Chow Si-kit is the author of the popular series called Adventure King (also joins in the film as Jet Li) Part. When Chow finds his ex-wife Monica Rosamund Kwan in a tangled divorce, he starts to drink, develop writer’s block, and grow irritated towards his colleagues Shing (Takeshi Kaneshiro) and Yvonne (Charlie Yeung). Faced with delayed deadlines, tasks which they were supposed to do, they take the responsibility of story writing. Glaring as Kung Mok’s (also Rosamund Kwan) stiffen a caricatures mane of the jet Li cut cum the song D heat may chow suh beginning for class run in Gunman was gop palse. Afterward, she assists Chow Si-kit’s blockhead story where Kumiko once adored Chow Si Kit only to slide into the shoes of the evil spy who ends up as Chow’s male fantasy. Shing, Yvonne finally Monica one by one every portion of the episode and finally helping him slam the horn with the one more episode of Adventure king.
A long-time reviewer of Hongkong cinema would certainly put emphasis to the phrase shifts in tone. That being said, it is enjoyable to simply watch a film that employs such a nagging technique purposefully. With one release editing the ‘modern’ segments out, the Hong Kong release seems to like these segments for they give the opportunity to the viewers to comment how these author’s adventures apply to the current world. The tone is vicious but Chow Si-kit grabs Kumiko who seems to be on a rough patch in her marriage. My subordinates have a more romantic take before Monica brings a more reflective tone. This wrap around forced by constraints (Accident resulting in damages to sets forcing a rewrite. Definitely irony here!) actually adds to the feature by making the characters in the Adventure King story avatars of their counterparts. It’s a bit out of the box.
The Action King segments (and here one can see where the Budget is quite clearly spent) are perfectly suited to Ching Siu-tung’s brand of wire work. The movie commences with a mad spectacle as an idol sitting in a horse drawn chariot literally tramples everybody. This is surely his forte. We get trains crashing into skyscrapers, some massive rats, wire Fu fight scenes and the outlandishness that we consider to be inherent in his most memorable reels while believing the ridiculousness to be as simple as ‘fiction’. Of course, we do have ninjas too, I mean its not a Ching Siu-Tung movie without them!
The duality concept is a fun one with all the characters cropping up in a different form through the adventures. Billy Chow’s lawyer almost has to be a Japanese baddie. Colin Chou’s creepy stalker is a crazed last final boss baddie. Shing is an infatuated assistant of Yvonne and avatar Yan Ayn Love. Now, Jet Li have a chance to be a hero and a nasty author as well.
To a degree the script is the weakest link, which appears ironic. Overly mandated alterations result in limited development of the protagonist and the plot fails to breathe life into anything but the fighting scenes. The sentimental ending doesn’t quite work (why not!) so while it certainly is amusing, the rhythm is rather slow considering the movie runs for barely 91 minutes. As a result, the performances become Two Dimensional Exaggerations, as each of the Adventure Kings assumes different roles, depending on the current McAuliffe.
Chou Si-kit appears to be more of a air explorations lead actor rather than a mapped out protagonist aka the adventure king. Rosamund Kwan barely makes any impact during wrap around scenes except chastising Chow Si-kit. She transforms from a damsel in distress waiting to be rescued into a ruthlessly swim clad man hater and tyrant in the other storyline, and transforms back. There chemistry shown in their “Once Upon A Time In China” is nowhere to be seen but in these circumstances it’s probably understandable. There is more of a party going on for Takeshi Kaneshiro and Charlie Yeung who seem to have the most fun with their portions. Colin Chou too is having a ball as the crazed villain ago the box is opened and cause him to lose his sanity.
In general, this is an interesting aspect. It’s just right for Ching Siu-tung and his style of Wire Madness. In addition, it completes the main plot, while drawing attention to an underdevelopment in the pacing of the entire structure. Overcome this and there is much to appreciate within the film. Not a masterpiece, but an amusing way to pass the time.
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