bunch of quick flashbacks (sometimes to new backstory, but mostly to the first movie, even though this came out around four months after the first one so anyone who’d seen it probly remembered). This story takes place at about the time of part 1’s flash-forward prologue, when Master Cho (Leslie Cheung, ONCE A THIEF) has been freezing his ass off sitting on a mountain for ten god damn years waiting for a flower to blossom and/or for his ex turned evil witch Li Ni-Chang (Brigitte Lin, DEADLY MELODY) to come talk to him.

She doesn’t, so he sits out almost the entire movie while a new generation of Wu Tang students deal with “the witch,” who now leads a cult made up entirely of women who have been wronged by men. Our new main character Kit (Sunny Chan) gets in trouble with the Wu Tang elders not for getting in fights and stuff but just for mentioning the name of “that coward” Master Cho. Kit is about to marry his girlfriend Lyre (Joey Maan, CENTURY OF THE DRAGON) when Ni-Chang flies in, kills some people with her hair, and abducts the bride to teach her to “never be so blindly loyal to these heartless men.” She brings her to her cult, where everybody hates men and bangs their swords together rhythmically, which seems pretty fun. Also they dress kinda like Queen Amidala.

(read the rest of this shit…)

The Bride With White Hair

Wednesday, April 12th, 2023

This is the one. THE BRIDE WITH WHITE HAIR is the movie that put Ronny Yu on the map. Or at least mine. This was 1993, back when people like me were first discovering Hong Kong cinema, and martial artists flying around on wires seemed like the greatest discovery since their primary antagonist, gravity. I remember waiting weeks for a widescreen, subtitled VHS I special ordered from Suncoast Motion Picture company in a mall somewhere. I must’ve watched it several times in the ’90s, but when I revisited it for this series it had been so long that I could only recall the look and feel of it, and basically nothing about the story.

The way I remember it, we all agreed back then that this movie was a masterpiece. But here I am 30 years later, and I don’t think the generation of film fans after mine would necessarily know who Ronny Yu was if I asked, or have heard of this movie. It has recently finally come to remastered blu-ray overseas, so a good transfer was on a streaming service for a while, and now can be bought digitally, but when I started writing this series there was only the old Tai Seng DVD – a pretty rough, non-anamorphic transfer. It made me wish I’d saved that tape. Watching it now, of course, it lacks the freshness and novelty it had in 1993, the thrill of a new world opening up to us. We’ve seen this kind of fantastic martial arts world imagined many more times and in much more detail over the last quarter century.

But I think THE BRIDE WITH WHITE HAIR still packs a punch. It’s a short, sweet, and stylish little tragic love story that speaks about good and evil but refuses to paint even its operatic fantasy world in such easily definable categories. And by looking at it as part of this Uncle Sam Wants Yu series I’m able to see it as a culmination of everything the director had been working on up to that point. (read the rest of this shit…)