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Jackie Chan

Trailer: The Foreigner photo
Trailer: The Foreigner

Trailer: Watch Jackie Chan vs Pierce Brosnan in The Foreigner

So... Jackie Chan as Liam Neeson? Sold!
Jun 26
// Hubert Vigilla
Jackie Chan fights Pierce Brosnan. Yeah, you read that right. The Foreigner has Jackie Chan vs. an evil 90s James Bond (so basically Sean Bean?), and it looks like a solid revenge thriller. Rather than Chan playing his usual ...
Trailer: Kung-Fu Yoga photo
Trailer: Kung-Fu Yoga

Trailer: Kung-Fu Yoga has Jackie Chan and a CG lion named Little Jackie

This is like silly 80s HK schlock
Jan 06
// Hubert Vigilla
I don't think I've legitimately liked a Jackie Chan movie since 2004's New Police Story. There were good scenes and flashes of brilliance in Rob-B-Hood, The Forbidden Kingdom, and Chinese Zodiac, but they never really hung to...
Shanghai Noon 3 photo
Shanghai Noon 3

Jackie Chan & Owen Wilson reteam for Shanghai Noon sequel by Napoleon Dynamite director

Sep 06
// Hubert Vigilla
In unexpected news, Jackie Chan and Owen Wilson are in talks to star in a second sequel to their 2000 western buddy comedy Shanghai Noon. The film will be directed by Jared Hess, best known for Napoleon Dynamite and Nacho Lib...
Honorary Oscars photo
Honorary Oscars

Jackie Chan and Frederick Wiseman will receive honorary Oscars

They should co-star in a buddy cop movie
Sep 01
// Hubert Vigilla
Action icon Jackie Chan and influential documentary filmmaker Frederick Wiseman (Titticut Follies, High School) will both receive honorary Oscars from the Academy of Motion Picture Arts and Sciences. Honorary Oscars will also...

Skiptrace trailer photo
Skiptrace trailer

The trailer for Jackie Chan and Johnny Knoxville's Skiptrace would be better with Adele

Directed by Renny Harlin--RENNY HARLIN!
Jul 20
// Hubert Vigilla
It's been a long while since Jackie Chan's put out a genuinely good movie. In my opinion, his last great film was 2004's New Police Story, though he's still capable of some flashes of brilliance as seen in 2013's Chinese Zodi...

NYC: 6th Old School Kung Fu Fest showcases the badassery of Bruce Lee, Jackie Chan, and Golden Harvest

Apr 06 // Hubert Vigilla
[embed]220479:42891:0[/embed] Enter the Dragon (1973)Starring Bruce Lee, John Saxon, Jim Kelly, Bolo Yeung Even though Fist of Fury (aka The Chinese Connection) is my favorite Bruce Lee movie, I can't deny the importance of Enter the Dragon. The landmark movie brought Lee international stardom, and it helped kick off my personal martial arts movie obsession. (Ditto Infra-Man.) The film would also help propel the film careers of perennial bad guy Bolo Yeung (Bloodsport) and blaxploitation star Jim Kelly (Black Belt Jones). The set-up is simple: infiltrate an island, punch and kick people really hard, repeat. In addition to one of the most brutal kicks to the head in cinema history and a funky ass Lalo Schifrin score, Enter the Dragon manages to impart some martial arts philosophy amid the mayhem. Sammo Hung makes a cameo appearance, as does Jackie Chan in two blink-or-you'll-miss-him moments while Bruce Lee dispenses of faceless goons. [embed]220479:42892:0[/embed] The Man from Hong Kong aka The Dragon Flies (1975)Starring Jimmy Wang Yu, George Lazenby, Roger Ward, Hugh Keays-Byrne Australian exploitation movies are bonkers in the best possible way. Take The Man from Hong Kong for example. The film stars Shanghai-born Jimmy Wang Yu (Master of the Flying Guillotine, One-Armed Swordsman) as a violent Chinese supercop sent to fight an Australian crime boss played by George Lazenby (James freakin' Bond). The film is recklessly enjoyable. Yu blows up cars, demolishes a Chinese restaurant, blows up buildings, and effortlessly seduces comely Aussie women (whom he apparently detested behind the scenes). Sammo Hung also appears in this movie, as does Roger Ward (Mad Max) and Hugh Keays-Byrne (Mad Max, Mad Max: Fury Road). For more on The Man from Hong Kong and other great Australian exploitation movies, I urge you to watch Mark Hartley's excellent documentary Not Quite Hollywood: The Wild, Untold Story of Ozploitation! [embed]220479:42889:0[/embed] Pedicab Driver (1989)Starring Sammo Hung, Nina Li, Lau Kar-Leung, Billy Chow Both Enter the Dragon and The Man from Hong Kong are American and Australian co-productions, respectively. Pedicab Driver, on the other hand, is a Hong Kong movie through and through, featuring hard-hitting action, broad Cantonese comedy, machismo, and extreme melodrama. It may be a matter of taste, but I love that histrionic hodgepodge. (Though its gender and sexual politics are definitely of a different era.) The film follows the travails of some pedicab drivers as they look for love and seek justice against an irredeemable crime boss. Pedicab Driver features an exceptional fight between director/star Sammo Hung and Lau Kar-Leung. Lau was one of Shaw Brothers' premiere action filmmakers, which makes his on-screen battle with Hung feel like a generational passing of the torch. Sammo Hung also dukes it out with Billy Chow (Fist of Legend). Both fights typify the fast, fierce choreography that Hung perfected in the 80s. [embed]220479:42890:0[/embed] Rumble in the Bronx (1995)Starring Jackie Chan, Anita Mui, Francoise Yip, Bill Tung Jackie Chan didn't break big into the US market until Rumble in the Bronx, which received a major push when Quentin Tarantino championed Chan's work at the 1995 MTV Movie Awards. For most Americans, Rumble in the Bronx was Jackie Chan 101: Introduction to Jackie Chan. While not his best Golden Harvest movie, Chan shows off his prowess as a choreographer, stuntman, and cornball comedian, including a memorable clash with a gang in a hideout full of props. Based on the info listed by Subway Cinema and Metrograph, Old School Kung Fu Fest is apparently screening the longer Hong Kong version of Rumble in the Bronx rather than the American cut released by New Line Cinema. This means you get a better-paced film with the original score and sound effects, and you'll be seeing a version of the movie not readily available stateside.
Old School Kung Fu Fest photo
Celebrating Hong Kong action cinema
This weekend (April 8-10) is the 6th Old School Kung Fu Fest, put on by Subway Cinema and held at Metrograph in the Lower East Side. This year's unifying theme is Golden Harvest. Co-founded by Raymond Chow and Leonard Ho, Gol...

Old School Kung Fu Fest photo
Old School Kung Fu Fest

NYC: Check out the trailer for the Old School Kung Fu Fest at Metrograph (April 8-10)

A harvest from Golden Harvest
Mar 29
// Hubert Vigilla
The 6th Old School Kung Fu Fest is coming to New York at the ginchy new Metrograph cinema. The Old School Kung Fu Fest is put on by Subway Cinema, who are also responsible for The New York Asian Film Festival (NAYFF), one of ...
Old School Kung Fu photo
Eight classic kung fu flicks
There's nothing like a good kung fu movie to make me smile. When done right, they're almost like musicals, just with more kicking in the face. If you live in New York and love kung fu films, you're in luck. The 6th Old School...

Rush Hour TV trailer photo
Rush Hour TV trailer

Rush Hour TV series trailer reminds me how much I liked Martial Law with Sammo Hung

What's Cantonese for "shark sandwich"?
Jan 13
// Hubert Vigilla
The three Rush Hour films starring Jackie Chan and Chris Tucker earned more than $849 million worldwide. The trilogy combined some pretty solid action and the odd couple/buddy cop formula. So why not try to turn that into TV ...

Jackie Chan and Owen Wilson will reteam for Shanghai Dawn

I don't know karate, but I know ka-razy
May 15
// Hubert Vigilla
As Coming Soon noted yesterday, MGM is finally moving forward with Shanghai Dawn, the sequel to Jackie Chan/Owen Wilson films Shanghai Noon (2000) and Shanghai Knights (2003). As Flixist EIC Matthew Razak said in our staff em...
Expendables 3 Trailer photo
Expendables 3 Trailer

Final trailer for The Expendables 3

Aug 04
// Nick Valdez
Due to some unfortunate events, a digital copy of The Expendables 3 was leaked onto the Internet and was pirated more than 2 million times. Now Lionsgate is trying to sue the individuals responsible claiming that the piracy ...
Expendables 3 Trailer photo
That's the Furious 6 font, right?
The folks over at Yahoo Movies have released the first teaser for The Expendables 3, showing a couple action beats and the film's pretty sizable cast. I didn't much care for The Expendables One, with its dark color palette a...

Expendables 3 Teaser photo
Extremely brief but great.
We've been completely in the dark with The Expendables 3. We've heard about all of that ugly stuff behind the scenes about Bruce Willis, the numerous additions to the cast, but no one really knows what's going on. There...

Review: CZ12 (Chinese Zodiac)

Oct 18 // Hubert Vigilla
[embed]216599:40810:0[/embed] CZ12 (Chinese Zodiac | 12 Chinese Zodiac Heads | 十二生肖)Director: Jackie ChanRating: PG-13Country: Hong Kong/ChinaRelease Date: December 20, 2012 (Asia); October 18th, 2013 (US) If CZ12 is Jackie Chan's last big action movie, maybe it's for the best, and it pains me to write that since I've been a Jackie Chan fan for so long. CZ12 is not necessarily a bad movie, and it's definitely not Chan's worst film of the 21st century (that would be the almost unwatchable The Spy Next Door). The biggest issue with CZ12 is how unremarkable it is despite some moments of brilliance. It's also problematic that CZ12 is semi-associated with Armor of God and Armor of God II: Operation Condor, two of Chan's landmark classics. By comparison, it falls far short. Maybe this is less a case of Chan showing his age and more Chan showing his lack of good judgment. At the heart of CZ12 is a story of retrieving some bronze animal heads that were looted by European soldiers during the mid-19th century. JC is on the case, and he's doing it all for the money rather than a sense of national pride/reverence of Chinese history. You can probably guess how that will flip as the story continues. There's slapstick, there's globetrotting, and boy is there ever some cheesiness involved. Chan's movies have always had a cheesy streak to them which is endearing (see Shanghai Noon and Shanghai Knights for the best and most enjoyable examples of cheesiness in latter-day Chan's career), but here the cheese seems especially dialed up. In some ways it's Chan paying homage to the broadness of Cantonese comedy, but it also seems just too quaint and not all that appealing anymore. Maybe it's the execution -- the difference between Leslie Nielsen in The Naked Gun and Leslie Nielsen in 2001: A Space Travesty. Yet there are still some great scenes in CZ12 that I can't deny. The opening with that rollerblade suit is pretty cool for the most part, and it has the vibe of dangerous zaniness that always marked Jackie Chan's best efforts of the past. I even think that the skydiving finale is almost great in how absolutely random it is. Sure, it doesn't really work with the story (which, yeah, is often a secondary concern in Chan's movies), but it works as a bizarre conceit that I'm willing to go with. Watching Chan airborne is like a mix of the last shots of Armor of God, the wind tunnel of Operation Condor, and the underwater fight from Police Story IV (aka First Strike). The showstopper of CZ12 is the only big fight in the film, and you can tell just how much effort went into the choreography and visual gags. The fight comes way too late in the movie, which has been disappointingly light on fights overall. What we get throughout so much of CZ12 are unmemorable skirmishes that don't amount to much. But this big fight, when it finally happens, is such a welcome reprieve from the rest of the mediocre slog that is CZ12. Chan's in a giant warehouse full of gewgaws, doodads, catwalks, and props. Bad guys come at him from all angles, and he brings them down with such creativity and style. Sure the action is sped up about as much as an 80s Hong Kong flick, but this is Chan the immortal and I don't care. Well, at least I don't care until he flips CG Chiclets into his mouth. That's when I cringe and sigh. It was so much cooler when he just did stuff like that for real. CG often undermines the best bits of action in CZ12. Some of that is just due to the chintzy obviousness of the CG. A great sequence in theory that involves attack dogs and a hedge maze is ruined by constant CG overhead shots. One bad CG shot in a pipe during the rollerbalde suit scene took me out of an otherwise fun set piece. There are also CG bees and a really painful logride during one scene of the film, and since the film was released in 3D in China, there are the requisite "in your face" shots. Chan has always been better than any digital effect, and yet he relies on them too much for storytelling rather than safety. Personally, I think Chan's real last hurrah was 2004's New Police Story. It was a darker reboot of the Police Story franchise, and it was a wonderful mix of "greatest hits" and "he's still got it." The darkness isn't the film's appeal for me, though. New Police Story offered Chan's fans a sense of a new direction. He's fighting a younger generation of criminals and has to adapt. He's mentoring someone to be an ass-kicking supercop. More than that, the final confrontation is a game of wits where the solution isn't to be tougher and faster than the young whelp he's up against. Instead it's about using his years of experience to be smarter and better. That's something that I hoped would carry through in this stage of Chan's career -- the ability to outsmart as an integral strategy for outfighting, the sense of an older master besting opponents through years of knowledge -- but it seems to have stalled without follow through with New Police Story. In the audio commentary for the original Drunken Master, writer and Hong Kong movie enthusiast Ric Meyers said that Jackie Chan has always felt the need to top himself, but it's so hard to do. In fact, it gets harder and harder given his tremendous body of work, the constraints of studios, and the unavoidable effects of age. Meyers ended his point by saying (and I'm paraphrasing) that the only person who could really beat Jackie Chan is Jackie Chan. CZ12 proves how true that is.
CZ12 Review photo
A final harrumph over Jackie Chan's last hurrah
When the first promo/trailer hit for CZ12 (aka Chinese Zodiac), I bought into the hype and the possibility of the film. When news landed that CZ12 was going to be Jackie Chan's last big action movie, I was eager to see how he...

J - A - C... See you real soon!
During an event in Beijing, Jackie Chan said he's interested in creating his own theme park in Yizhuang. According to the Malaysia Times, the park will be called JC World. The two square kilometer park will be comprised of fi...

Jackie Chan should make a modern day silent film

Jun 24 // Hubert Vigilla
[embed]215718:40291:0[/embed] I just want that one day, when I retire, that people still remember me like they remember Buster [Keaton]. I really want someone to respect me the way they respect Buster. -- Jackie Chan, quoted in "The Lyric Poet of the Silent Screen: A Profile of Buster Keaton" by Chris Wood Chan has spent his entire career paying homage to the legendary silent clowns of the past. In Project A, he dangled from a clock like Harold Lloyd in Safety Last. In Project A Part II, he recreated Buster Keaton's famous falling house bit from Steamboat Bill Jr., a film which also seemed to inform some of the wind tunnel gags in Armour of God 2: Operation Condor. And of course there's Chaplin, whose little tramp gets riffed on in The Fearless Hyena; there's also a bit of Modern Times in the Project A clock tower sequence. Chaplin's influence was given a goofy wink/inversion via Shanghai Knights: during a marketplace fight, a Dickensian version of young Charlie Chaplin marvels at the stylish movements of Jackie Chan. Chan uses an umbrella rather than a cane, but there's something oddly perfect about that moment; ditto the Chaplinesque use of an umbrella in the bus chase from Police Story. Though Lloyd and Chaplin inform much of Chan's work, Chan always seemed closest to Buster Keaton. There's a lot to be said about the stuntwork and inventiveness of both filmmakers. Keaton constructed elaborate sight gags about chain reactions, unforeseen consequences, narrow escapes, clever solutions, and closed loops of cause and effect. While present in all of his silent works, these qualities are best showcased in The General, a masterpiece of visual comedy and derring do. [embed]215718:40293:0[/embed] I think that broad description of Keaton's comic sensibilities applies to a lot of Chan's work. In many of his fight scenes involving large groups -- the Amazons in Armour of God or the hatchet gang in Drunken Master 2 -- Chan has a way of circling around, setting chain reactions of moves in place, and capping little sequences in fights with a punchline. Both Keaton and Chan struggle against insurmountable odds, doing impossible and improbable acts to get small things and big things done. In a movie like Rush Hour, Chan fights goons while saving antique vases, which is such an oddly Keaton thing to do; the same can be said about the overly ornate way he tries to answer calls and eat noodles in Police Story. I remember hearing film lecturer Greg Kahn once saying that Jackie Chan generally doesn't portray rebels but instead plays characters who are frustrated conformists. For some reason that phrase "frustrated conformist" fit with Chan's filmography of cops, sailors, and the occasional average Joe who happens to know how to fight. These characters are all just trying to get by without being chewed up by the machinery of the universe. I don't think I'd call Keaton a frustrated conformist, but there might be something there that ties Chan and Keaton together. [embed]215718:40292:0[/embed] Chan usually isn't as stone-faced as Keaton, which isn't a bad thing. Chan's face is more elastic and made for winces to underscore the broad comedy and pratfalls. This was part of Chan's attempt to be the anti-Bruce Lee in the era of Bruceploitation movies. (After the death of Bruce Lee, a bunch of Bruce Lee wannabes tried to make names for themselves.) Yet Chan's face sometimes mirrors Keaton's blankness. These moments of understatement usually come after something incredible has occurred -- he's just climbed over a fence in defiance of gravity, he's just tied up bad guys in their own shirt sleeves, he's put on his hat with a flourish that resembles sleight of hand. That's the real connective tissue between Keaton and Chan: as physical comedians, they make audiences wonder how they did what they just did and how they made it look easy. You may have noticed that I wrote "silent comedy" rather than "silent action movie." This isn't because Chan is getting older and he can't fight anymore. (Chan has a great factory fight scene in Chinese Zodiac that shows he's still got it, though the action is undercranked like an early 80s Hong Kong movie.) The General is action-packed, but for some reason I always think of it as a comedy before I think of it as an adventure film or an action picture. Chan should do this silent movie with visual comedy at the forefront and action as a kind of seasoning or accent. The action shouldn't attempt the scale of Operation Condor either. I'd rather Chan make this movie on the cheap, focusing less on big thrills and special effects and more on a purity of movement like his early films when he was just making his name. [embed]215718:40294:0[/embed] During the Q & A that preceded Chinese Zodiac here in New York, Chan described his improvisational working method from the heydays of Hong Kong. There's an elaborate comedy sequence in Project A Part II that involves multiple people hiding, moving in and out of eyelines, and evading detection while in an apartment. Chan said it took weeks to figure out who goes where and to get the timing down, and it was created on set without the script, like improv and problem solving. His approach to comedy is just like his approach to fight choreography. By divesting the film of sound and relying solely on his knack for the visual, Chan could potentially do something really special. I have no idea what the story for this silent Jackie Chan film could be, and I wouldn't feel comfortable suggesting one. The form is enough of a challenge and a game -- like a playground for Chan's imagination, or a warehouse full of props. In all honesty, I'd love to see him do a silent film that's relatively small scale because many of Chan's films in the last 15 years have been overblown and overproduced. Not only would a modern silent be a path back to his heroes, but it'd be a great exercise in back-to-basics storytelling and scene creation. Chan never needed to rely on blockbuster spectacle to be great. Like Keaton, Chan's creativity and ingenuity is spectacle enough.
Jackie Chan silent film photo
Go and make your heroes proud, Jackie
Even though Jackie Chan is working on a new Police Story film (Police Story 2013), his days of big and crazy action are apparently at an end with Chinese Zodiac. You can see some of that death-defying action at the Jackie Cha...

Trailer: The Jackie Chan Experience

Jun 20 // Hubert Vigilla
Check out some of Jackie Chan's best films 6/23 to 6/27
Jackie Chan was in New York last week, but there's a whole lot more Chan in store for the city. This weekend, the Jackie Chan Experience begins at the Walter Reade Theater. The largest Jackie Chan retrospective in North Amer...

Based on his book 1998 I Am Jackie Chan
At a press conference today in New York, Jackie Chan mentioned that he is currently preparing a stage musical based on his own life. Adapted from his 1998 autobiography I Am Jackie Chan, the musical would chronicle his c...

Expendables 3 photo
Expendables 3

Expendables 3 adds Cage, Chan, Snipes and Jovovich

Not a bad day bad day bad day!
Jun 03
// Nick Valdez
Okay, I'm going to type this calmly. You know how awesome The Expendables was when Sylvester Stallone, Ahnuld Schwarzenegger, and Bruce Willis had that one scene together? You know how awesome The Expendables 2 wasn't because...

NYC: Jackie Chan is in town June 10th and June 11th

May 13 // Hubert Vigilla
The Film Society of Lincoln Center & New York Asian Film Festival AND Hong Kong Economic and Trade Office New York in association with Asia Society announce THE JACKIE CHAN EXPERIENCE Jackie Chan in person on June 10 and 11 including presentation of the Star Asia Lifetime Achievement Award and Jackie Chan Retrospective (June 23-27) New York, NY, May 13, 2013-The Film Society of Lincoln Center and New York Asian Film Festival announced the details today for a rare series of appearances by international film icon, Jackie Chan on June 10 and 11, followed by the largest retrospective of his films ever held in North America (June 23-27). On the occasion of the release of Chan’s 101st film, CHINESE ZODIAC (2012), the Film Society of Lincoln Center and New York Asian Film Festival will honor Jackie Chan, the director, and celebrate his 40-year-career in film. During that time, Chan has re-invented how action is filmed, with innovations in editing, choreography, and story-telling influencing filmmakers at home in Hong Kong, and overseas in Hollywood. Chan belongs to a list of motion picture titans that includes Charlie Chaplin, Jacques Tati, and Buster Keaton. Each of these artists controlled every aspect of their movies - from the conception, to the filming, to the editing. Each of them created a unique genre based around their onscreen persona, and each of them made movies that weren’t so much filmed stories as total cinematic experiences. With that in mind, the New York Asian Film Festival, the Film Society of Lincoln Center, and the Hong Kong Economic and Trade Office in New York will host An Evening with Jackie Chan and present him with the Star Asia Lifetime Achievement Award on Monday, June 10, followed by an onstage Q&A, and a special premiere screening of his newest film, Chinese Zodiac. A press conference with the film legend will take place on Tuesday, June 11 The events at Lincoln Center are made possible thanks to the generous support of the Hong Kong Economic and Trade Office in New York, which celebrates its 30th anniversary this year with three-week long tribute to creativity in Hong Kong cinema (including Jackie Chan Retrospective and the Hong Kong films selections at the 12th New York Asian Film Festival). We are deeply grateful for their vision and dedication. Separately, Jackie Chan will have a second appearance at a special screening supported by the Asia Society at its auditorium, on the evening of June 11. Additional support is provided by The Kitano Hotel,, Fortune Star, American Genre Film Archive (, Warner Brothers, and Manhattan Portage. JACKIE CHAN APPEARANCES (June 10 & 11) AN EVENING WITH JACKIE CHAN INCLUDES A PREMIERE SCREENING OF CHINESE ZODIAC AND PRESENTATION OF THE NYAFF STAR ASIA LIFETIME ACHIEVEMENT AWARD AT THE FILM SOCIETY OF LINCOLN CENTER Walter Reade Theater (165 West 65th Street, between Amsterdam Avenue and Broadway) A screening of Jackie Chan’s 101st movie, his massive blockbuster, Chinese Zodiac, in a newly edited 107 minute version he’s prepared for North America. Setting box-office records when it was released in China, the screening will be preceded by the presentation of the New York Asian Film Festival's Star Asia Lifetime Achievement Award and an onstage Q&A with Jackie Chan. Monday, June 10 at 7:30PM CHINESE & ENGLISH LANGUAGE PRESS CONFERENCE WITH JACKIE CHAN Hong Kong Economic Trade Office New York (115 East 54th Street, between Park Avenue and Lexington Avenue) To participate in this press conference, please RSVP to Ted Geoghegan for English-language media, and Melissa Ng/Stephanie Chow for Chinese language media. Tuesday, June 11 at 11:00AM A NIGHT WITH JACKIE CHAN AT ASIA SOCIETY Asia Society (725 Park Avenue, between East 70th and East 71st Streets) Screening of DRUNKEN MASTER 2 preceded by an onstage Q&A with Jackie Chan. Tuesday, June 11 at 6:30PM THE JACKIE CHAN RETROSPECTIVE (June 23-27) All screenings will take place at the Film Society of Lincoln Center (West 65th Street between Amsterdam and Broadway). Visit for more information. ARMOUR OF GOD (1986) 97min digital projection Director: Jackie Chan Country: Hong Kong After doing a serious police drama set in Hong Kong, Jackie Chan had the urge to do something lighthearted and international, and so ARMOUR OF GOD was born. A two-fisted, three-footed, ten-knuckled adventure flick, Chan does Indiana Jones, playing a pop star turned treasure hunter Asian Hawk, who takes on a Euro-cult of psychotic monks in an effort to rescue an old friend’s kidnapped girlfriend. It’s a heady blend of his signature style and exploitation trends (including a beat-down by a bevy of blaxploitation beauties), in which Jackie took a life-threatening fall while performing a stunt that halted production for months and required emergency surgery. To this day, he still bears the hole in his head. But that’s all right: this movie was worth it. ARMOUR OF GOD 2: OPERATION CONDOR (1991) 106min digital projection Director: Jackie Chan Country: Hong Kong One of Hong Kong’s great out-of-control productions, AOG2 went way over budget and way over schedule as Chan and company hopped around the globe indulging Chan’s desire to top himself. Which he does. The result is the biggest and most complex Jackie Chan movie to date, with Asian Hawk’s quest for a cache of Nazi gold resulting in a succession of gigantic setpieces and intricate action, including one of cinema’s great car chases, the destruction of an entire hotel, and a final battle in a wind tunnel. This is the kind of movie that has you goggle-eyed from start to finish. CHINESE ZODIAC (2012) 107min digital projection Director: Jackie Chan Country: Hong Kong In his 101st movie, Chan resurrects his treasure-hunting Asian Hawk character from the Armour of Godfranchise and delivers an action spectacle that has broken box-office records in China. Reported to be his final “large-scale action picture” CZ kicks off with Chan being hired to steal 12 antique bronze sculptures, representing the animals of the Chinese zodiac, and repatriate them to China. Like a Saturday afternoon matinee, this colorful, kinetic flick is a live action cartoon for grown-ups, offering manic action scenes, hidden islands, pirate gangs, and funky gadgets galore. Cut down by about 20 minutes by Chan himself for the North American market (trust us, you’re not missing ANYTHING), this is the king of the pop-and-lock saying goodbye to the blockbuster movies that made him famous in funtacular style. CITY HUNTER (1993) 105min 35mm Director: Wong Jing Country: Hong Kong Directed by Hong Kong’s King of the Box Office, Wong Jing, CITY HUNTER is packed with insane action and ridiculous comedy. The disappearance of a newspaper tycoon’s daughter brings Chan’s easygoing private sleuth and his lovelorn sidekick (Joey Wang) onboard a luxury cruise liner that soon becomes the target of a gang of hostage-taking terrorists. Wong spins this DIE HARD-on-a-boat scenario into a series of outrageous set-pieces, including a deadly card game and a self-referential movie-theater brawl that finds Chan imitating the moves of an onscreen Bruce Lee. Eventually, it goes so far over the top that you can’t even see the top anymore, climaxing with the legendary STREET FIGHTER tribute beat down between Chan and Gary Daniels. DRUNKEN MASTER 2 (1994) 102min 35mm Director: Lau Kar-leung & Jackie Chan Country: Hong Kong Filmed at the peak of Chan’s prime, sixteen years after his breakout turn in Drunken Master, this transcendent pairing of classic Shaw Brothers director Lau Kar-leung and Jackie Chan resulted in what many claim to be the greatest martial arts film ever made. In this take on the legend of Wong Fei-hung, Chan shares the screen with the great Ti Lung and also Anita Mui, who almost steals the show as his motor-mouthed stepmother. The plot revolves around Fei-hung’s attempts to foil a foreign syndicate trafficking in ancient Chinese artifacts, but the film’s jaw-dropping kung-fu sequences need little explanation. Lush, opulent, and made with no consideration for budget or schedule, it took three months just to shoot the final action scene. LITTLE BIG SOLDIER (2010) 95min digital projection Director: Ding Sheng Country: Hong Kong The best Jackie Chan movie since 1994’s Drunken Master 2, this is the film in which Chan finally proves he’s a real actor, not just an action star. At 56 he can’t do the death-defying stunts anymore, so in LBS he trades super-sized spectacle for small-scale combat and his best script ever (it took 20 years of development to reach the screen). Set in ancient China, it centers on a farmer (Chan) who’s drafted into the army and winds up accidentally capturing the enemy general. If he can get his unwilling captive back home he’ll earn his freedom, the only catch being that he’s thousands of miles from safety. It’s a heartbreaking and hilarious escapade, and Chan’s camera-ready charisma has never been put to better use. MIRACLES (aka MR. CANTON & LADY ROSE) (1989) 127min digital projection Director: Jackie Chan Country: Hong Kong If you ask Jackie Chan which movie he’s most proud of directing, he always names this shimmering 1920s gangster fantasia, a remake of Frank Capra’s Lady for a Day set in a storybook Hong Kong that recalls like Damon Runyon’s New York. Chan plays a nice-guy country bumpkin who inherits the top crime king position from a dying mafia boss. With the fast feet, quick quips, and sudden reversals of Hollywood’s great screwball comedies, it also features a diva turn by pop star Anita Mui, Hong Kong’s answer to Madonna, except she can actually act. POLICE STORY (1985) 101min 35mm Director: Jackie Chan Country: Hong Kong Jackie’s first contemporary cop thriller, in which he played a hot-tempered inspector framed for murder by a vengeful drug lord, proved that he was willing to pull out all the stops—from carrying out a bit of slapstick with two telephones to trashing an entire shopping mall. A breathless adrenaline rush full of twisted bumpers and broken ribs, and with what might be a record-high ratio of broken glass per minute, POLICE STORY is viewed by many as Chan’s greatest achievement and a milestone in the Hong Kong canon. Premiering in the U.S. at the 1987 New York Film Festival, it’s been much imitated, but nothing beats the original. POLICE STORY 2 (1988) 101min 35mm Director: Jackie Chan Country: Hong Kong As dark and sobering as POLICE STORY 1 was light and playful, this sequel is all about the consequences of action. Chan begins the film demoted to traffic duty after his mall-destroying misadventures in Part One. He finds himself unable to protect his girlfriend (Maggie Cheung) from danger, he can’t track down the bad guys to fight them, and his archenemies are more interested in their cancer treatments than in revenge. The spectacular stunts and killer set-pieces are still there—including a climactic duel with a deaf-mute bomber set in a fireworks-laced warehouse—but POLICE STORY 2 feels more like a deconstruction of the cop thriller than anything else Chan’s ever made. POLICE STORY 3: SUPERCOP (1992) 95min 35mm Director: Stanley Tong Country: Hong Kong Teaming up with Stanley Tong, one of his most reliable collaborators, Jackie turned in this stunning capper to his Police Story trilogy and re-launched the career of Michelle Yeoh in the process. In this installment, intrepid cop Ka-Kui goes undercover with a dangerous drug lord—a set-up that finds Chan breaking a henchman out of prison, posing with an invented family, and finally dangling from a moving helicopter. The action shifts from Hong Kong to Thailand to Malaysia, culminating in a climax spanning rooftop, sky and train that ranks as one of Chan’s finest extended set-pieces. The film was released in the US in a dubbed, recut version titled simply SUPERCOP, featuring a pow-wow, no-holes-barred theme song by the seminal New Wave rock band Devo. PROJECT A (1983) 101min 35mm Director: Jackie Chan Country: Hong Kong A team-up with his Chinese opera school brothers Sammo Hung and Yuen Biao, this cops-versus-pirates actioner was the movie that transformed Jackie from a martial arts star into a director of transcendent physical comedy. One of the first action movies to be set in colonial Hong Kong, PROJECT A is the first of Jackie’s films to be spiced with outrageous stunts, including a jaw-dropping bicycle chase and a 50-foot fall from a clock tower (inspired by Harold Lloyd’s hour-hand dangle in SAFETY LAST!) that was so terrifying it took Jackie three days to work up the courage to attempt it. PROJECT A 2 (1987) 101min 35mm Director: Jackie Chan Country: Hong Kong A meticulously crafted Swiss watch of mistaken identities, espionage, and colonial intrigue, PROJECT A 2 may be Jackie’s greatest accomplishment as a filmmaker. Chan keeps four separate subplots whirling through the air with the greatest of ease, while leaving time not just for intense action and groundbreaking stunts, but for some extraordinary non-action filmmaking. No comedy director has ever topped the intricacy of the famous nine-minute scene set in a two-room apartment that takes the conventions of French farce and turns them up to 11. SNAKE IN THE EAGLE’S SHADOW (1978) 98min 35mm Director: Yuen Wo-ping Country: Hong Kong This is where it all began. Chan teamed with director Yuen Wo-ping (later to serve as action director on CROUCHING TIGER, HIDDEN DRAGON) for this kung fu comedy about a bullied young man working as a janitor at a martial arts school who learns to fight back against his tormentors using a kung fu technique known as “Snake’s Fist”. Soon, the novice starts to develop a strategy of his own—fittingly, since SNAKE IN THE EAGLE’S SHADOW also found Chan himself arriving at what would become his inimitable, career-defining style. The film became Jackie’s first box-office hit, and the first movie to introduce the world to his innovative brand of action-comedy. (NOTE: dubbed in Mandarin with English subtitles projected live during the screenings) THE YOUNG MASTER (1980) 106min 35mm Director: Jackie Chan Country: Hong Kong Jackie’s directorial debut was the idea showcase for his martial arts prowess and that of his co-stars—among them his “little brother” from Chinese opera school, Yuen Biao, who appears here alongside Jackie for the first time, and Korean super-kicker Hwang In-Shik. Opening on a high-stakes lion dance competition and closing on a ferocious showdown between Chan and Hwang, THE YOUNG MASTER found Jackie exploring the thin line between kung fu as performance and as life-or-death combat. His first movie for Golden Harvest, the studio which would become his home for the next 20 years, it’s arguably his greatest pure martial arts film. PUBLIC SCREENING SCHEDULE SUNDAY, JUNE 23 12.30pm SNAKE IN THE EAGLE’S SHADOW (1978) 98min 2.45pm THE YOUNG MASTER (1980) 106min 8.00pm DRUNKEN MASTER 2 (1994) 102min MONDAY, JUNE 24 1.15 pm MIRACLES (1989) 127min 4.00pm POLICE STORY (1985) 101min 6.15pm ARMOUR OF GOD (1986) 97min 8.30pm ARMOUR OF GOD 2 (1991) 106min TUESDAY, JUNE 25 1.30pm CITY HUNTER (1993) 105min 3.45pm MIRACLES (1989) 127min 6.30pm PROJECT A (1983) 101min 8.45pm PROJECT A 2 (1987) 101min WEDNESDAY, JUNE 26 2.15pm THE YOUNG MASTER (1980) 106min 4.30pm LITTLE BIG SOLDIER (2010) 95min 9.15pm CITY HUNTER (1993) 105min THURSDAY, JUNE 27 2.00pm DRUNKEN MASTER 2 (1994) 102min 4.15pm POLICE STORY (1985) 101min 6.30pm POLICE STORY 2 (1988) 101min 8.45pm POLICE STORY 3: SUPERCOP (1992) 95min FILM SOCIETY OF LINCOLN CENTER Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize and support new directors, and to enhance the awareness, accessibility and understanding of film. Among its yearly programming of film festivals, film series and special events, the Film Society presents two film festivals in particular that annually attract global attention: the New York Film Festival which just celebrated its 50th edition, and New Directors/New Films which, since its founding in 1972, has been produced in collaboration with MoMA. The Film Society also publishes the award-winning Film Comment Magazine and a year-round calendar of programming, panels, lectures, educational and transmedia programs and specialty film releases at the famous Walter Reade Theater and the new state-of-the-art Elinor Bunin Munroe Film Center. The Film Society receives generous, year-round support from Royal Bank of Canada, Jaeger-LeCoultre, American Airlines, The New York Times, Stonehenge Partners, Stella Artois, the National Endowment for the Arts and New York State Council on the Arts. For more information, visit and follow #filmlinc on Twitter. ABOUT NYAFF & SUBWAY CINEMA The New York Asian Film Festival (NYAFF) is North America’s leading Festival of popular Asian cinema, which the New York Times has called " of the city's most valuable events..." Launched in 2002 by Subway Cinema, the Festival selects only the best, strangest, and most entertaining movies to screen for New York audiences, ranging from mainstream blockbusters and art-house eccentricities to genre and cult classics. It was the first North American film festival to champion the works of Johnnie To, Bong Joon-Ho, Park Chan-Wook, Takashi Miike, and other auteurs of contemporary Asian cinema. The Festival has been produced in collaboration with the Film Society of Lincoln Center since 2010. The 12th NYAFF will take place June 28 - July 14, 2013 at the Film Society of Lincoln Center’s Walter Reade Theater and Japan Society. For more information, visit, and follow @subwaycinema on Twitter (#nyaff13) ABOUT HKETONY Set up in 1983, the Hong Kong Economic and Trade Office, New York (HKETONY) is the office of the Hong Kong Special Administrative Region Government tasked to promote and strengthen the economic, trade and cultural ties between Hong Kong and the 31 eastern states of the USA. Celebrating its 30th anniversary this year, the HKETONY continues to play the important role as a bridge between Hong Kong and the U.S. and support various promotional events, such as dragon boat festivals and film festivals, to enhance cultural ties with major cities on the east coast. For more information, visit ABOUT ASIA SOCIETY Founded in 1956 by John D. Rockefeller 3rd, Asia Society is a nonprofit nonpartisan educational institution. Through exhibitions and public programs, Asia Society provides a forum for the issues and viewpoints reflected in the work of leading Asian and Asian American artists and thinkers. Asia Society is located at 725 Park Avenue (at 70th Street), New York City. Asia Society box office: or (212) 517-ASIA For more information, visit
Rumble in Manhattan with The Film Society and The New York Asian Film Festival
Oh damn, fellas! Jackie Chan is going to be in New York City on Monday, June 10th and Tuesday, June 11th. This appearance is thanks to the Film Society of Lincoln Center, the New York Asian Film Festival, and the Hong Kong Ec...


Jackie Chan's Chinese Zodiac hits US spring/summer 2013

Dec 27
// Hubert Vigilla
There's finally word on the US release of Jackie Chan's Chinese Zodiac, his 101st movie and his last balls-to-the-walls action flick. Ramy Choi (director of distribution and acquisition at Chan's Jackie & JJ Internationa...

During a press conference for Chinese Zodiac (CZ12), Jackie Chan mentioned that Sylvester Stallone has given him a role in The Expendables 3. It seems like the role will be meatier than a mere cameo. As Chan explained: Sly h...


Trailer: Chinese Zodiac (Hong Kong)

A new trailer for Jackie Chan's 101st film
Dec 17
// Hubert Vigilla
Jackie Chan's Chinese Zodiac (CZ12) hits Asian theaters this week, and this Hong Kong trailer for the film gives a good sense of the film's scope and story. Again, it looks like a possible return to form for Chan, whose best...

The 12 best Jackie Chan fight scenes of the last 12 years

Dec 12 // Hubert Vigilla
Shanghai Noon (2000) - Jackie Chan vs. Rongguang Yu [embed]213947:39294:0[/embed] Even though Shanghai Noon and Shanghai Knights are high on hokiness, I think franchise could use a third installment. It's unlikely now since it'll be 10 years since the last film and there's more interest in the Rush Hour franchise. I think they could have kept this series alive if they just dialed down the cheeseball factor a notch or two. There are a couple fun fights in Shanghai Noon, like the bar fight, the Indian fight, and the horseshoe scene, but this brief fight against Rongguang Yu (the Iron Monkey himself) plays to the strengths of both performers and is a standout in the film. (That segment goes from around :40 to 3:05.) The eventual final fight of the film against Roger Yuan is okay, but it's one of the fights during this period in Chan's career that reveals how much of a rhythm-based fighter he is -- there's a time signature to his fights that his opponents need to share. The Accidental Spy (2001) - Naked in the Marketplace [embed]213947:39292:0[/embed] This one might be not safe for work, though I guess that may depend on your company's policy concerning Jackie Chan's bare ass. The Accidental Spy is pretty darn fun, and includes a rematch with Brad Allen, a Jackie Chan stunt team member who went toe to toe with Jackie in Gorgeous. That rematch takes place in the backseat of a moving convertible, which is good more for the reckless endangerment than the choreography. Still, there's this great comedic fight scene in a marketplace where Jackie loses his towel and fights to maintain what little dignity he has left. Rush Hour 2 (2001) - The Massage Parlor [embed]213947:39293:0[/embed] Even though I thought the third Rush Hour was kind of so-so and the first Rush Hour was fun but a little undercooked, I actually dig Rush Hour 2. There's a good mix of Chris Tucker comedy and Jackie Chan action. The fights may not be as intricate as his Hong Kong output, but Jackie does some solid work, including some nice acrobatic escapes. He even gets Don Cheadle to throw down. It came down to me picking between the bamboo scaffold scene and this one in the massage parlor. It's a bit of a draw, though I picked the parlor fight since I wasn't able to find a complete video of the scaffold scene. Also, it's two videos with butts in a row. Again, video might be not safe for work. Shanghai Knights (2003) - The Marketplace Fight [embed]213947:39287:0[/embed] Years and years ago when I wrote for my college paper, I went to the press junket for Shanghai Knights, and Jackie Chan seemed enthusiastic about the film. (According to the other journalists there, Jackie was bitter during the junket for The Tuxedo, opening one roundtable interview by saying something like, "Hi everybody, wasn't that a crappy movie?") Shanghai Knights is more akin to the classic Chan films of the 80s and early 90s. Some of that credit goes to director David Dobkin, who said he gave Jackie extra time to craft and shoot the action. This led to a great gag with a revolving door and a fun library/study fight. Picking my favorite fight from this film was a little difficult. The last fights with Donnie Yen and Aidan Gillen are nice, and, interestingly, they both involve Jackie technically losing. (Major big-ups to Gillen's swordplay in the final fight, living up to the swordsmanship of Basil Rathbone.) As much as I like both of those, I'll actually have to go with the marketplace fight, which features Jackie doing crafty evasions that culminate in a tribute to Gene Kelly. (Seriously, Jackie Chan should remake It's Always Fair Weather.) Around the World in 80 Days (2004) - The Classic Use of a Bench [embed]213947:39295:0[/embed] If Shanghai Noon and Shanghai Knights were hokey, then Around the World in 80 Days is far beyond hokey. It's further tainted by a Rob Schneider appearance. Steve Coogan and Cécile de France probably keep this one off their resumes, and maybe Jackie does too. Had the movie hewn a bit closer to stuff like Blake Edwards's The Great Race, I probably would winced much less. (I've always wondered how Jackie Chan would choreograph a pie fight.) And yet I think there was a decent fight in the movie. Sammo Hung (as Wong Fei-hung) shows up with the other Ten Tigers of Canton too. While the cavalry does its work, Jackie Chan shows some classic bench fighting. The general fighting starts around the 2:30 mark, but the bench sequence starts at around 6:14. May I never have to watch this movie again otherwise. The Twins Effect II (2004) - Jackie Chan vs. Donnie Yen Rematch [embed]213947:39301:0[/embed] Donnie Yen and Jackie Chan's rematch is pure Chinese fantasy movie zaniness, and I enjoy it unapologetically. (Though I will say, I do enjoy the uncut version of the Shanghai Knights fight, which was one of the deleted scenes on the DVD.) Twins Effect II isn't near as good as the original Twins Effect, but this scene is pretty entertaining. It's a bit heavy on the slow-mo, but it has its redeeming moments thanks to the athleticism of Donnie and Jackie and the anarchic creativity on display.  New Police Story (2004) - Jackie Chan vs. Andy On Round II [embed]213947:39291:0[/embed] New Police Story is easily my favorite Jackie Chan movie of this 12-year stretch. There's solid action, some surprising pathos, and I actually like the generational aspect going on in the film. Chan goes from guilt, humiliation, and depression to heroic redemption and clever courage. It's a great heroic arc, and there are fine nods to the past of the Police Story franchise. Makes me wonder what Chan has in store for Police Story 2013, which he's working on right now. This final fist fight in New Police Story is a rematch from much earlier in the film. During an incredibly dark moment, Jackie gets beat up by Andy On while trying to save his fellow police officers who are dangling from the ceiling of a factory. It's some of the most brutal bad guy stuff in any Jackie Chan film, and it marks our hero's initial decline. This rematch takes place after Jackie's got his mojo back, and he is plenty pissed at these sadistic young punks. Wonderfully done fight, and a great late-period Jackie Chan film. The Myth (2005) - The Glue Trap Conveyor Belt [embed]213947:39288:0[/embed] While I think The Myth as a whole underwhelms at the end, it's still an all right movie with some really good fights. An early tussle against two guards leads to fine slapstick (and one insane heel kick to grab a spear), the period action set pieces are well staged, and the reincarnation fight against the Indian swordsman is nicely pulled off. Yet it's this glue trap fight that is my favorite by far. It's the perfect set-up for a guy like Jackie since it involves creative play with the environment. Given the way Jackie designs his action scenes, I assume this was probably an idea he had on the backburner for a while. Rob-B-Hood (2006) - The Fight to Save the Baby [embed]213947:39289:0[/embed] Watching Rob-B-Hood, I was happy to see Yuen Biao again, who never really got the international recognition he deserved for some badass action over the decades. This film rounds out a relatively solid run in the mid-2000s for Jackie. (Okay, except for Around the World in 80 Days.) There's a very cool stunt involving air conditioning units (see 1:50 to 3:00) and a well-done final fight to save a baby in cold storage (5:07 until the end). The Forbidden Kingdom (2008) - Jackie Chan vs. Jet Li [embed]213947:39300:0[/embed] While I didn't enjoy the framing narrative in The Forbidden Kingdom, there are plenty of fun moments in the movie. The biggie is this showdown between Jackie Chan and Jet Li, where both performers are able to shine. It's surprising given that their respective fighting styles are pretty different. This observation goes beyond just drunken boxing vs. Shaolin or tiger vs. mantis. Jackie and Jet have different rhythms when they stage their fights, so it's interesting to see how they play together. Yuen Woo-ping gets a lot of credit, and he probably knew how to choreograph a fight that plays to both actors's abilities having worked with them multiple times in the past. The Karate Kid (2010) - Jackie Chan Beats Up Children [embed]213947:39290:0[/embed] I'm still surprised that I enjoyed the remake of The Karate Kid as much as I did. It doesn't hold its own against the original, but there's still some charm to it (despite its culturally off-kilter title.) By the end, that martial arts tournament turns into a goofy fighting game. All that's missing are life bars, super gauges, and 60-hit combos. Though, to be honest, I think I like The Karate Kid solely for the fact that I got out of the movie what I wanted going in: a scene in which Jackie Chan beats the crap out of pint-sized bad guys. 1911 (2011) - A Brief Flash of Brilliance [embed]213947:39302:0[/embed] Jackie's getting older (he turns 59 next year) and admits that action is tougher for him these days. Part of this is what led to reports that he was going to retire from making action movies after Chinese Zodiac. He had to correct those reports: he was only retiring from the big, crazy action movies of his past. I think looking at the brief 1911 fight (a surprising skirmish in a nationalistic historical drama) and considering the fights from earlier in Jackie Chan's career, he can lose the big action and still be a great action star based on style and creativity alone. The way he uses props to his advantage and the clever solutions to bizarre set-ups lend themselves well to Chan's sensibilities at any age. I guess what I'm saying is that he doesn't need to jump onto hovercrafts if he can turn a guy's rifle strap against him. The final showdown in New Police Story is not a fight, but a quick draw involving disassembled guns. It's clear that Jackie isn't as fast or as tough as the young people he's fighting. In fact, he's not even as fast or as tough as the Jackie Chan seen in the previous Police Story films. And yet, he's got experience and intelligence on his side. Jackie's solution to this showdown is great because it's surprising, creative, and stylish --  that's the essence of Jackie Chan. That's what wins the day, and it's just a matter of distilling that sort of inventiveness moving forward. That might be how Jackie Chan can beat Jackie Chan.
Jackie Chan's finer moments from 2000-2012
Roughly one year ago following the release of a promo video for Chinese Zodiac (CZ12), I did a list of the 12 best Jackie Chan fight scenes. The list ended at 1999's Gorgeous. Now, with the premiere of Chinese Zodiac and...


Trailer: Chinese Zodiac

One last trailer for Jackie Chan's 101st movie
Dec 11
// Hubert Vigilla
Jackie Chan's Chinese Zodiac premieres tomorrow and then comes out across China on December 20th. Here's one last trailer for the film, which is basically an extended version of the first trailer from back in May that includ...

Jackie Chan sets two Guinness world records

Dec 05 // Hubert Vigilla
Dragon Lord (1982) [embed]213945:39249:0[/embed]
"Most Stunts Performed by a Living Actor" and "Most Credits in One Movie"
We're one week away from the overseas release of Chinese Zodiac, Jackie Chan's 101st movie, and Chan has set two new world records in the process. Guinness World Records officially awarded Chan "Most Stunts Performed by a Liv...


Trailer: Chinese Zodiac

Oct 17
// Hubert Vigilla
This latest trailer for Chinese Zodiac (aka Armour of God 3) isn't as awesome as the rollerblade suit trailer from late August or the more traditional trailer from May. It's not even as keen as that initial promo from last y...

Trailer: Chinese Zodiac

Aug 29
// Hubert Vigilla
Ever since the first promo video for Jackie Chan's Chinese Zodiac (the third Armour of God movie), I've been excited that this would be a return to form like 2004's New Police Story. If this teaser is any indication, Chan pr...

Jackie Chan slates new English-language Hollywood film

Jun 28
// Hubert Vigilla
Jackie Chan is setting up his next movie, though sadly it's not a remake of Gene Kelly's It's Always Fair Weather. (Maybe next time.) Currently untitled, the project is described as a "two-hander action comedy" in which Chan ...

Trailer: Chinese Zodiac

May 21
// Hubert Vigilla
At the end of last year, we showed you a promo video for Chinese Zodiac, Jackie Chan's 101st movie. Here's the first official trailer for the film, and it's got me pretty excited. If this is Chan's last big ballsy action fil...

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