Robert Clouse and Golden Harvest bear names that deservedly carry a bit of weight when it comes to martial arts films. Though uneven and very often decidedly over the top, Cynthia Rothrock's oeuvre is a great deal of fun, much more than not. Richard Norton has some fair credit of his own, and Keith Cooke, too. By pedigree alone 'China O'Brien' has a lot going for it, though anyone who comes upon it must also surely recognize certain indelicacies. The protagonist is just a small town girl, living in a lonely world, and despite Rothrock's capabilities and history in Hong Kong cinema, the movie does somewhat emphasize the former over the latter (up to a point). The plot, meanwhile, follows a familiar trajectory of a big city cop transplanted to their hometown to clean it up - but the action and suspense is tempered with the notable diversion represented in China's pursuit of the elected office of sheriff. Not too surprising given the "local yokel" setting, there are nonetheless definite flourishes of racism and sexism garnishing the feature. And even putting all that aside - this fits neatly within the list of Rothrock's other titles from the 80s and 90s, which is to say it's a smidgen cheesy, decidedly blunt, and unquestionably overcooked. 'China O'Brien' is a picture only a select audience is likely to earnestly enjoy.
Yet those same qualities that limit the viewership for Rothrock's films are exactly what make them such a great time, and I for one absolutely love this. A couple moments sequenced back to back, which should carry momentous weight in a more earnest production, become unintentionally funny for the sheer timing. Acting almost always takes a backseat when martial arts are involved, and it's no different here: the cast demonstrate glimmers of real capability, as they have elsewhere before and since, but there are also unmistakably instances that call for more authentic emotion, and what we get just doesn't quite cut it. And suitable as the screenplay is, ultimately it's nothing more than a vehicle, a pretense to film action scenes in a variety of situations where one manages to consistently be one-upped by the next in terms of outright cheeky bombast. Very importantly, those fight scenes are terrifically entertaining, without exception. The stunts and choreography are a delight, to say nothing of the showcase of specific martial arts skills, and the resourcefulness illustrated in utilizing the surroundings. Rothrock, Norton, and Cooke all have considerable experience, and they put it to great use. That, above all, is the great joy of these movies - however ridiculous they may be in so many ways, the martial arts action is always, reliably superb.
And we're still not done, because for as much as this is a wild romp, much about this is also done well. Special effects are swell, Clouse's direction is marked by his adept, practiced hand, and the editing also feels squarely on point. I honestly love David Wheatley and Paul Antonelli's original music - at times it feels a tad restrained, or overly simplified, yet themes are dependably enjoyable all the same and help to build the mood in any given scene. The technical craft at large is perfectly fine, and rounding details like hair and makeup, or costume design, are just dandy. No one will ever confuse Clouse's screenplay for a Christopher Nolan thriller, let alone a serious drama, but all told I think it's as solid as it needs to be. At long length, I watch 'China O'Brien' and I very plainly had fun. Cinema can be many things - modern action movies can be many things - but for all the fireworks, world-building, sardonic wit, and references that dominate much of popular fare in 2022, too many movies are so wrapped up in themselves that they forget to just have a good time. A world-class masterpiece this is not, but I had a blast, and immediately want to watch it again; if that's not a high compliment, then what is?
Factor in a set of antagonists who are all too real as veritable mirrors of present-day conservatives (in any country), and for whatever perceived inelegance, weakness, heavy-handedness, gaucheness, or dubiousness one may account, the end result remains the same. I won't claim for one moment that this is going to appeal for everyone, but I entered with uncertain expectations and was thoroughly entertained in no time at all. I hold 'China O'Brien' to be an underappreciated classic that deserves more recognition, and that I frankly think current active filmmakers could stand to learn from. Two thumbs up from me!
Yet those same qualities that limit the viewership for Rothrock's films are exactly what make them such a great time, and I for one absolutely love this. A couple moments sequenced back to back, which should carry momentous weight in a more earnest production, become unintentionally funny for the sheer timing. Acting almost always takes a backseat when martial arts are involved, and it's no different here: the cast demonstrate glimmers of real capability, as they have elsewhere before and since, but there are also unmistakably instances that call for more authentic emotion, and what we get just doesn't quite cut it. And suitable as the screenplay is, ultimately it's nothing more than a vehicle, a pretense to film action scenes in a variety of situations where one manages to consistently be one-upped by the next in terms of outright cheeky bombast. Very importantly, those fight scenes are terrifically entertaining, without exception. The stunts and choreography are a delight, to say nothing of the showcase of specific martial arts skills, and the resourcefulness illustrated in utilizing the surroundings. Rothrock, Norton, and Cooke all have considerable experience, and they put it to great use. That, above all, is the great joy of these movies - however ridiculous they may be in so many ways, the martial arts action is always, reliably superb.
And we're still not done, because for as much as this is a wild romp, much about this is also done well. Special effects are swell, Clouse's direction is marked by his adept, practiced hand, and the editing also feels squarely on point. I honestly love David Wheatley and Paul Antonelli's original music - at times it feels a tad restrained, or overly simplified, yet themes are dependably enjoyable all the same and help to build the mood in any given scene. The technical craft at large is perfectly fine, and rounding details like hair and makeup, or costume design, are just dandy. No one will ever confuse Clouse's screenplay for a Christopher Nolan thriller, let alone a serious drama, but all told I think it's as solid as it needs to be. At long length, I watch 'China O'Brien' and I very plainly had fun. Cinema can be many things - modern action movies can be many things - but for all the fireworks, world-building, sardonic wit, and references that dominate much of popular fare in 2022, too many movies are so wrapped up in themselves that they forget to just have a good time. A world-class masterpiece this is not, but I had a blast, and immediately want to watch it again; if that's not a high compliment, then what is?
Factor in a set of antagonists who are all too real as veritable mirrors of present-day conservatives (in any country), and for whatever perceived inelegance, weakness, heavy-handedness, gaucheness, or dubiousness one may account, the end result remains the same. I won't claim for one moment that this is going to appeal for everyone, but I entered with uncertain expectations and was thoroughly entertained in no time at all. I hold 'China O'Brien' to be an underappreciated classic that deserves more recognition, and that I frankly think current active filmmakers could stand to learn from. Two thumbs up from me!