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If only movie theaters allowed us to hook up our Xbox controllers and button mash during the fight scenes for a more realistic interactive experience than just sitting and watching this demo.  Jet Li (Cradle to the Grave, Hero) stars in the second English-language film written for him by French action auteur Luc Besson (The Transporter, Wasabi), and while the results are decidedly better than Kiss of the Dragon? the artificial storyline and wafer-thin characterizations put this in the category of a great action movie combined with bad drama.   Of course, it?s hard to go wrong in the action department when you have Yuen Woo-ping as the choreographer, and while this is much more subdued than futuristic Matrix films or the high-flying wuxia style of Crouching Tiger Hidden Dragon, the grittiness of the situations gives the action an extra visceral jolt when played out in the real world of today.  Jet Li plays Danny the Dog, a lifetime slave who from day one of his "ownership" was taught to be a fighter and killer for his gangster boss, Uncle Bart (Hoskins, Beyond the Sea).  Never receiving a formal education, Danny still has the mind of a child, and the only thing that keeps him from being lethal at all times is the collar he wears to keep him at peace.  Bart has been using him to muscle protection money out of local businesses, but soon he discovers even bigger funds can be had if he enters Danny in lethal underground club fighting, where men fight to the death for a sizeable sum.  Bart’s plans go awry when Danny escapes him, and soon Danny is adopted by a blind musician (Freeman, Million Dollar Baby) and his precocious adopted daughter (Condon), and together they form a strange family bond that soothes the savage beast within Danny. 

Other than the aforementioned action scenes, if there is one other thing that Unleashed has going for it, it is in the very sympathetic portrayal of Danny by Jet Li.  Jet may not be known for his acting, as the way he delivers a kick will always be more amazing than the way he delivers a line of dialogue, but still, he does make Danny a very believable grown man with the mind of a young boy and disposition of an attack dog.  This sympathy does pay off in the later action scenes, where Danny must reluctantly enter the arena in a kill-or-be-killed showdown, as we feel sickened watching him take a pummeling without fighting back and hope that he can escape alive.  It almost works, if only the script weren?t so firmly set in fantasyland.  The whole premise of the ?Mortal Kombat? style arenas in underground clubs where gladiators fight to the death is hard enough to swallow, and then you have to add on the story of a boy who grows up as a dog in order to be in the right frame of mind to kill on command.  As if these things weren?t silly enough, the most artificial aspects of the story comes when Danny is out in the ?real world? mingling among supposedly real people.  These people happen to be a kindly blind musician and a spunky young girl with a heart of gold, seemingly lifted right out of the pages of some half-baked comic book.  The dialogue between the characters is trite, never really letting you believe that these could actually be people you?d ever think to meet outside of a bad movie, and when the great Morgan Freeman can?t deliver a line in a way that convinces me, you know there must be something wrong with the writing. Unleashed is a kick-ass action flick stuck in the middle of a junk movie, and your mileage will certainly vary as to how much you?re willing to go with the wooden dialogue and heavily overblown plot for the sake of watching Jet Li do his thing.  Based almost strictly on Jet Li?s performance, both in and out of the fighting arena, I wish I could give this one a recommendation, but ultimately, better writing is the necessary ingredient to make this energetic crock fly.  I would say Unleashed would make a better video game than a movie if only it didn?t seem so readily apparent that the shallowest of video games inspired it. 

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Wong plays middle-aged father Teddy Yu, mild-mannered chiropractor by day and super kung-fu secret agent by night, or at least that’s the way he tells it to anyone who’ll listen. His teenage kids consider dad an embarrassment, always bothering their friends with outlandish “big fish” tales about his exploits against supernatural ninjas and diabolical madmen, and Teddy accepts his status as a good-natured fool. The twist, as you can see coming, is that Teddy really is a super kung-fu secret agent. His cover is in being so open about his identity that no one could possibly believe him, least of all his own children.

Soon enough a shadowy figure from Teddy’s past appears and trouble starts brewing. Teddy is kidnapped by a Blofeld/Dr. Evil wannabe, leaving his kids to discover the truth of his identity and race into action to rescue their old man. It’s a good thing that Pop taught them kung-fu, just in case something like this should ever happen. Much martial arts mayhem ensues.

House of Fury has a cute concept and in execution attempts to provide a little something for every demographic. There’s goofy humor for the youngsters, a set of heartthrob leads for teens (though, disturbingly, the closest the film offers for romance is some flirtation between one character and his own cousin; maybe something hasn’t been translated correctly), and quite a bit of kung-fu and excitement for action fans. The problem is that the movie just doesn’t break any new ground. Not that every movie needs to be an innovative masterpiece, but everything here feels so familiar and warmed over. The picture is highly derivative of many other films, both Chinese and American. Unlike better pastiche projects (such as Tarantino’s Kill Bill opuses), this one never comes together to develop its own identity. Everything feels recycled. Even the fight scenes, well choreographed by the redoubtable Yuen Wo-Ping, feel repetitive and fail to innovate. We’ve seen all these moves before.

Worse, the movie can’t quite decide what type of action film it wants to be. The majority of the kung-fu is staged in a “realistic” manner (I hesitate to use that word, given how ridiculously difficult it would be for a real person to attempt this sort of thing), but then every once in a while director Fung will throw in a Wuxia element where characters can suddenly fly through the air with superhuman grace. The movie tries to be Jackie Chan with random bursts of Jet Li mixed in for no discernable reason. A novice viewer probably wouldn’t notice, but it’s quite distracting for anyone who watches a lot of this stuff and can tell the difference.

Nonetheless, House of Fury has its charms. It’s worth a viewing if for no other reason than to watch Anthony Wong, a star usually associated with gangster and police thrillers, bust into some kung-fu moves and kick ass. The opening scene in which he nonchalantly takes on hordes of ghostly assassins is a total blast. I wish the rest of the movie had lived up to that promise, but even if not it’s still a reasonably fun adventure that won’t waste too much of your time.

The DVD:
Tai Seng has released House of Fury in a 2-disc edition that I would assume contains a direct port of the audio and video transfer from the earlier Hong Kong release by Joy Sales. The bonus features appear to be more English-friendly, however.

Don’t be misled by the cover art, which shows all of the characters dressed up in costumes they never wear in the film. It even has one character standing in a kung-fu pose even though in the movie itself he’s wheelchair-bound for the entire feature.

Video:
The anamorphically enhanced 2.35:1 video transfer is just plain terrific. The picture is very sharp and detailed, with next to no edge enhancement ringing (I only spotted some in one shot). Vibrant colors pop off the screen. The contrast range is also extremely vivid, from the gleaming white of Anthony’s Wong’s first kung-fu uniform to deep, inky blacks, always with plenty of shadow detail. Digital compression has no significant errors. This is a first rate job all around.

Audio:
The movie’s original Cantonese soundtrack is presented in Dolby Digital 5.1 or DTS. Switching between the two, the DTS track is slightly preferable, though to be honest both were disappointing. The mix is very directional with active use of the surround channels, but fidelity is just not as full-bodied as the best soundtracks. Most upsetting is the fact that the entire audio wusses out during the action scenes when it should become the most aggressive. Instead, most dialogue and comedy scenes have crisp sound effects and some moderately effective bass, but as soon as a real fight starts up the volume level for the entire track drops as if a dynamic range compression filter were used. The opening scene starts off pretty good, but afterwards this volume drop happens consistently throughout the movie any time an action scene begins.

Also annoying is the fact that the dialogue is poorly recorded in a number of scenes, with echoes or hollow ambience. Under normal circumstances, ADR looping should be used in post-production to re-record the lines, but apparently that wasn’t done.

Alternate Mandarin and English dub tracks are provided in Dolby Digital 5.1. The English dub is hilariously awful, especially the nasally voice given to Anthony Wong. As a matter of fact, all of the characters have nasally voices. Optional English and Chinese subtitles are available. The English translation is quite good for the most part, but some of the verbal jokes in the dialogue just don’t translate well. The subtitles appear entirely within the 2.35:1 image in anamorphic mode.

Extras:
Both discs in the set start with lengthy, unskippable forced trailers. Worse, they are the exact same trailers on both discs! Hitting STOP and then MENU as soon as the disc starts up should get you past them on most DVD players.

Disc 1 contains only 3 non-anamorphic letterbox trailers for the film. The rest of the supplements are on Disc 2, starting with the 45-minute Behind the Scenes featurette. The piece consists entirely of raw production footage of the actors and crew doing their thing on set. Subtitles appear sporadically when people talk. Despite its length, I would hesitate to call this a “documentary” since there is no narrator to explain what is happening and no sense of deliberate editing structure at all. It’s really as if a couple of cameras were plopped down on set waiting for people to walk in front of them, and now we get to see everything they shot. I watched a few minutes of it and then skipped around to see more of the same. I can hardly imagine anything more tedious.

Following this are 55 minutes of Cast and Crew Interviews from stars Daniel Wu, Gillian Chung, Josie Ho, Michael Wong, and director Stephen Fung. Wong’s interview is conducted in English, while the rest are Cantonese with English subtitles. Daniel Wu seems like an intelligent young man and struggles to find interesting things to say. The rest mostly just recap the movie’s plot or their character’s role in it.

A 10-minute Making Of featurette comes straight from the EPK packet. The disc finishes with 8 TV Spots.

No ROM supplements have been included.

Final Thoughts:
House of Fury is a lightweight but modestly entertaining action comedy. The DVD has great video, but disappointing audio and nothing special for bonus features. I doubt this is an essential purchase for most viewers, but I enjoyed it enough to give it a mild recommendation. A rental may suffice for most.

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DOWNLOAD MOVIE Laramie Project, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"Laramie sparkles, but ?Laramie? doesn?t." (Average)

My first exposure to ?The Laramie Project? was through a theater company in Ohio. It was a small production, with a cast of eight actors playing all 50-some roles. Even jumping back and forth between supportive, antagonistic and indifferent, all eight managed to perfectly capture the spirit of the play and the real emotions behind it. As a movie, ?The Laramie Project? misses most of that spirit. The story is still genuinely strong, but while the play felt real, the movie seems false. I feel like I?m watching fiction, when I should be watching reality.In theory, ?The Laramie Project? may be the perfect movie. There are, of course, great movies that are pure popcorn entertainment, but ?Laramie? is different. The story, based on a play of the same name, never deals directly with the tragedy of Matthew Shepard?s murder, but interacts with the situation around the tragedy. The Tectonic Theater Project, a theater company founded by Moises Kaufman, also the film?s director, conducted more than 200 interviews with the people of Laramie, Wyoming shortly after the attack and around the time of both trials. The entire play and screenplay is a compilation of quotes from those interviews, which gets closer to the tragedy than any depiction of Matt himself ever would have. It?s a story, even four years after the incident, that needs to be told, as the issues of gay rights continue to be at the forefront of a national debate. With all that said, ?The Laramie Project? may be an important movie, but it?s not a great one. The film turns the whole situation into an overwrought melodrama. The film is filled with excessive landscape shots and quick cuts and layered shots that do little more than fictionalize the story. During the trials, the courtrooms are filled with the townspeople interviewed, even though many have little connection to the case outside of also being gay. It?s possible, of course, that they were there, but through it all, the scenes still feel false. The film does a disservice to the Tectonic Theater Project, Kaufman, the play and, most of all, Matt, because all are worth more than this movie gives them credit for.A big part of the problem is the star-studded cast that litters every scene with this false melodrama. When the film dramatizes the interview with Matt Galloway, a bartender at the Fireside Bar, the place where Matt met up with accused killers Aaron McKinney and Russell Henderson, we don?t see a bartender. We don?t see the last bystander that saw Matt alive. We see ?Dawson?s Creek?s? Pacey Witter. We see Joshua Jackson. We don?t see the limo driver that took Matt to gay bars in Fort Collins, Colorado. We see Steve Buscemi. The exact same statements can be said for Christina Ricci, Janeane Garofalo, Camryn Manheim, Laura Linney, Mark Webber, Ben Foster, Terry Kinney, Amy Madigan, Jeremy Davies, Clea DuVall, Nestor Carbonell, Dylan Baker and Peter Fonda. None of the actors turn in bad performances. On the contrary, all of them, especially Ricci, Madigan and Davies, are genuinely gifted actors, especially in this film. There is an honest sense of deep-seeded connection; these actors want to get this story told as much as anyone, but they?re not the ones to tell it. The talent may have given the film an extra boost and, hopefully, a few more viewers, but the whole affair sacrificed quality in order to get there. The movie is good, but the play is great. ?The Laramie Project? deserved better.There?s a line in ?The Laramie Project? that perfectly demonstrates why the movie is so important. Real Wyoming resident Murdock Cooper said, ?I’m not excusing their actions, but it made me feel better because it was partially Matthew Shepard?s fault and partially the guys who did it … you know, maybe it?s fifty-fifty.? If the movie can change one person?s beliefs, it was worth making. I just wonder how many more people may have been affected if it had been made well.
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DOWNLOAD MOVIE Identity Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The plot goes something like this…

A man awakens on a small fishing boat outside France. Bullet-riddled and
without memory, he finds himself pursued by mysterious assassins, all the
while trying to gain back his memory.

I recall first reading `The Bourne Identity.’ It was a well-written book.
Like the book, the movie is also good. Perhaps it is the excellent
cinematography of France – it captured the clichéd images I imagined when I
read the book. The acting is surprisingly good, as well.
Not many people know that `The Bourne Identity‘ is the second film to be
based on Ludlum’s novel (see the TV version starring Jaclyn Smith and
Richard Chamberlain from 1988), but the newer 2002 version is much better,
and definitely worth wasting your money on.

Matt Damon pulls off the character of Jason Bourne with ease, while Franka
Potente does not disappoint. Chris Cooper has fun with his role, and a small
role by Julia Stiles surprises.

There is a great car chase in this film. Fans of the Seventies and
Eighties-type genres will love this movie. It has the feel of a classy
thriller, and never resorts to stupidity instead smarts, or action instead
of plot.

Of course many things had to be dropped from the book to make this film.
That is only expected. But I’m glad they didn’t `butcher’ this movie up like
some other book-to-film movies.

Overall, `The Bourne Identity‘ is not a great movie, but it sure is good, as
well as surprising. Very much so, in fact.

4/5 stars -

John Ulmer

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