Chin Siu Ho plays a young man who believes himself to be an orphan. Until one rainy night when he and three different men find themselves taking shelter from the storm in the same place. Here the man who raised him tells him at last the story of who his parents were. His father (Lu Feng) was a great swordsman trying to dispel rumors of a wrongdoing and return a lost sword to its rightful owner. Kuo Choi and Chiang Sheng (also master swordsmen) are the parties that Lu Feng is trying to rectify things with. Through cowardly trickery on Chiang's part, a duel ensues and it all winds up with Lu's death. His son is taken to safety by a servant (the man who since raised him). Now with the truth told, Chin Siu Ho seeks out Kuo Choi's aid and seeks vengeance for the wrongful death of his father.
Chin Siu Ho plays a young man who believes himself to be an orphan. Until one rainy night when he and three different men find themselves taking shelter from the storm in the same place. Here the man who raised him tells him at last the story of who his parents were. His father (Lu Feng) was a great swordsman trying to dispel rumors of a wrongdoing and return a lost sword to its rightful owner. Kuo Choi and Chiang Sheng (also master swordsmen) are the parties that Lu Feng is trying to rectify things with. Through cowardly trickery on Chiang's part, a duel ensues and it all winds up with Lu's death. His son is taken to safety by a servant (the man who since raised him). Now with the truth told, Chin Siu Ho seeks out Kuo Choi's aid and seeks vengeance for the wrongful death of his father. . You can read more in Google, Youtube, Wiki
Jake A (de) wrote: With a solid cast and decent action this is a perfectly watchable if rather uninspired and forgettable police drama.
Mike E (br) wrote: It doesn't get worse than this. I could only even make fun of it for so long.
Peter G (au) wrote: Convoluted and implausable story set in the near future where people travel by swaping bodys with someone who is where you wish to be. Seriously. It's fun enough and there are some genuinly interesting ideas here but gratuitous sex scenes and the wooden meets corney acting of Stephen Baldwin and the rest of the cast take this almost to the realms of spoof.
Moo C (us) wrote: Hercules is very sexy.
Indi B (nl) wrote: i won't let my kids watch this movie even thou rated as "G" movie, hahahaha,*nah, kidding*
Jake A (ag) wrote: Not as bad as other movies I have given the same rating just that it is terribly average and doesn't strive to be anything new. The cast is good and some of the action is decent but beyond that there isn't much else.
Steven B (kr) wrote: Director Alex Cox certainly has a unique style all his own. In Walker we see that style, which is like a mixture of Terry Gilliam and Sam Raimi, applied to a real historical event- William Walker's intervention in Nicaragua in the 1850s. William Walker was a revolutionary who led a band of soldiers to Nicaragua in order to provide stability and spread democracy. He was hired by the powerful businessman Cornelius Vanderbilt so that a canal could be built eventually. While he was initially successful, the stability didn't last and Walker end up compromising his ideals and morals as things fall apart. I can see why my father recommended this film to me, since he likes both history and weirdness. He's the one that introduced me to another of Cox's films, Repo Man, which has been a favorite of mine ever since. If you like Repo Man, you'll be happy to know that some of the same character actors that were in it appear in Walker, most notably Sy Richardson. In addition I was impressed by the remaining supporting cast that Cox assembled. The star is Ed Harris in a brilliant turn as a William Walker. The film is very melodramatic in the tradition of Peckinpah or Sturges. One scene shows Walker and his band of "Immortals" engaging in a street battle. Most of it is in slow motion, our protagonists are falling left and right but Walker himself marches on unscathed. I thought for sure this was a dream sequence, but I soon found that this was just the style of the film. The historical events were a basic template for the screenwriter and director, but by no means is the movie faithful to the history. If that is what you want you will hate this movie (as many critics did). What Cox was actually going for was to relate the William Walker story to the present day late 1980s, when Nicaraguan affairs were still being interfered with by the United States. He brings this out with a few brief anachronisms, things from the 1980s that don't belong in 1856, such as a car, a helicopter, and Newsweek Magazine. Then during the end credits, the connection is made obvious when sound bytes and news clips from the 1980s are shown. As Cox points out in the DVD commentary, by the time Criterion put out the DVD in the I did like Walker, and I think I would like it more with repeated viewings. I can tell that it is not a film for everyone. I think many people will think that Cox took the subject matter too lightly and that the historical inaccuracies and anachronisms ruin the really good moments. Some of the characters and actors act kind of buffoonish, which might be a turn-off, though I got used too it and thought that they provided good comic relief. For now I feel I have to take a few point off because the story seemed a little rushed and raw at first viewing. And also, while many of the performances were good, they could have been better. There's also a fine soundtrack composed by Joe Strummer, which kept the tone of the film grounded and serious whenever it seemed like it might be getting too light. It's best moments and when it is its most chilling, is when it plays over the climax.
Jon P (us) wrote: Kaneto Shindo's ominous Onibaba opens with a bang and seldom settles thereafter. A chiaroscuro chiller set during a 14th century civil war, the film takes place in a sort of windy nightmare realm, following two scantily clad swamp women who slaughter and pillage unsuspecting samurai to make ends meet.The film's genre is a matter of debate, but 103 mins of rustling reeds, silhouetted shrieks and demonic masks certainly feels more horror than period drama. And one thing's for sure: its creep factor hasn't aged a bit.Monochrome madness with cinematography to die for.
Brad W (br) wrote: A class act! Great movie for all!
Christina Z (fr) wrote: sad movie, but I love Vivien Leigh.