Zu: Warriors from the Magic Mountain – Shout! Factory (Blu-ray)

Theatrical Release Date: Hong Kong, 1983
Director: Tsui Hark
Writers: Shui Chung-yuet, Sze-to Cheuk-hon
Cast: Sammo Hung Kam-Bo, Yuen Biao, Brigitte Lin, Adam Cheng, Moon Lee, Judy Ongg

Release Date: February 14th, 2023
Approximate Running Time: 98 Minutes 39 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Mandarin, DTS-HD Mono Cantonese, DTS-HD Stereo English
Subtitles: English, English SDH
Region Coding: Region A
Retail Price: $32.98

"An army deserter (Yuen Biao) is chased by vampires in the mountains of Zu. He is rescued by a master (Adam Cheung) and becomes his devoted pupil. But when they are ambushed by the Blood Devil, the pair find themselves in need of the assistance of a devil chaser (Damian Lau) and his pupil (Mang Hoi). With the additional help of Master Chang Mei (Sammo Hung), they manage to hold off the Blood Devil…but they will need to find the Dual Swords to destroy it!" - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about this release's transfer, "2K restoration from the original film elements."

Zu: Warriors from the Magic Mountain comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.9 GB

Feature: 26.1 GB (Zu: Warriors from the Magic Mountain), 8.7 GB (Zu: Time Warrior)

For this release Shout! Factory uses the same source that Eureka Video used for their 2020 Blu-ray release. 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. That said, there is a dip in quality with moments that are special effects-heavy.

Audio: 4.5/5 (All Audio Tracks)

This release comes with three audio options, a DTS-HD mono mix in Mandarin, a DTS-HD mono mix in Cantonese, and a DTS-HD stereo mix in English. All of the tracks sound clean, clear, and balanced and range-wise robust when they should. Included are English subtitles for the Mandarin language track and English SDH for the English language track. It should be noted that subtitles and audio can only be chosen via the audio setup menu, and they cannot be turned off while watching the main feature.

Extras:

Extras for this release include an image gallery (stills/posters), a theatrical trailer (3 minutes 33 seconds, Dolby Digital mono Cantonese with non-removable English subtitles), alternate opening credits (2 minutes, Dolby Digital mono Cantonese, no English subtitles), an archival interview with actor Mang Hoi (18 minutes 40 seconds, Dolby Digital stereo Cantonese with non-removable English subtitles), an archival interview with actress Moon Lee (21 minutes 18 seconds, Dolby Digital stereo Cantonese with non-removable English subtitles), an archival interview with actor Yuen Biao (12 minutes 31 seconds, Dolby Digital stereo Cantonese with non-removable English subtitles), an archival interview with director Tsui Hark (61 minutes 24 seconds, Dolby Digital stereo English, no subtitles), an archival select scene audio commentary with Asian cinema expert Tony Rayns, an interview with academic Lin Feng titled New the Majesty and Magic of a Hong Kong Milestone (17 minutes 49 seconds, Dolby Digital stereo English, no subtitles), an interview with author and academic Victor Fan titled New Riding a New Wave (27 minutes 30 seconds, Dolby Digital stereo English, no subtitles), an interview with visual effects consultant Peter Kuran titled New from West to East (21 minutes 55 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Hong Kong filmmaker and academic Gilbert Po and film critic Sean Tierney, and Zu: Time Warrior, an alternate export cut produced for European theaters (97 minutes 16 seconds, 1.85:1 aspect ratio, Dolby Digital stereo English, no subtitles).

Summary:

Tsui Hark directed Zu: Warriors from the Magic Mountain. He’s known for Don't Play with Fire (aka Dangerous Encounters of the First Kind), Shanghai Blues, Peking Opera Blues, Once Upon a Time in China, The Banquet, Twin Dragons, and Time and Tide. Besides directing, he’s also produced these notable films: A Better Tomorrow, A Better Tomorrow II, A Chinese Ghost Story, The Killer, Iron Monkey, Burning Paradise, and Black Mask.

During a civil war, a Chinese warrior flees the battlefield and becomes entangled in a battle of good versus evil.

The reason foreign cinema does not connect with audiences abroad is that many cultural elements are lost in translation. A significant example of how audiences interpret humor that’s derived from dialogue when they are not familiar with cultural elements. That said, another genre whose elements far too often get lost in translation is fantasy films.

Zu Warriors from the Magic Mountain is a film firmly rooted in Xianxia, a genre heavily influenced by Chinese mythology. While it has many elements that are in common with Wuxia, if you’re not familiar with Chinese mythology, there are some things that might not translate well. While Western audiences may be familiar with fantasy cinema, Chinese fantasy films are in a realm all their own.

Without a doubt, Zu Warriors from Magic Mountain’s action set pieces are its greatest asset. The action set pieces are inventive, explosive, and highly entertaining. Another strength of Zu Warriors from the Magic Mountain is its cast of colorful heroes and villains. That said, while special effects have made significant advancements since Zu Warriors from the Magic Mountain, there is something oddly endearing about how they are employed in this film.

Zu Warriors from the Magic Mountain features a solid cast that’s headlined by Biao Yuen (On the Run) in the role of Ti Ming-Chi, a soldier who finds himself on a fantastical journey where the forces of evil are being held at bay by the forces of good; Hoi Mang (Pedicab Driver) in the role of a monk’s disciple named Yi Zhen; and Moon Lee (Devil Hunters) in the role of Mu Sang, one of the ice queen’s guards.

Other notable cast members include Sammo Hung Kam-Bo (The Magnificent Butcher) and Brigitte Lin (The Bride with White Hair). Sammo Hung Kam-Bo is cast in two roles: a Red Army soldier and an ancient priest named Chang Mei, who uses his ‘long brows’ to restrain his opponents. Brigitte Lin portrays the Ice Queen, a character who has magical powers that can save the gravely wounded.

Tsui Hark's first three films, known collectively as the Chaos Trilogy, are known for subversive content and rejection of traditional Hong Kong cinema filmmaking. His films since then have become more commercially minded. While Zu Warriors from the Magic Mountain was not a success at the box office, it's a significant film in Tsui Hark’s evolution as a filmmaker, and over the years it's gained a considerable following. His direction is solid and there is a kinetic energy throughout that ensures there’s never a dull moment. Ultimately, Zu Warriors from the Magic Mountain is a visual extravaganza that fans of Xianxia cinema should thoroughly enjoy.

Shout! Factory gives Zu: Warriors from the Magic Mountain a solid release that comes with a strong audio/video presentation and a wealth of extras. Recommended.

 

Written by Michael Den Boer

Picture of a Nymph: Deluxe Limited Edition – 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1988
Director: Wu Ma
Writers: Wu Ma, Chan Ka-Cheong
Cast: Yuen Biao, Joey Wong, Wu Ma, Elizabeth Lee, Lawrence Ng, Yuen Wah

Release Date: February 23rd, 2026 (UK), March 10th, 2026 (USA)
Approximate Running Time: 97 Minutes 58 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 12 (UK), NR (USA)
Sound: LPCM Mono Cantonese
Subtitles: English
Region Coding: Region A,B
Retail Price: £25.00 (UK), $49.95 (USA)

"Set in ancient China, the story follows a gentle scholar whose chance encounter with a mysterious young woman leads to a love that transcends the boundaries of life and death. But when he unwittingly releases a vengeful demon from centuries of imprisonment, the spirit of his beloved becomes the demon’s only hope for regaining power. To protect her, the scholar paints her likeness, allowing her to hide within the portrait—but his devotion soon draws the wrath of dark forces." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "Brand new 2K restoration from the original negative."

Picture of a Nymph comes on a 50 GB dual layer Blu-ray. 

Disc Size: 28.4 GB

Feature: 26.6 GB

The source used for this transfer is in excellent shape. Flesh tones look correct, colors are nicely saturated, image clarity and black levels are strong, and compression is solid.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in Cantonese with removable English subtitles. The audio sounds excellent; dialogue always comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include an image gallery with music from the film playing in the background (stills/posters), a theatrical trailer (3 minutes 55 seconds, Dolby Digital mono Cantonese with removable English subtitles), an audio commentary with Hong Kong cinema expert Frank Djeng, an audio commentary with Hong Kong cinema expert David West, reversible cover art, an art card (limited to this edition), an O-card and rigid slipcase (limited to this edition), and a 40-page perfect-bound book (limited to this edition) with cast & crew information, an essay titled More Ghosts and Gremlins, Less Golden Harvest written by Paul Bramhall, and an essay titled Ghosts, Scholars, and Spirits: The Legacy Behind Picture of a Nymph written by Fraser Elliott.

Summary:

Wu Ma directed Picture of a Nymph. Notable films he’s directed or co-directed include The Water Margin, All Men Are Brothers, From China with Death, Along Comes a Tiger, The Heroes, The Dead and the Deadly, Picture of a Nymph, and Just Heroes. Besides directing, he was also a prolific actor, appearing in over 300 films.

A Taoist monk and his disciple protect a scholar from two ghosts, one that gravely wants to harm him and the other who is in love with him.

Released first in Taiwan, five months after A Chinese Ghost Story, Picture of a Nymph has many similarities to that film. Beyond their similarities when it comes to premise, both of these films have Joey Wang (My Heart Is That Eternal Rose) and Wu Ma (Righting Wrongs) in lead roles essentially portraying the same type of character. That said, where these two films overlap, there is one significant area where they differ tone-wise. Where A Chinese Ghost Story is a horror film with fantasy elements, Picture of a Nymph is a fantasy film with ample amounts of lighthearted humor.

The opening setup does an excellent job drawing you in, and the narrative is very effective in building momentum to a love-conquers-all finale. Another strength of the narrative is how well it balances moments of exposition and action set pieces. Also, when it comes to pacing while things move briskly, that is not to say that key moments are not given an ample amount of time to resonate.

Yuen Biao (On the Run) and Lawrence Ng (Sex and Zen) are the two most consequential actors, despite having no connection to A Chinese Ghost Story. While Lawrence Ng's character, the scholar, is technically the protagonist, Yuen Biao's character, the Taoist monk's disciple, constantly overshadows him. Joey Wang is enchanting in the role of the ghost who falls in love with the scholar, and Wu Ma’s character, the Taoist monk, is the source of the majority of the comic relief.

Not surprisingly, the action set pieces do not disappoint; they are filled with inventiveness and impressive stunt work, especially when it comes to moments with Yuen Biao. The biggest and most impressive action set piece is a finale that takes place in hell, and characters are in a time crunch to leave before the doorway out closes. As mentioned before, humor plays a large role in the story that unfolds, and a long-running gag is how the Taoist disciple pretends to be a mute while around the scholar. The lack of words provides for some interesting exchanges between these two characters. Ultimately, despite its familiarity, Picture of a Nymph is a highly entertaining film that succeeds because of the performance of its four leads.

Picture of a Nymph gets a first-rate release from 88 Films that comes with a solid audio/video presentation and informative extras. Highly recommended.

Written by Michael Den Boer

On The Run – 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1988
Director: Alfred Cheung
Writers: Alfred Cheung, Keith Wong
Cast: Yuen Biao, Pat Ha, Charlie Chin, Lieh Lo, Wah Yuen, Phillip Ko, Idy Chan

Release Date: January 20th, 2026
Approximate Running Time: 89 Minutes 21 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: LPCM Mono Cantonese
Subtitles: English
Region Coding: Region A,B
Retail Price: $29.95

"In the aftermath of his wife’s brutal murder, struggling cop Heung Ming (Yuen Biao) is forced to go into hiding after discovering corruption in the ranks. His only ally is a deadly assassin, Chui (Pat Ha) as they each try to avoid arrest and even death." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information given about the transfer, "Brand new 2K transfer from the original negatives."

On the Run comes on a 50 GB dual layer Blu-ray.

Disc Size: 41.4 GB

Feature: 29 GB

This disc is exactly the same as 88 Films' region B release from 2022. That said, the source used for this transfer looks excellent. Colors and flesh tones look correct, image clarity, black levels, and compression are solid, and the image retains an organic look.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in Cantonese, and included with this release are removable English subtitles. The audio sounds great; the dialog comes through clearly; everything sounds balanced and robust when it should.

Extras:

Extras for this release include a Hong Kong theatrical trailer (4 minutes 54 seconds, LPCM mono Cantonese with removable English subtitles), alternate ending (1 minute 29 seconds, LPCM mono with Cantonese text and removable English subtitles), an interview with David West titled Predicting the Future (18 minutes 49 seconds, LPCM stereo English with removable English subtitles for Cantonese film clips), an interview with director Alfred Cheung titled Running Away (20 minutes 35 seconds, LPCM stereo English with removable English subtitles for Cantonese film clips), an audio commentary with Kenneth Brorsson and Phil Gillon of the Podcast on Fire Network, and an audio commentary with Asian cinema experts Frank Djeng and FJ DeSanto.

Extras not carried over from the 88 Films 2022 Blu-ray release include a double-sided foldout poster and an 80-page perfect-bound book with an essay titled On the Run and Hong Kong Noir written by Matthew Edwards, an interview with Alfred Cheung, and an interview with actress Patricia Ha.

Summary:

By the late 1980s, Hong Kong cinema increasingly focused on violent narratives centered around criminals and corrupt law enforcement. Some of what led to these films was a reflection of what was going on in Hong Kong. Another important aspect of many of these films is their portrayal of the uncertainty surrounding Hong Kong's reunification with China in 1997. On The Run embodies several elements typical of heroic bloodshed cinema, reflecting the anxiety associated with Hong Kong's precarious future.

On The Run’s narrative revolves around a protagonist who at times resembles the Alfred Hitchcock Wrong Man character. The protagonist is a police officer named Heung Ming who becomes the target of corrupt cops whom his ex-wife had been investigating. And when his ex-wife is assassinated, he then takes it upon himself to find her killer. Along the way, he forms an alliance with Chui, the woman who killed his ex-wife. From there, they try to stay alive while trying to expose the corrupt cops who hired Chui.

On The Run is a different kind of role for Yuen Biao (Righting Wrongs). He is most known for portraying more lighthearted characters. He is given his most complex character, Heung Ming, a passive character who is forced to become the aggressor when his back is against the wall. Other performances of note include Pat Ha (Vengeance Is Mine) in the role of an assassin named Chui and Charlie Chin (My Lucky Stars) in the role of a police inspector who is the ringleader of a gang of corrupt cops selling narcotics they stole from drug dealers.

On the Run was co-written and directed by Alfred Cheung, a filmmaker who is most known for directing the Her Fatal Ways film series. When it comes to tone, On The Run is a grim film that is the polar opposite of most of the films Alfred Cheung directed. His direction is solid, and though there are a few stylish moments, most notably in the scene where an undercover cop is hiding under a glass table, he is discovered when a magazine is moved, exposing his hiding place. The strength of his direction lies in his ability to let the characters take center stage.

From the very beginning, On The Run establishes an unyielding pace that seldom allows you a moment to catch your breath. While there are several shootouts throughout the film, it reserves its most spectacular one for the blood-soaked finale, which serves as a fitting conclusion. Ultimately, On The Run is an extraordinary piece of filmmaking that is a must-see if you are a fan of Hong Kong’s late 1980s crime films.

On The Run gets a solid release from 88 Films that comes with a solid audio/video presentation and a wealth of insightful extras; highly recommended.

Written by Michael Den Boer

Saga of the Phoenix: Deluxe Collectors Edition – 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1989
Directors: Lam Ngai Choi, Lau Sze-Yue
Writers: Chan Sau-Ling, Wong Chui-Wa, Leung Yiu-Ming
Cast: Yuen Biao, Gloria Yip, Hiroshi Abe, Loletta Lee, Lau Sek-Yin, Shintarô Katsu

Release Date: December 15th, 2025 (UK), December 16th, 2025 (USA)
Approximate Running Time: 94 Minutes 8 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Cantonese
Subtitles: English
Region Coding: Region A,B
Retail Price: £25.00 (UK), $49.95 (USA)

"When an ancient evil stirs once more, monks Peacock (Yuen Biao) and Lucky Fruit (Hiroshi Mikami) are called back into action to confront a new supernatural threat. This time their quest draws them to Hong Kong, where they must protect the innocent and face an unholy alliance of demons and dark sorcery. Alongside them is Ashura (Gloria Yip), still torn between her human heart and her fated link to the underworld, as her powers become the key to either salvation or destruction." - synopsis provided by the distributor

Video: 4/5

Here’s the information given about the transfer, "High Definition Blu-Ray Presentation in 1.85:1 Aspect Ratio".

Saga of the Phoenix comes on a 50 GB dual layer Blu-ray.

Disc Size: 37 GB

Feature: 25.4 GB

Although this transfer is comparable to 88 Films' Peacock King release, there are a few times where it is not as strong. 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

This release comes with one audio option, a LPCM mono mix in Cantonese with removable English subtitles. The audio sounds clean; dialogue always comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include an image gallery with music playing in the background (Japanese Press Book/Stills/Posters), a theatrical trailer (3 minutes 38 seconds, Dolby Digital mono Cantonese with removable English subtitles), alternate Japanese footage (11 minutes 58 seconds, Dolby Digital mono Japanese with removable English subtitles), an interview with Albert Lee titled Saga of Golden Harvest - The International Connection, in which he discusses Golden Harvest’s strategy of distribution overseas (22 minutes 16 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with HK cinema experts Frank Djeng and F.J. DeSanto, reversible cover art, a collectable postcard, an O-ring and rigid slipcase, and a 40-page perfect-bound book with cast & crew information, an essay titled From Panel to Screen: The Saga of Hong Kong’s Fascination with Japanese Manga written by Andrew Heskins, and an essay titled The Japanese Connection: Positioning Saga of the Phoenix in a Brief History of the Cultural and Cinematic Exchanges of Hong Kong and Japan written by David West.

Summary:

Peacock King was co-directed by Lam Ngai Choi, whose other notable films include The Seventh Curse, Her Vengeance, Riki-Oh: The Story of Ricky, Erotic Ghost Story, and The Cat. Peacock King is an adaptation of Makoto Ogino’s manga of the same name. Saga of the Phoenix is a sequel to Peacock King; both films were adapted from mangas written by Makoto Ogino.

Two Buddhist monks must protect Ashura, the Holy Maiden of Hell, to prevent the wrong hands from claiming her while she spends 7 days in the human realm.

Cinema has a long tradition of sequels, but subsequent films rarely surpass or even match their predecessor. Case in point: Saga of the Phoenix, a film that feels more like a rehash of Peacock King than its sequel. Another thing that sets Saga of the Phoenix apart from Peacock King is how its tone greatly differs.

Anyone familiar with the cinema of Lam Ngai Choi knows that most of his fantasy and horror films are very dark in tone. While he’s credited as co-director of Saga of the Phoenix, it just does not have the vibe one expects from him, and I suspect his involvement is mostly linked to the special effects moments and action set pieces. That said, Saga of the Phoenix feels like a kids' film, while Peacock King is a dark fantasy film.

Although the three central characters from Peacock King return for Saga of the Phoenix, only two of the actors reprise their roles: Yuen Biao in the role of Peacock King (The Prodigal Son) and Gloria Yip (The Blue Jean Monster) in the role of Ashura. In the case of the latter, his role in Saga of the Phoenix is relatively minor. Hiroshi Abe (Survive Style 5+) replaces Hiroshi Mikami (Parasite Eve) in the role of a Buddhist monk named Lucky Fruit. Another notable cast member is Shintarô Katsu, known for his role in The Tale of Zatoichi, who plays an abbot named Jiku Ajari.

There are too many areas where Saga of the Phoenix falls short. Its premise is too much like its Peacock King; the narrative is predictable, and when it comes to pacing, things tend to drag. The fight sequences and stunt work are not as impressive as in Peacock King; it's some of the most unimaginative I’ve seen for a film in which Yuen Biao appears. That said, the best moments are the ones that are special-effects-heavy. Ultimately, Saga of the Phoenix is a major letdown that does not come close to matching the magic of Peacock King.

Saga of the Phoenix gets an exceptional release from 88 Films that comes with a strong audio/video presentation and informative extras.

Written by Michael Den Boer

Triple Threat: Three Films With Sammo Hung – Eureka Video (Blu-ray)

Theatrical Release Dates: Hong Kong, 1974 (The Manchu Boxer), Hong Kong, 1988 (Paper Marriage), Hong Kong, 1990 (Shanghai, Shanghai)
Directors: Wu Ma (The Manchu Boxer), Alfred Cheung (Paper Marriage), Teddy Robin (Shanghai, Shanghai)
Cast: Tony Liu, Tao Min-Ming, Sammo Hung Kam-Bo, Wilson Tong, Wu Ma, Kim Ki-Joo, Kao Chiang (The Manchu Boxer), Sammo Hung Kam-Bo, Maggie Cheung, Alfred Cheung, Dick Wei, Joyce Godenzi, Billy Chow, Hsiao Hou, Chin Ka-lok, Tony Morelli, Philip Ko (Paper Marriage), Sammo Hung Kam-Bo, Yuen Biao, George Lam, Anita Mui, Lawrence Cheng, Sandy Lam, Lo Lieh, Tien Niu (Shanghai, Shanghai)

Release Date: December 8th, 2025 (UK), December 9th, 2025 (USA)
Approximate Running Times: 86 Minutes 39 Seconds (The Manchu Boxer - Hong Kong Theatrical Cut), 92 Minutes 53 Seconds (The Manchu Boxer - Extended Cut), 92 Minutes 8 Seconds (Paper Marriage), 87 Minutes 55 Seconds (Shanghai, Shanghai - Hong Kong Theatrical Cut), 93 Minutes 24 Seconds (Shanghai, Shanghai - Extended Cut)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (The Manchu Boxer - Both Versions), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Paper Marriage, Shanghai, Shanghai - Both Versions)
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Mandarin (The Manchu Boxer - Both Versions), LPCM Mono Cantonese (Paper Marriage, Shanghai, Shanghai - Both Versions), LPCM Mono English (The Manchu Boxer - Hong Kong Theatrical Cut, Paper Marriage, Shanghai, Shanghai - Hong Kong Theatrical Cut)
Subtitles: English (All Films)
Region Coding: Region A,B
Retail Price: £34.99 (UK), $74.95 (USA)

"Just as the kung fu film seemed to be losing steam as the 1970s came to a close, a new generation of martial arts stars rose to the top of Hong Kong cinema. Amongst them were Yuen Biao, Jackie Chan and the irrepressible Sammo Hung, who found fame as the director and star of The Iron-Fisted Monk, The Magnificent Butcher and Encounter of the Spooky Kind. Presented here are three films spanning Hung’s career, from a supporting role in The Manchu Boxer to stardom in Paper Marriage and Shanghai, Shanghai.

In Wu Ma’s The Manchu Boxer, Hung (who doubles up as the film’s fight choreographer) plays the villainous foil to a roaming martial artist who enters a boxing tournament to defeat a gang of bandits. Then, in the action comedy Paper Marriage, Hung stars as a down-on-his-luck Chinese boxer living in the United States who is paid to marry an immigrant from Hong Kong (Maggie Cheung). She wants to gain American citizenship, but he just wants to keep the loan sharks off his back. Finally, in Shanghai, Shanghai, a young man (Yuen Biao) goes looking for his brother, a police officer, in the big city – and also finds himself embroiled with a ruthless gangster played by Hung." - synopsis provided by the distributor

Video: 3.5/5 (The Manchu Boxer - Both Versions), 4.5/5 (Paper Marriage, Shanghai, Shanghai — Both Versions)

Here’s the information given about the transfer, "brand new 2K restorations of the original Hong Kong theatrical cuts of all three films and brand new 2K restorations of the extended international versions of The Manchu Boxer and Shanghai, Shanghai."

The Manchu Boxer - Hong Kong theatrical cut and Paper Marriage come on a 50 GB dual layer Blu-ray.

Disc Size: 44 GB

Feature: 19.6 GB (The Manchu Boxer - Hong Kong Theatrical Cut), 20.9 GB (Paper Marriage)

Shanghai, Shanghai - Hong Kong theatrical cut comes on a 50 GB dual layer Blu-ray.

Disc Size: 27.4 GB

Feature: 26.5 GB

The Manchu Boxer - extended cut and Shanghai, Shanghai - extended cut come on a 50 GB dual layer Blu-ray.

Disc Size: 42.7 GB

Feature: 21.2 GB (The Manchu Boxer - Extended Cut), 21.4 GB (Shanghai, Shanghai - Extended Cut)

Paper Marriage and Shanghai, Shanghai sources are notably stronger than The Manchu Boxer’s source. That said, The Manchu Boxer has moments where flesh tones and colors look slightly off, and image clarity and black levels are not as convincing as they should be. Paper Marriage and Shanghai, Shanghai are in excellent shape; flesh tones look healthy, colors look correct, and image clarity, contrast, black levels, and compression are solid. None of the sources have any issues with digital noise reduction.

Audio: 4.5/5 (Paper Marriage - Both Audio Tracks, Shanghai, Shanghai - Cantonese Language Tracks), 4.25/5 (Shanghai, Shanghai - English Language Track), 3.75/5 (The Manchu Boxer — All Audio Tracks)

Both versions of The Manchu Boxer come with a LPCM mono mix in Mandarin with removable English subtitles. The Manchu Boxer, the Hong Kong theatrical cut, also comes with a LPCM mono mix in English and removable English subtitles for Mandarin text.

Both audio tracks sound clean, clear, and balanced; that said, they are limited range-wise.

Paper Marriage comes with two audio options, a LPCM mono mix in Cantonese with removable English subtitles for the Cantonese language track and a LPCM mono mix in English with removable English subtitles for a song and text in Cantonese when watching the English language version.

Both versions of Shanghai, Shanghai come with a LPCM mono mix in Cantonese with removable English subtitles. Shanghai, Shanghai, the Hong Kong theatrical cut, also comes with a LPCM mono mix in English and removable English subtitles for a song and text in Cantonese.

All audio tracks for Paper Marriage and Shanghai, Shanghai are in excellent condition; however, the Cantonese language track of Shanghai, Shanghai sounds fuller compared to its English language counterpart. That said, dialogue always comes through clearly, everything sounds balanced, and action sequences sound robust.

Extras:

Extras on disc one include a theatrical trailer for The Manchu Boxer (3 minutes 52 seconds, Dolby Digital mono Mandarin with burnt-in English subtitles), a theatrical trailer for Paper Marriage (3 minutes 25 seconds, Dolby Digital mono Cantonese with non-removable English subtitles), an interview with Paper Marriage director Alfred Cheung titled Happily Ever After (21 minutes 32 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with East Asian cinema expert Frank Djeng (NY Asian Film Festival) and martial artist & filmmaker Michael Worth for The Manchu Boxer, and an audio commentary with genre cinema experts Arne Venema and Dominie Ting for Paper Marriage.

Extras on disc two include a theatrical trailer for Shanghai, Shanghai (3 minutes 22 seconds, LPCM mono Cantonese with non-removable English subtitles) and an audio commentary with Frank Djeng and producer/writer F.J. DeSanto for Shanghai, Shanghai.

Extras on disc three include The Manchu Boxer: The Extended Cut and Shanghai, Shanghai: The Extended Cut. Disc three is limited to 2,000 copies.

Other extras include reversible cover art, a O-card slipcase (limited to 2,000 copies), and a 24-page booklet (limited to 2,000 copies) with cast & crew information for each film, an essay titled The Big Boss on Sammo Hung written by James Oliver, and information about the transfer titled Notes on Viewing.

Summary:

The Manchu Boxer: A skilled martial artist's father disowns him, and he abandons martial arts after taking a man's life. While traveling, he accidentally kills an old man who attacked him. Overcome with guilt, he decides to care for the man's family. This decision leads to a series of events that ultimately compel him to participate in a martial arts tournament.

Wu Ma directed The Manchu Boxer. Notable films he’s directed or co-directed include The Water Margin, All Men Are Brothers, From China with Death, Along Comes a Tiger, The Heroes, The Dead and the Deadly, Picture of a Nymph, and Just Heroes. Besides directing, he was also a prolific actor, appearing in over 300 films.

Although The Manchu Boxer has most of the core elements that one would expect from a martial arts film, the result is a film that is too formulaic and lacks inspiration. Its opening setup does a solid job laying the foundation for a tale about redemption, and yet the protagonist's journey is lacking any true obstacles and gets bogged down in its predictability. A lethargic-paced narrative that never establishes momentum, let alone builds it, further hinders things.

Star power is an integral factor in all of the martial arts films that are considered classics, and this is an area where The Manchu Boxer is sorely lacking. Tony Liu (The Lady Assassin) is in the cast in the role of the hero, a martial artist who goes on a soul-searching mission after killing two men. While he’s lacking in charisma, the narrative is so weak that even a more notable actor could not save The Manchu Boxer. The most notable cast member is Sammo Hung Kam-Bo (The Magnificent Butcher); he portrays an evil henchman.

The most disappointing aspect of The Manchu Boxer is its action sequences, which is even more surprising since Sammo Hung Kam-Bo was also this film’s action choreographer. That said, the biggest and best action set piece is a tournament sequence saved for the finale. Uncredited music cues are all too common in 1970s martial arts cinema, and The Manchu Boxer appropriates Pink Floyd’s Time and a music cue from Once Upon a Time in the West. Ultimately, The Manchu Boxer is a forgettable martial arts film that even the most dedicated fans of 1970s martial arts cinema may struggle to endure.

Paper Marriage: A man who owes a loan shark a large sum of money agrees to marry a woman so she can get a green card and become an American citizen.

Alfred Cheung directed Paper Marriage. He’s known for Let’s Make Laugh, On the Run, Her Fatal Ways, The Banquet, and Green Hat.

Paper Marriage is a different kind of film for Sammo Hung Kam-Bo (Wheels on Meals); while he had firmly established himself as a leading man in 1980s Hong Kong cinema, he was not what one would expect for a romantic lead. Maggie Cheung (In the Mood for Love) is cast opposite of Sammo Hung Kam-Bo in the role of Jade Lee, a Hong Kong immigrant trying to become an American citizen. Both actors deliver exceptional performances, and their solid onscreen chemistry reinforces them.

The premise is full of elements that lend themselves to comedy, and the two leads embrace every situation enthusiastically. The best moments come from the absurd situations that the two leads find themselves in. Some of these include taking a job where they conduct painful experiments and a mud wrestling scene with Maggie Cheung’s character. Much of the humor relies on physical comedy, arising from characters inadvertently causing harm to themselves and others.

What starts off as a story about two characters forced to take desperate measures evolves into a story about two characters who fall in love. The well-executed narrative does a superb job drawing you in and building momentum to a very satisfying finale. The stuntwork and action sequences are exemplary, and Sammo Hung Kam-Bo always surprises with his athleticism. Ultimately, Paper Marriage is a well-crafted romantic comedy that works as well as it does because of its two lead performances.

Shanghai, Shanghai: A man from a small town quickly finds himself in trouble after getting caught between two rival criminal organizations while searching for his older brother in Shanghai.

This film is a period drama set in 1930s Shanghai, and its outstanding production design immerses you in the world it portrays. Although this film is a star vehicle for Yuen Biao (Knockabout), who is cast in the role of the protagonist, he’s actually surrounded by a solid ensemble cast. That said, a cast of colorful characters, acrobats, revolutionaries, and criminals ensure there is always something that holds your attention.

All around, all the cast are outstanding, especially Yuen Biao in the role of a country rube named Little Tiger, Anita Mui (Rumble in the Bronx) in the role of a revolutionary, and Sammo Hung Kam-Bo (Heart of Dragon) in the role of a crime boss. Other performances of note are George Lam (The Owl vs Bombo) in the role of Little Tiger’s brother, a military officer named Big Tiger, and Sandy Lam in the role of Pao, an acrobat who becomes romantically involved with Little Tiger.

Although there is a lot of gunplay and explosions, that does not mean that this film veers away from traditional martial arts action. The stuntwork is impressive and the action set pieces are exemplary. Although the film gives Yuen Biao ample opportunities to show off his athleticism, Sammo Hung Kam-Bo's character delivers the most memorable action moments. The film reserves its most impressive moments for the finale, where Yuen Biao and Sammo Hung Kam-Bo engage in an epic showdown.

The narrative does a superb job drawing you in; it moves briskly and is very effective in building momentum to its excellent finale. The most surprising aspect of the narrative is just how exposition-heavy it is. Another strength of this film is its effective use of humor, which enhances the unfolding story. Ultimately, Shanghai, Shanghai is a skillfully made and highly entertaining movie that is sure to appeal to fans of 1980s Hong Kong action.

Eureka Video’s Triple Threat: Three Films With Sammo Hung is a solid release that comes with strong audio/video presentations and informative extras. Highly recommended.

Written by Michael Den Boer