Shanghai Noon Review
by Max Messier (cnull AT mindspring DOT com)May 28th, 2000
filmcritic.com presents a review from staff member Max Messier.
You can find the review with full credits at
http://www.filmcritic.com/misc/emporium.nsf/2a460f93626cd4678625624c007f2b46/5afefb1a088f22c8882568ea0011c46d?OpenDocument
Shanghai Noon
A film review by Max Messier
Copyright 2000 filmcritic.com
The American movie studios are bastards when it comes to taking highly
talented Asian directors and actors and pushing them into the American
consciousness, invariably stereotyping and watering down the raw talent
and energy of the individuals to increase their acceptance in American
culture. Jet Li, Tsui Hark, Ringo Lam, Chow-Yun Fat, Michelle Yeong,
and John Woo have all fallen victim to this epidemic, either starring in
bad Joel Silver action movies, playing sinister villains in bad Joel
Silver movies, seducing James Bond, or directing Jean Claude Van Damme
in films stamped with one of his patented roundhouse kicks.
Jackie Chan represents the grand amalgamation of all of these actors
combined. With the embarrassment of the re-release of a slew of his old
Asian films, re-cut and dubbed in English, Jackie Chan was headed to the
land of Jim Kelly (aka Black Belt Jones). But with the success of last
year’s Rush Hour, Chan was saved from the abyss of Don “The Dragon”
Wilson by the mighty mouth of Chris Tucker and a $100 million dollar
domestic gross. So, what’s Chan’s next move – let’s take the same story
as Rush Hour, make it a Western, throw in the well-established TV
actress Lucy Liu, and added the wise-cracking Owen Wilson as his
partner. And watch the money pour in.
The scary thing about all of this is that Shanghai Noon actually works
and is one of Chan’s best American efforts to date. I am big Chan fan
and my main complaint with all of his films is that I have not witnessed
any of his trademark “super-stunts” in most recent years. The last
great one is when he jumped from one building to another in Rumble in
the Bronx.
Shanghai Noon gives us many great Chan fight sequences. Director Tom
Dey does an admirable job of capturing all the tremendous agility of
Chan. It almost seems like Sammo Hung, one of Chan’s best Asian
directors, was working in tandem with Dey.
Chan is fast and furious when he has the most innocent of objects in his
possession, like a piece of rope and a horseshoe that he snaps faster
than a gunslinger. Shadows of the Three Stooges are echoed strongly in
Chan’s movies and his moves. Chan also uses a bit of his patented
Drunken Master techniques defending the honor of a woman. Slow-motion
shots also further highlight his magic moves. (For the first time in an
American production, Chan employs fellow actor and fight choreographer
Biao Yuen, who has worked with Chan since the days of Project A and
Meals on Wheels.)
The most important ingredient in the film is Owen Wilson. He is one of
the only actors that can move from such films as last year’s The Minus
Man, in which he played a quiet serial killer with a conscience, to a
gun-toting train robber who prefers the ladies over the gun. Ever since
his debut in the quirky indie film Bottle Rocket, Wilson has become a
solid character actor. His role as “that guy” in The Haunting,
Armageddon, and Anaconda was the highlight of each of those films.
Shanghai Noon will be Wilson's breakthrough role. Wilson brings a
wonderful subtlety to the film and his dry wit works well with the
wonderful comedic timing of Chan. Most of the laughs come from Wilson's
own insecurities and trepidation about being an “outlaw.” One of the
best scenes in the films is when he rides into town and sees a wanted
poster with his face on it. His reaction is, “This will surely make the
girls want me more!”
One of few problems with the film is that it draws a bit too much
inspiration from early Asian films such as the Jet Li vehicles Once Upon
a Time in China and Once Upon a Time in America and Jackie Chan’s Who Am
I? The main bad guy, Roger Yuan (who was also seen in the Once Upon a
Time movies) is a cardboard, stereotypical Asian bad guy. The subplots,
involving social commentary on the state of Chinese immigrants and an
annoying love interest with Chan, tend to drag. Overall though, these
are minor elements within the broad canvas of the film’s stronger
moments.
Shanghai Noon is an enjoyable film. You get great laughs that creep in
under the cover of sarcasm, wonderful action sequences, beautiful
cinematography, and a horse that enjoys a good bottle of whiskey. The
film also employs a typical theme of Chan movies: People are beaten to a
pulp by high flying kicks to the head, rabbit punches to the gut, thrown
through glass windows, hit by cars, run over by large animals – and they
never die.
Director: Tom Dey
Starring: Jackie Chan, Owen Wilson, Lucy Liu, Roger Yuan, Xander
Berkeley
Writers: Alfred Gough, Miles Millar
Producers: Jackie Chan, Roger Birnbaum, Gary Barber
Rating – PG-13
Four stars out of five
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