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Furious Swords and Fantastic Warriors: Limited Edition – Eureka Video (Blu-ray)

Theatrical Release Dates: Hong Kong, 1974 (Men from the Monastery, Shaolin Martial Arts), Hong Kong, 1971 (King Eagle), Hong Kong, 1973 (Iron Bodyguard), Hong Kong, 1975 (Fantastic Magic Baby), Hong Kong, 1983 (The Weird Man), Hong Kong, 1967 (Trail of the Broken Blade), Hong Kong, 1970 (The Wandering Swordsman), Hong Kong, 1972 (Trilogy of Swordsmanship), Hong Kong, 1976 (The New Shaolin Boxers)
Directors: Chang Cheh (All Films), Pao Hsueh-li (Iron Bodyguard), Yueh Feng (Trilogy of Swordsmanship), Cheng Kang (Trilogy of Swordsmanship)
Cast: Chen Kuan-Tai, Alexander Fu Sheng, Chi Kuan-Chun (Men from the Monastery), Alexander Fu Sheng, Chi Kuan-Chun, Chia-Hui Liu (Gordon Liu), Chen Yiling (Shaolin Martial Arts), Ti Lung, Li Ching, David Chiang, Yuen Woo-ping (King Eagle), Chen Kuan-tai, Yueh Hua, Lily Li, Betty Pei Ti, Danny Lee (Iron Bodyguard), Ting Wa Chung, Lau Chung-Chun, Tang Gok-Yan, Chen I-Ho (Fantastic Magic Baby), Cheng Tien-Chi, Lau Yuk-Pok, Jason Pai Piao, Ku Kuan-Chung (The Weird Man), Jimmy Wang Yu, Kiu Chong, Chin Ping, Chiao Chiao (Trail of the Broken Blade), David Chiang, Lily Li, Chang Pei-Shan, Wu Ma, Bolo Yeung, Yuen Woo-ping (The Wandering Swordsman), Shih Szu, Yueh Hua, Sammo Hung Kam-Bo, Bolo Yeung (Trilogy of Swordsmanship), Alexander Fu Sheng, Jenny Tseng, Phillip Kwok Chun-Fung (The New Shaolin Boxers)

Release Date: October 20th, 2025 (UK), October 21st, 2025 (USA)
Approximate Running Times: 92 Minutes 29 Seconds (Men from the Monastery), 111 Minutes 30 Seconds (Shaolin Martial Arts), 84 Minutes 5 Seconds (King Eagle), 98 Minutes 33 Seconds (Iron Bodyguard), 91 Minutes 4 Seconds (The Weird Man), 100 Minutes 39 Seconds (Fantastic Magic Baby), 108 Minutes 54 Seconds (Trail of the Broken Blade), 108 Minutes 7 Seconds (The Wandering Swordsman), 100 Minutes 42 Seconds (The New Shaolin Boxers), 112 Minutes 46 Seconds (Trilogy of Swordsmanship)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Mandarin (All Films), LPCM Mono English (Men from the Monastery, Shaolin Martial Arts, Iron Bodyguard, The Weird Man, Trail of the Broken Blade, The New Shaolin Boxers)
Subtitles: English (All Films)
Region Coding: Region A,B
Retail Price: £55.99 (UK), 104.95 (USA)

"Distinguished by his penchant for bloodshed and a thematic concentration on the bonds of brotherhood and masculine sacrifice, Chang Cheh is one of the most prolific and accomplished directors ever to emerge from the Hong Kong film industry. Often hailed as the “Godfather of Hong Kong cinema,” he enjoyed a career spanning six decades and worked in a multitude of genres, from Chinese opera to kung fu films via wuxia pian, historical epics and tales of the supernatural.

Presented here are ten films that reveal the range and versatility of Chang’s career as a filmmaker. Traditional wuxia pian is represented by King Eagle, Trail of the Broken Blade and Wandering Swordsman; choreographed by Lau Kar-leung, Men from the Monastery and Shaolin Martial Arts are both drawn from Chang’s Shaolin cycle, included here alongside New Shaolin Boxers; Iron Bodyguard, released at the dawn of the kung fu era, is representative of changing trends in Hong Kong cinema; and some of Chang’s more esoteric work is represented by the opera film The Fantastic Magic Baby and the supernatural fantasy The Weird Man. Also included is the anthology film Trilogy of Swordsmanship, to which Chang contributed a segment alongside his contemporaries Yueh Feng and Cheng Kang." - synopsis provided by the distributor

Video: 4/5 (All Films Except Trail of the Broken Blade), 3.75/5 (Trail of the Broken Blade)

Here’s the information provided about the transfer, "1080p HD presentations of all 10 films on Blu-ray".

Men from the Monastery and Shaolin Martial Arts comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.3 GB

Feature: 18.9 GB (Men from the Monastery), 22.8 GB (Shaolin Martial Arts)

King Eagle and Iron Bodyguard comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.7 GB

Feature: 18.2 GB (King Eagle), 23.1 GB (Iron Bodyguard)

Fantastic Magic Baby and The Weird Man comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.4 GB

Feature: 22.1 GB (Fantastic Magic Baby), 21.2 GB (The Weird Man)

Trail of the Broken Blade and The Wandering Swordsman comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.3 GB

Feature: 23.1 GB (Trail of the Broken Blade), 21.1 GB (The Wandering Swordsman)

Trilogy of Swordsmanship and The New Shaolin Boxers comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.5 GB

Feature: 21.5 GB (Trilogy of Swordsmanship), 20.6 GB (The New Shaolin Boxers)

All films come from existing HD masters that have been cleaned up. Although comparable in most areas, Trail of the Broken Blade’s black levels are not as convincing as they should be. Flesh tones and colors look correct, image clarity and black levels are strong, compression is solid, and there are no issues with digital noise reduction.

Audio: 4/5 (All Audio Tracks Except Shaolin Martial Arts English English-language Track), 3.75/5 (Shaolin Martial Arts - LPCM Mono English)

All films come with a LPCM mono mix in Mandarin with removable English subtitles. These films—Men from the Monastery, Shaolin Martial Arts, Iron Bodyguard, The Weird Man, Trail of the Broken Blade, and The New Shaolin Boxers—also come with a LPCM mono mix in English with removable English subtitles for Mandarin text and songs. All of the films with two audio tracks are comparable, while the Shaolin Martial Arts Mandarin track sounds more robust than its English-language counterpart. That said, all of the audio tracks sound clean, clear, and balanced, and action sequences sound appropriately robust.

Extras:

Extras on disc one include a video essay by author Jonathan Clements titled Saving Shaolin: Legends of Modern Martial Arts (15 minutes 45 seconds, LPCM stereo English with non-removable English subtitles for Mandarin film clips), VHS footage from the English-language version of Men from the Monastery (2 minutes 48 seconds, Dolby Digital mono), an audio commentary with film critic David West for Men from the Monastery, and an audio commentary with East Asian film expert Frank Djeng (NY Asian Film Festival) and martial artist and filmmaker Michael Worth for Shaolin Martial Arts.

Extras on disc two include a video essay by Jonathan Clements titled A Sword Raised to the Sky and the Iron Bodyguard (15 minutes 8 seconds, LPCM stereo English with non-removable English subtitles for Mandarin film clips), an audio commentary with action cinema experts Mike Leeder and Arne Venema for King Eagle, and an audio commentary with Frank Djeng and Michael Worth for Iron Bodyguard.

Extras on disc three include an audio commentary with Mike Leeder and Arne Venema for The Fantastic Magic Baby, an audio commentary with Frank Djeng and Michael Worth for The Fantastic Magic Baby, and an audio commentary with David West for The Weird Man.

Extras on disc four include an audio commentary with David West for The Trail of the Broken Blade and an audio commentary with Mike Leeder and Arne Venema for The Wandering Swordsman.

Extras on disc five include an interview with Hong Kong cinema scholar Wayne Wong on the life and work of Chang Cheh (18 minutes 27 seconds, LPCM stereo English with non-removable English subtitles for Mandarin film clips), an audio commentary with Mike Leeder and Arne Venema for Trilogy of Swordsmanship, and an audio commentary with Frank Djeng and Michael Worth for The New Shaolin Boxers.

Other extras include a double-walled slipcase and a 36-page booklet with cast & crew information for each film, an essay titled Man of Iron on Chang Cheh written by James Oliver, and information about the transfer titled Notes on Viewing.

Summary:

Chang Cheh directed the ten films that are part of this collection. Notable films he’s directed are The Magnificent Trio, One-Armed Swordsman, Golden Swallow, The Boxer From Shantung, The Water Margin, and Five Venoms.

Men from the Monastery: Three fighters on individual journeys join forces and exact revenge against those who burned down the Shaolin temple.

The opening setup does a phenomenal job laying the foundation by fleshing out the three fighter characters. Each of the three fighters receives an extensive introduction, and by the time the final act unfolds, they unite to confront those accountable for the destruction of the Shaolin temple. Although the narrative does a superb job fleshing out the three fighters, beyond their backstories, exposition is minimal.

The one constant throughout Chang Cheh’s career was his ability to find the right actors for the stories he was telling and maximize their strengths. Chen Kuan-Tai (Heroes Two), Alexander Fu Sheng (Shaolin Temple), and Chi Kuan-Chun (The Shaolin Avengers) are cast in the roles of the three heroic fighters. Another thing that sets these three characters apart is how each of them is given a martial art specialty that they excel in, and Alexander Fu Sheng’s character also makes his body stronger and less susceptible to kill points by taking long baths.

Although the narrative does an excellent job drawing you in and holding your attention, the main attraction is the exemplary training and fight sequences. One of the most striking fight scenes occurs atop poles with sharp stakes between them. Chang Cheh consistently impresses with his finales, and Men from the Monastery's bloody finale is no exception. Its use of desaturated color during the finale foreshadows Quentin Tarantino’s House of Blues sequence from Kill Bill Volume 1. Ultimately, Men from the Monastery is another solid action-driven film from Chang Cheh.

Shaolin Martial Arts: Shaolin students defend the temple when the ruling dynasty of China sends troops to destroy it.

While Shaolin Martial Arts follows all of the revenge-themed martial arts tropes, it is a film that is far from predictable. After the destruction of the Shaolin temple, the students flee and seek out masters who can train them against opponents with few weaknesses. That said, the narrative does a superb job fleshing out characters by perfectly balancing exposition and action sequences.

All around, the cast are excellent, especially Alexander Fu Sheng (The Brave Archer) in the role of Li Yao, one of the Shaolin students that escapes the massacre at the temple. This role is his breakout performance, and it forged a type of character he would often return to. The cast includes a notable member, Chia-Hui Liu (also known as Gordon Liu), who gained fame through the 36th Chamber films, where he portrayed the character San Te. Although he had previously appeared in one film, Shaolin Martial Arts marked his first prominent role.

The fight sequences are exemplary; they have all the hallmarks of Chang Cheh’s cinema: brutality and graphic carnage. The outstanding training sequences are noteworthy, showcasing how characters develop unique martial arts skills. Furthermore, Shaolin Martial Arts stands out as a pivotal film in the genre, as it was among the first to emphasize the training of heroes. Ultimately, Shaolin Martial Arts is one of the all-time martial arts classics, making it a must-see for fans.

King Eagle: A reclusive hero becomes involved in a clan's internal power struggle when he falls in love with one of its leaders.

The narrative dives right in with a bloody ambush sequence in which the betrayal that drives the film exposes an act of treachery. Recognizing that their survival is impossible, the teacher fights off the attackers, allowing his student to escape and inform the clan of the betrayal that has just occurred. From there, a reluctant hero overhears from a dying man what happened, and many attempts on his life are thwarted due to his superior martial arts skills.

All around, the cast are excellent, especially Lee Ching's (The 14 Amazons) portrayal of twin sisters, 7th Chief An Yuk Lin and 8th Chief An Bing E. These two sisters are polar opposites; An Yuk Lin is good-hearted and has a sense of honor, while An Bing E is corruptible and has a lust for bloodshed. Another performance of note is Ti Lung (A Better Tomorrow) in the role of King Eagle Jin Fei, the reluctant hero who falls in love with An Yuk Lin.

The narrative is well-executed, effectively building momentum with several well-placed surprises. The action sequences are exemplary; they are filled with inventiveness, and when it comes to bloodshed, there is a high body count. Although there are numerous action pieces that stand out, one in particular comes to mind: a scene where King Eagle Jin Fei tries to hold a heavily loaded cart from running over a young girl's leg while being attacked from all sides. Ultimately, Chang Cheh delivers another exceptional Wuxia with King Eagle, making it a must-see film.

Iron Bodyguard: A poet son of a governor who becomes friends with a legendary swordsman comes to the aid of an innocent man. Both men fight for justice reforms, putting them in the crosshairs of Empress Dowager Cixi, who opposes any changes.

The Iron Bodyguard's protagonist is Wang Wu, a Chinese hero who's been the subject of movies and TV series. Tan Sitong is also a historical Chinese politician and reformer in the later Qing dynasty. Besides these two historical Chinese figures, the narrative draws from Chinese history and the 100 Days Reform. That said, the result is a perfect blend of history and fiction with elements that are synonymous with the cinema of Chang Cheh.

The narrative does an excellent job of fleshing out Wang Wu and Tan Sitong’s backstories. The opening setup firmly draws you in, and from there the narrative creates a momentum that effectively builds to an exemplary finale. Another area where the narrative excels is how it balances exposition and action.

Overall, all the performances are excellent, but the two leads stand out the most. Chen Kuan-tai (The Boxer from Shantung) is a force of nature in the role of Wang Wu. He delivers a commanding performance that excels during the action sequences. Yueh Hua (Brothers Five), in the role of Tan Sitong, delivers a solid performance that perfectly contrasts Chen Kuan-tai's performance. Another strength of their performances is their onscreen chemistry.

Although there is plenty of action, things pick up considerably in the last 30 minutes. The finale has the most memorable action set piece, an ambush sequence where the two heroes, Wang Wu and Tan Sitong, find themselves in a death trap. That said, the fight scenes are brutal and bloody, and the film culminates with Chang Cheh’s trademark stylized heroic death. Ultimately, Iron Bodyguard is a very satisfying blend of history and fiction that does an excellent job holding your attention.

Fantastic Magic Baby: While collecting tributes from humans who worship his parents, Princess Iron Fan and Ox Demon King, Red Boy kidnaps a Tao priest whose flesh, when consumed, adds a thousand years of life.

Although Chang Cheh most excelled in wuxia and martial arts films known for their violence, he was actually an incredibly diverse filmmaker. And no film is more outside of what he’s known for than Fantastic Magic Baby. That said, it is an adaptation of selected chapters of Wu Cheng's classical 16th-century novel Journey to the West, focusing on the story of Red Boy.

What unfolds can best be described as wall-to-wall action, predominantly of a fantastical nature. Fantastic Magic Baby is a highly stylized film, and its artificial set design brilliantly creates a setting reminiscent of Peking opera. The narrative runs for a total of 100 minutes, but it's important to note that the final 35 minutes consist of two Peking opera performances. This means that the actual story focused on Red Boy is only about 65 minutes long. In the end, Fantastic Magic Baby is a film that appeals to both the young and the young at heart.

The Weird Man: A Taoist monk returns from the dead as a spirit and uses his supernatural powers to exact revenge against those who killed him.

The Weird Man sees Shaw Brothers follow a trend that was happening in Hong Kong cinema: the combination of action, humor, and fantasy. Although its initial setup depicts something that feels darker than it is, once the monk is killed and then returns, things take on a nonsensical, absurd tone. The Weird Man holds a notable place in Chang Cheh’s filmography, as it marks the final film he directed under the Shaw Brothers banner. Although his next film, Attack of Venoms, was distributed by Shaw Brothers, it was produced by Chang Cheh’s production company, Hong Kong Chang He Motion Picture Company.

The main attraction of The Weird Man is Cheng Tien-Chi (Five Elements Ninjas) in the role of the protagonist, a Taoist priest named Yu Ji who has the ability to manipulate weather, which puts him at odds with a general who’s jealous of the adoration he’s receiving. For most of the narrative, this character acts mischievous as he enters other characters’ bodies and uses them as a means to exact his revenge. While Cheng Tien-Chi's performance certainly overshadows the others, the remaining cast members contribute effectively to the unfolding story.

Chang Cheh has a remarkable ability to create entertaining films, regardless of the resources or storyline at his disposal. Humor and action are front and center throughout The Weird Man, while exposition takes a backseat. That said, the action sequences, in particular the stunt work, are exemplary. Ultimately, despite its shortcomings, one thing that can always be said about The Weird Man is that it always entertains.

Trail of the Broken Blade: A swordsman from an Alfeuint family is forced to walk away from the woman he loves and go into hiding when he kills the man who slandered his father, who killed himself in prison.

Trail of the Broken Blade opens with a bloody sequence where the protagonist kills the man who framed his father. This is an excellent opening that foreshadows what's to come and perfectly sets the tone. That said, the narrative does a superb job fleshing out characters and balancing exposition and action sequences.

Trail of the Broken Blade is another film where Chang Cheh pairs up with Jimmy Wang Yu, who portrays Li Yueh, a swordsman who avenged his father, who was framed and sent to prison, where he took his life. Trail of the Broken Blade was made right before Jimmy Wang Yu’s career really took off with The One-Armed Swordsman. He delivers another brooding performance that flawlessly captures the essence of his character, and when it comes to action sequences, he does not disappoint.

The cast delivers excellent performances all around. Another performance of note is Tien Feng’s (King Boxer) portrayal of Chief Tu Qian Qiu. He delivers an outstanding performance that provides the perfect nemesis for Li Yueh. Other performances of note are Chin Ping (The Magnificent Trio) and Chiao Chiao (Vengeance of a Snowgirl) in the roles of two women who are vying for Li Yueh’s affection.

Although the narrative effectively draws you in, there are several moments when it slows down, which affects the overall momentum. That said, the narrative does have a few well-placed surprises, and a love story plot helps keep things engaging. The fight sequences are exemplary, with the biggest and best saved for a bloody heroic finale. Ultimately, Trail of the Broken Blade is a solid example of a wuxia film.

The Wandering Swordsman: A wandering swordsman steals from the rich and gives to the poor.

The Wandering Swordsman is a wuxia film whose most obvious influence is Robin Hood. The Wandering Swordsman’s protagonist is a selfless character who steals not to enrich himself, but to help those in need. Although the protagonist always has the best of intentions, there is an act of deception that turns the narrative on its head.

While the Wandering Swordsman only steals from the alfurnet, there is a ruthless gang of criminals who are plotting to hijack a convoy escorting valuables. These men are the opposite of the protagonist; they are driven only by their self-interest, and whenever they steal, they kill everyone who can be a witness. The narrative does a superb job colliding the Wandering Swordsman and the ruthless gangs' storylines.

The most memorable performance is Chang Pei-Shan (The Assassin) in the role of the main villain named 'Fail-Safe' Kung Wu. David Chiang (The Water Margin) is cast opposite in the role of the hero, the Wandering Swordsman. Other performances of note are Lily Li (Black Magic) in the role of Jiang Ning, the sister of the brother transporting the valuable goods, and Bolo Yeung (Chinese Hercules), who portrays one of the evil henchmen. That said, all of the performances are outstanding.

Although the narrative is a satisfying mix of exposition and action, it is the latter where the narrative shines brightest. The most memorable action set pieces are a bloody ambush where the bandits massacre everyone in the convoy and steal the valuables, and a finale where the gravely wounded protagonist's determination to right wrongs leads him to fight and kill every villain before succumbing to his wounds. Ultimately, The Wandering Swordsman is an exceptional wuxia, making it a must-see for fans of this genre.

Trilogy of Swordsmanship: This film was an anthology film that was directed by three directors: Yueh Feng (The Iron Bow), Cheng Kang (The Tigress), and Chang Cheh (White Water Strand). Besides being directed by three directors who bring their own visual style, each segment represents a different era of the Shaw Brothers: the past, the present, and the future.

The Iron Bow: Men vying for an innkeeper's daughter's affection can only have her hand in marriage if they can shoot her deceased husband's bow.

The Tigress: A courtesan with several men who are infatuated with her contributes to their downfalls.

White Water Strand: A hero’s intervention in helping rescue a bandit from soldiers puts him in the middle of a treacherous plot.

Trilogy of Swordsmanship is an intriguing mix of three distinct stories, with the most compelling being Chang Cheh’s White Water Strand, a film that feels like an extension of his film The Water Margin. Each story has a solid cast who are all excellent in their roles. The fight sequences are well-executed and they do not disappoint. Although their endings feel rushed, they are all still very effective stories that are always engaging and entertaining.

The New Shaolin Boxers: A carriage driver puts himself and those he cares about in danger when he intervenes in the business of the ruthless gang. Unable to lay low and control his emotions, he constantly finds himself in fights.

The New Shaolin Boxers features a creative opening sequence that explains and showcases the fighting styles featured in the film. Although the narrative is a fairly standard good versus evil scenario, its protagonist's evolution bolsters it. The protagonist is a character driven by his impulsive behavior, and despite its negative effect on those around him, it is not until his master is killed that he finally changes his ways.

The New Shaolin Boxers is an excellent showcase for Alexander Fu Sheng (The Eight Diagram Pole Fighter). He portrays Zhong Jian, a gifted martial artist whose impulsive behavior is his greatest weakness. He is a highly skilled martial artist, and his stunt work is impressive. Furthermore, the rest of the cast performs admirably in their roles.

The flawlessly executed narrative does a superb job building momentum by building upon a series of tense moments. The fight scenes are intense and the training sequences are inventive. In the finale, the protagonist confronts the man who murdered his master, equipped with a new skill he has learned specifically for this showdown. Ultimately, The New Shaolin Boxers is an exemplary martial arts film, making it a must-see.

Furious Swords and Fantastic Warriors is an exceptional release from Eureka Video, making it a must-have purchase for fans of Chang Cheh and martial arts cinema. Highly recommended.

Note: This edition is strictly limited to a single pressing of 2,000 copies, which will not be reissued once sold out.