![]() ![]() This time around, the mission revolves around an endangered Chinese accountant (Jackson Lou), who’s crossed the wrong people-or at least the wrong people think he’s crossed them-and needs protection. The train’s running, but few new thrills emerge down the line. The movie goes all around the world, but it never escapes the shadow of the James Bond franchise, the specter of super-trained agents forever ready to right wrongs. Sadly, this time out, such motion barely obscures the scarcity of things to actually move. Tong, also a highly-regarded fight choreographer, boasts a knack for keeping things moving. 20, marks Jackie Chan’s seventh film with his friend Stanley Tong directing. Acknowledge, no matter how hard it may be, that your enemies today, just might be your friends tomorrow. View yourself as part of the whole, not the main event. Those top-notch outings boast action to spare, but alongside character sensibility, memorable villains, meticulous choreography mixing action with comedy (Chan’s explained that he wants his fights to look like dances), and a morality which, while hardly complex, stressed heartening values. ![]() Jackie Chan’s best movies, say, “Rumble in the Bronx,” or “The Legend of Drunken Master,” raised the bar. They are often brainless action films, films that pushed the whupass, or the whoopass, in the absence of any strong elements of character development, nuance, or memorable dialogue past a few curt, comedic catchphrases. My old cinematic friends called it “whupass.” You spell that either “whupass” or “whoopass.” A two-syllable brand for action films.
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