Skip to content

Plot: passive gamer must defend ancient China from barbaric warlord.

The only thing that The Warriors Gate (released in Mainland China as 勇士之門 and most of the English-speaking world The Warriors Gate – except in North America where it was called Enter the Warriors Gate) has going for it that it’s more or less a remake of The Forbidden Kingdom (功夫之王) (2008), which was in dire need of remaking because… it was only eight years old? The Forbidden Kingdom (2008) had the good fortune to have both Jet Li and Jackie Chan. The Warriors Gate makes the exact same mistakes that made The Forbidden Kingdom (2008) so reviled among fanatics who actually watch and know Asian martial arts and wuxia films. The Warriors Gate is a Chinese co-production with about three name stars but written, produced, and directed by a bunch of Europeans and Americans who seem to have no understanding of the nuances and subtleties of a good period costume wuxia, except that they typically feature high-flying, wire-fu action choreography, beautiful women in ornate dresses and heroic storylines full of betrayal, quests, and arcane magic. The Warriors Gate has all of that to lesser or greater degree, but has apparently no idea what to do with any of it. It almost makes you yearn for The Thousand Faces Of Dunjia (2017).

The Forbidden Kingdom (2008) had Jet Li, Jackie Chan, Liu Yi-Fei, and Li Bing-Bing with action choreography from Yuen Wo-Ping. In short it had the best acting talent in the business, two of the best martial artists of their generation, and an action choreographer who was a dyed in the wool producer and director. By comparison The Warriors Gate, a few notable exceptions notwithstanding, is almost entirely made up of nobodies. Or at least nobody for anyone coming to this from the Asian perspective. Ni Ni, Francis Ng Chun-Yu, and Kara Hui Ying-Hung are all superstars back in Mainland China and it’s insulting enough that talent of this caliber has to appear in western dreck like this to stay working in between better projects. Ni Ni - bombarded to the next big mou girl after beloved icons as Gong Li, Joey Wong, and Brigitte Lin – has talent to spare and here she’s practically reduced to the role of obligatory love interest? Francis Ng Chun-Yu is a versatile supporting actor and he’s reduced to a few ticks. No one suffers a fate poorer than Kara Hui Ying-Hung who’s forced to wear a silly costume and isn’t even given the decency of a single fighting scene. Tony Ling Chi-Wah’s action direction is up to the expected standard, but it’s too little too late. That director Matthias Hoene got his start in music videos is also abundantly clear. Luc Besson is a good enough producer of mass audience swill but everything clearly went haywire here.

Jack Bronson (Uriah Shelton) is a passive layabout who’s in no hurry to become upwardly mobile and more pro-active to make something of his life. Jack is bullied at school and shunned by members of the fairer sex. To forget his first world problems he lives like a hermit and plays too much videogames with his tubby friend Hector (Luke Mac Davis). His mother Annie (Sienna Guillory) is an overworked and underpaid realtor who tries her darndest to keep a roof over his head. One day Jack takes home an ancient jar from the antiquity shop where he works after school. According to Mr. Cheng (Henry Mah) the jar comes from Beijing and possesses special powers. Jack doesn’t pay too much attention to Mr. Cheng’s stories until one night he finds himself on the wrong end of a blade wielded by the warrior Zhao (Mark Chao You-Ting) who was given specific instructions to seek out the Black Knight (Ron Smoorenburg), Jack’s avatar in his favorite fighting game, and the one prophezied to liberate the empire.

The empire has fallen before the barbaric hordes of Arun the Cruel, the Horrible, the Terrible, the Miserable (Dave Bautista). Arun plans to crown himself Emperor by forcing headstrong Princess Su Lin (Ni Ni) into an arranged marriage to consolidate his power. Any opposition will swiftly be slain by his forces under command of general Brutus (Zha Ka). According to the Wizard (Francis Ng Chun-Yu) a brave warrior from a far off land will come and embark on a perilous quest taking him across the mountains. There he will vanquish the mountain witch (Kara Hui Ying-Hung) and escape the clutches of the seductive nymphs (Ming Xi, Tianyi You, and Lijie Liu). During his quest this warrior will unlock incredible powers within himself that will allow him to free the Princess from captivity and defeat Arun once and for all… The thing is, Jack isn’t too sure he’s the guy they’re looking for. What in the world could somebody as small and insignificant like him possibly amount to?

As a producer, writer, and director Luc Besson has had a hand in titles as diverse as Nikita (1990), Léon (1994), The Fifth Element (1997), Taxi (1998), Joan of Arc (1999), Ong-bak (2003), District B13 (2004), Bandidas (2006), The Extraordinary Adventures of Adèle Blanc-Sec (2010), and Valerian and the City of a Thousand Planets (2017). We would be remiss to mention that Besson in recent years stood at the cradle of the very lucrative Taken and The Transporter franchises, not even mentioning that both Nikita and Taxi were remade for the American market in 1993 and 2004, respectively. That Besson came from humble beginnings and started his career with The Last Battle (1983) (which evolved from a short feature he directed in 1981). His first big break was directing the ‘Pull Marine’ music video from Isabelle Adjani in 1984.

Since The Warriors Gate is a western production that just happens to be filmed in China it obviously isn’t going to be overly concerned with appealing to a Chinese audience. It looks like a fantasy wuxia with a western protagonist but The Warriors Gate is an East meets West comedy first, a buddy cop movie second, and a fantasy wuxia (which it barely qualifies as) or period costume epic distant third. It doesn’t help that it was written by Robert Mark Kamen who wrote the excellent three original The Karate Kid (1984-1989) movies, the fourth (and final) episode The Next Karate Kid (1994) and the wholly redundant 2010 remake with Jackie Chan. In recent years he penned the science fiction romp The Fifth Element (1997), the western spoof Bandidas (2006) (with Penelope Cruz and Salma Hayek), most of the Taken and The Transporter movies as well as Colombiana (2011), a South American take on Besson’s own Nikita (1990). In other words, there was no way that The Warriors Gate was going to be good.

Ni Ni (倪妮) was in a far better domestic movie the same year with the rom com Suddenly Seventeen (2016). It’s strange enough hearing her speak (phonetic) English or why she even agreed to a flowervase role in a western co-production. Why reduce an actress of Ni Ni’s stature to what is essentially a glorified girlfriend role? Talk of wasting talent! Uriah Shelton is mostly famous for his turn in Disney Channel series Girl Meets World (2014-2017). Equally lamentable is Sienna Guillory, now a decade removed from Eragon (2006), and back in bad movie oblivion yet again. Her presence in the entirely pointless 2010 remake of The Time Machine (1960) was plenty of evidence that Guillory is destined to remain a second-tier. She wasn’t able to land a decent script or role since the British ensemble rom com Love Actually (2003). Dave Bautista does his best Gerard Butler impression. His barbarian horde look as a mix between Mongol and Viking warriors complete with over-the-top warpaint and Dimmu Borgir wardrobe. It’s as if Besson wanted Butler but he had committed to Gods Of Egypt (2016), so Besson settled for the second best. Francis Ng Chun-Yu (吳鎮宇) is wasted on a comic relief role as Wizard and he was in far more enjoyable HK action flicks as Devil Hunters (1989) (with Moon Lee) and the fantasy wuxia The Bride with White Hair (1993) (with Brigitte Lin). Likewise is Kara Hui Ying-Hung (惠英紅) reduced to a blink-and-you’ll-miss-it cameo as a mountain witch. It begs the question why Besson hired Hui and then proceeded to not giving her any fighting scenes whatsoever. Hui is known for her martial arts prowess and was last seen around these parts in the enjoyably kinetic Madam City Hunter (1993). To say that the Chinese talent is wasted on this western action-adventure swill is putting it very mildly.

What mostly kills The Warriors Gate isn’t so much the assembled talent, but Kamen’s trainwreck of a screenplay that raises more questions than it answers. There’s suspension of belief and taking some artistic license and then there’s something as futile as this. It’s never specified what period this is supposed to be set in or in what region of China for that matter. It’s insulting enough that the fate of an ancient Chinese empire hinges upon a Caucasian westener or that every Chinese character speaks perfect English. If there’s one good thing about The Warriors Gate it’s that it puts Ni Ni in a variety of beautiful, colorful dresses and even some urban casual wear. Given that this is a Robert Mark Kamen script we’re supposed to take it as an underdog story and East meets West comedy which is pretty much the only thing Kamen is good at writing. Where the interactions between Italian-American working class teen Daniel LaRusso and senior aged Okinawan martial artist Keisuke Miyagi were playful and innocent nothing is particularly funny or insightful about the sparring between Jack and Zhao. Miyagi learned Daniel-san something about the world, about himself, about karate. You’d imagine that Jack picks up a thing or two during the second act as they traverse the land for something or other, but no such thing appears to be the case here. The only Hollywood convention that The Warriors Gate doesn’t conform to is giving Jack a girlfriend by the end of the picture, although it’s hinted that Su Lin has taken an interest in him. The comedic bits with Su Lin in the modern world are decent, mostly because Ni Ni does all the heavy lifting requiring Uriah Shelton only to react. The running gag with Arun’s “Kill him, Brutus! No, not him! Him!” is worth a chuckle.

It sort of begs the question why this was necessary. The Forbidden Kingdom (2008) is still widely available for anyone wanting to see it, and it wasn’t exactly a genre classic in need of reimagining. In place of making this a serious period costume or fantasy wuxia this is the umpteenth trainwreck of western filmmakers invading upon territory that isn’t their own and making complete fools of themselves in the process. Much to the delight of Sino audiences, likely. Asian and western audiences have different cinematic expectations and sensibilities. The Warriors Gate is the western equivalent of Chinese-Thai co-production Angel Warriors (2013) which is to say that it fails in every aspect but there’s enough pretty faces to look at. That the western world is finally giving Ni Ni a chance (after Fan Bing-Bing, Zhang Ziyi, and Liu Yi-Fei as well as Bollywood superstar Priyanka Chopra, to name a few recent examples) can only be applauded. However there must be better roles for actresses of her caliber and repute. The Warriors Gate exemplifies just about everything wrong with international co-productions. Sino – and European cinema has far better things to offer than brainless swill like this. The Warriors Gate should have been so much more than what it ended up being. See it for the Sino talent (Ni Ni, Francis Ng Chun-Yu, and Kara Hui Ying-Hung), Dave Bautista, Sienna Guillory, and pray that they find more worthy projects, domestic and abroad.

Plot: troubled Vietnam vet turns vigilante to restore order in his city.

Just two years ago French indie filmmaker Benjamin Combes made the coolest retro 80s action movie. That was Commando Ninja (2018) and it was lensed over a two-year period on a modest €35,000 budget. A 70-minute love note to just about every classic Arnold Schwarzenegger, Sylvester Stallone, and Jean-Claude Van Damme movie under the sun. Hopkins does for the vigilante what Perfect-Lover.com (程序戀人) (2018) did for the robot girlfriend subgenre: enliven it by modernizing its worn-out conventions and tropes. Always wanted to know more about what events shaped corporal Leeroy Hopkins? Ask and you shall receive. Just like The Last Human in the Milky Way (2015) before it Hopkins packs a lot of punch in a short 18 minutes. Not only is Hopkins a thematical precursor to its more popular cousin but it also serves to whet appetites for and drum up interest in the currently in pre-production and being crowdfunded Commando Ninja II: Invasion America. Before John Hunter there was Hopkins.

Naturally a project like Hopkins requires a different aesthetic and stylistic approach. Instead of the over-the-top action of Commando Ninja (2018) this time around Combes explores the urban vigilante subgenre that was popular from the mid-to-late seventies. As such Hopkins takes more of a psychological direction and is much more of a slowburn instead of a wall-to-wall action romp. It’s more Taxi Driver (1976) than The Driller Killer (1979) and more Death Wish (1974) than First Blood (1982) – which doesn’t stop it from climaxing with an obvious homage to The Exterminator (1980). As much as the The Exterminator (1980) segment is the centerpiece Hopkins at all times remains a very character-driven piece. As much as Combes loves all those no-holds-barred action movies that Cirio H. Santiago seemed to specialize in whenever he wasn’t ripping off Mad Max (1979) or making topless kickboxing movies - Hopkins is not that. No, Hopkins is a very quiet, brooding, and at times introspective piece of cinema.

New York City, 1978. Five years after they put a rifle in his hand, sent him off to a foreign land to go and kill the yellow man corporal Leeroy Hopkins (Philippe Allier) is a PTSD-afflicted pariah and vagrant. In lieu of treatment he numbs his pain with alcohol and narcotics. In his waking hours he’s haunted by visions of Vietcong (Leo Guyard and Joey Rudolf) he encountered in the jungle and the nights are even worse. The country and city he loves and spilled blood for is morally bankrupt and ripe with decay. Pimps (Ludwig Oblin), prostitutes, and crackheads litter the streets. The very peope he fought now are food vendors and run restaurants all across the Big Apple. His commanding officer Colonel Magnum (Steve Rappard) and the military brass seem in no hurry to offer any help. The more destitute and desperate Hopkins grows the further he slips into insanity. When his former Vietnam buddies start dying under mysterious circumstances Hopkins’ condition only worsens. The further his sanity erodes the stronger and livelier his visions become. One night he encounters an AK-47 wielding Vietcong woman Lan (Floriane Fizaine) emerging from the sewers, but shrugs it off as a hallucination. Except that it isn’t. Armed with a flamethrower Hopkins engages his (real or imagined) enemy – until the Army find him passed out in the street, boozed and drugged out of his mind. 1 January, 1979 - Magnum recruits a sobered up Hopkins into the Army reuniting him in California with his Green Beret buddies from the old Lizard Smokers platoon. Not only did he get a fancy-looking suit and plum desk job with the US Air Force – the military installed him with a rather nifty Powerglove too.

And let it be known: Benjamin knows exactly which buttons to push and which genre sensibilities to cater to. His heroes are very much modeled upon Schwarzenegger, Stallone, and Van Damme’s most enduring characters – yet besides all that rugged, roided up masculinity he, very much in Hong Kong tradition, consistently casts strong and beautiful women, Caucasian and otherwise, in key roles and parts of narrative importance. In Commando Ninja (2018) we had Cécile Fargues, Charlotte Poncin, and young Anaëlle Rincent. Hopkins has Floriane Fizaine. True to form Hopkins is not Fizaine’s story and Philippe Allier very much owns the character he so brilliantly portrayed two years before. Helped in no small part by the fact that Allier looks like a young Michael Biehn he’s Chuck Norris and Jean-Paul Belmondo rolled into one. His Hopkins is smug, casually racist, but that macho bravado belies a deep insecurity and hurt. It makes you wish people like Jean-Pierre Marielle, Serge Sauvion, and/or Howard Vernon were still around to play the elder patriarch of some crime dynasty. Hopkins’ aim is not big explosions, witty quips, and/or funny one-liners. Combes exhibits his versatility by showing that a character study comes just as natural to him as an action flick. In a just world Hopkins would be expanded into a 90-minute feature.

Who wouldn’t want to see Combes do a Naked Vengeance (1985) or Silk (1986) derivate – or better yet, a good-natured Andy Sidaris styled spy-action romp like Hard Ticket to Hawaii (1987) or Picasso Trigger (1988) with Charlotte Poncin, and Cécile Fargues in candy-colored bikinis fighting Floriane Fizaine with oversized guns in some sunny tropical locale? Bring back the aerobic and new wave. Stock up on spandex and lycra, neon-colored leggings, stirrup-pants, pastel-colored leotards and bodysuits, legwarmers and headbands. Have the assembled bronzed, oiled (and preferably exposed) hardbodies of Emilie Bedart, Océane Husson, and Stella Reig at the ready. Hell, hire GreenCatFromHell and Céline Ebeyne while you’re at it. Let Anthony Centurini and pint-sized powerhouse Cecily Faye do the choreography. Crank up that electric guitar. Fire up the sax. The world needs a hero. Ideally in the shape of a woman. Things are goddamn grim. Keep the blood flowing, the bullets flying, and the boobs bouncing. Enough with the commandos. We need more estrogen. Call in the LETHAL Ladies.

If Mainland China can churn out a multi-episode parallel all-girl franchise to Sylvester Stallone’s The Expendables franchise on a fraction of the budget, so can you. Kinda like Mercenaries (2014) reimagined with an 80s sensibility. Bring Me the Head Of the Machine Gun Woman (2012) (with Fernanda Urrejola) sort of got it. Get the old band back together and lens that StarCrash (1978) or Galaxina (1980) space romp that The Last Human in the Milky Way (2015) only hinted at. Better still, how about an epic adventure in the Conan the Barbarian (1982) and Barbarian Queen (1985) tradition? If Arrowstorm Entertainment can produce the Mythica (2014-2016) pentalogy there’s obviously a market and audience for that sort of thing. Certainly Nicola Posener, Melanie Stone and/or Danielle C. Ryan wouldn’t mind a holiday dans la belle France.

In short, there’s plenty of creative avenues to go from here and a multitude of projects to conceptualize and explore. If this is going to be Benjamin Combes’ modus operandi to follow up each full length feature with a short movie the future is looking bright and, no doubt, lit in eye-searing neon. We haven’t seen the last of monsieur Combes yet. Judging by his social media profiles the vaults of his boundless imagination are bursting at the seams just like his women are always on the verge of busting out. If you couldn’t get enough from Commando Ninja (2018) and are hungering for more, Hopkins is your ticket. It might be tonally different but is otherwise largely the same. Floriane Fizaine is a breath of fresh air and hopefully we’ll see more of her in the future. Imagine if Combes unleashes her as an enemy on John Hunter much in the same way as Veronica Ngo in Furie (2019). As a matter of fact we wouldn’t be surprised in the slightest if Hopkins ends up partially (or entirely) reconstituted as a character – and worldbuilding flashback in Commando Ninja II: Invasion America. As Sensei Yinn proclaimed, “there can be only one… Commando Ninja!” hopefully this is only the beginning of a very prosperous and enduring indie franchise. If that doesn’t catapult Benjamin Combes into a Hollywood or Hong Kong career, then what will?