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Richard James Havis

Tsui Hark’s Once Upon a Time in China revitalised the kung fu movie genre in 1991 with its reimagining of the life of legendary Cantonese martial artist Wong Fei-hung.
It also spawned numerous rip-offs, some of which were very good.
Below we rate all of the originals and rip-offs together, listed in chronological order.
1. Once Upon a Time in China (1991, directed by Tsui Hark)
4.5/5 stars


With Once Upon a Time in China, Tsui wanted to make a film that paid tribute to the classic Wong Fei-hung films he watched as a child, and also modernise the legend of Wong for younger audiences.
He succeeded in both, with the film – starring Jet Li Lianje as Wong – referencing the original milieu while reworking it into something that looked flashy and new.
2. Once Upon a Time in China 2 (1992, dir. Tsui Hark)
5/5 stars


Featuring more of the same, but even better, Once Upon a Time in China II is a glossy follow-up in which director and cast performed at their absolute peak.
The story has Wong fighting the religious White Lotus Cult while shedding his chaste image to fall in love with Aunt Thirteen (Rosamund Kwan Chi-lam). The stand-out action scene is a close-quarters staff and “cloth stick” fight between Li and Donnie Yen Ji-dan.
3. Once Upon a Time a Hero in China (1992, dir. Lee Lik-chi)
2.5/5 stars


This take on the legend is an out-and-out spoof. The film has a big-name cast, including Alan Tam Wing-lun as Wong Fei-hung and Tony Leung Ka-fai as the bad guy. In a nice touch, legendary villain Sek Kin, a stalwart of the original 1950s Wong Fei-hung movies, returns to play the Old Master.
The story revolves around a Wong Fei-hung who does not know kung fu and has to hide the fact – until he has to learn it to save Aunt Thirteen. The acting is hammy, but the action is competent.
“Although the opening Chinese dragon dance scenes are convincing, the amateurish script and unoriginal plot mars the enjoyment of the film,” the Post review said. “But a talented cast snaps the film out of its creative lulls and makes it worth attention.”
However, it noted that “Tam gives a mediocre performance as Wong”.
4. Once Upon a Time in China 3 (1993, dir. Tsui Hark)
4/5 stars


Tsui’s concept still had some mileage left in it and this time he sent Wong to Beijing. The main story, about a lion dance competition, is very traditional, harking back to the classic Wong Fei-hung films.
The action, choreographed by Yuen Bun, is superlative.
“The actors dance with their fists as well as their feet, and the kung fu ‘numbers’ rank among the most original in Cantonese cinema,” the Post said.
5. Last Hero in China (1993, dir. Wong Jing)
3/5 stars


Populist producer/director Wong Jing cashed in shamelessly on the Once Upon a Time In China phenomenon with this 1993 film.
Unusually, he used the original films’ star – Li was a Hong Kong phenomenon by this time – and its martial arts choreographer Yuen Woo-ping for his rip-off.
The result is fair, brimming with Wong’s lowbrow humour and featuring action scenes that are more violent than Tsui’s version.
Wong uses his offbeat imagination to create a giant insect for a lion dance, among other crowd-pleasing touches.
“The action sequences do the series proud,” the Post review said. “Yuen Woo-ping once again serves as martial arts director, and he has choreographed some battles that are as exciting as anything Wong has hitherto experienced.”
6. Master Wong Vs Master Wong (1993, dir. Lee Lik-chi)
2/5 stars


A sequel to Once Upon a Time a Hero in China, this has less going for it. The gags are not as funny, and the action scenes, this time choreographed by veteran actor Yuen Cheung-yan, are below par. Much of the fighting is done by Carol “Do-do” Cheng Yu-ling in a role as Wong Fei-hung’s student.
The story sees Wong deciding to give up kung fu for a while to visit Canton anonymously, leaving the fighting to his students.
“Like its predecessor, Master Wong vs Master Wong is silly fun, the kind of picture the audience likes more than the critics,” Paul Fonoroff wrote in the Post review. “Alan Tam is back as the hero whose victories are as much due to accident as design.”
He noted that “the script resembles a series of skits that allow the stars to engage in over-the-top antics”.
7. Kickboxer (1993, dir. Wu Ma)
3.5/5 stars


Directed by Wu Ma and starring Yuen Biao, who also choreographed the martial arts, this Once Upon a Time in China knock-off has a very 1980s feel, but the martial arts scenes are extremely well choreographed and fun to watch.
The kung fu is based on individual styles, rather than Jet Li’s performance style of wushu. Hong Kong filmmakers also learn fast and Yuen obviously took notice of current trends – the fights consisted of quick cuts edited together, and looked bang up to date.
The English title is misleading, as it is not about kickboxing. The Chinese title is Wong Fei-Hung and the Ghost Foot Seven, the name of an earlier Wong Fei-hung picture from 1980.
The story does not feature Wong himself, who is away travelling, instead focusing on his student, played by Yuen Biao. It is one of the better knock-offs.
8. Once Upon a Time in China 4 (1993, dir. Yuen Bun)
3/5 stars


After Li had a disagreement with Tsui about his wages and deserted the series, Tsui replaced him with Vincent Zhao Wenzhuo, an accomplished martial artist. The result, however, did not impress audiences, who wanted Li.
“The series is getting tired,” the Post said.
9. Once Upon a Time in China 5 (1994, dir. Tsui Hark)
3.5/5 stars


Tsui returned to the director’s chair to deliver an above-average instalment.
Rosamund Kwan, absent from the fourth instalment, comes back, while Yuen Bun, now relieved of directorial duties, delivers fast-and-furious action in the last third.
10. Once Upon a Time in China and America (1997, dir. Sammo Hung)
3.5/5 stars


Sammo Hung Kam-bo was relatively inactive during the martial-arts boom of the 1990s, but he directed and choreographed this late-entry Wong romp set in America’s Wild West, with Tsui turning producer. The film also saw the return of Li as Wong Fei-hung.
Hung’s choreography is exciting, and it is fun to see him adapting to a radically different set-up featuring bows and arrows and six-shooters.
“Tsui Hark, in one of his more enjoyable and original recent productions, cleverly mixes kung fu with the American Western in a movie rooted in Hong Kong traditions,” the Post’s Fonoroff said.
In this regular feature series on the best of Hong Kong cinema, we examine the legacy of classic films, re-evaluate the careers of its greatest stars, and revisit some of the lesser-known aspects of the beloved industry.
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Michael Wong in a still from Legacy of Rage. Photo: D & B Films Co. Ltd.

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Bruce Lee in a still from “Fist of Fury” (1972).

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Bruce Lee in a still from “Enter the Dragon” (1973). Photo: TNS

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Legendary Hong Kong action film director John Woo in 1990. Photo: SCMP

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Ringo Lam, pictured in 1995. Photo: SCMP

Lau Ching-wan (left) and Francis Ng in a still from Full Alert.

Amanda Lee (front) in a still from Full Alert. Photo: Eureka Entertainment

Francis Ng in a still from Full Alert.

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Lisa Lu, who starred in The Arch and The Empress Dowager, poses with her daughter Lucia Hwong in 1978. Photo: SCMP

Lisa Lu in a still from The Arch.

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A scene from the 1974 film China Behind, directed by Tong.

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Bruce Lee in a still from The Way of the Dragon (1972). Photo: Criterion Collection

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Interview with award-winning actress Maggie Cheung Man-yuk at Grand Hyatt Hotel.

Maggie Cheung at an interview with the Post in 2001. Photo: SCMP.

Maggie Cheung (left) and Cherie Chung in a still from Prince Charming (1984).

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Maggie Cheung in a still from the 1996 film Irma Vep.

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Takeshi Kaneshiro in a still from Fallen Angels.

Leon Lai (left) and Michele Reis in a still from Fallen Angels.

Michele Reis in a still from Fallen Angels.

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Anita Yuen (left) and Lau Ching-wan in a still from C’est la Vie, Mon Cheri. It beat films starring Jackie Chan and Jet Li to become a box-office hit in 1993. Photo: courtesy of LCSD 

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(From left) Brigitte Lin, Cherie Chung and Sally Yeh in a still from Peking Opera Blues. Photo: Peking Opera Blues

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Brigitte Lin (right) in a still from Peking Opera Blues. Photo: Peking Opera Blues

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A still from Beast Cops. Photo: Handout

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Jet Li in a still from Fist of Legend, the 1994 film directed by Gordon Chan.

Michael Wong (front) in a still from Beast Cops.

Directors Gordon Chan (left) and Dante Lam, pictured in 2006. Photo: SCMP

(From left) Anthony Wong, Kathy Chow and Michael Wong in a still from Beast Cops.

Anthony Wong in a still from Beast Cops.

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Anita Mui and Leslie Cheung in a still from Rouge.

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Anita Mui (centre) alongside Alex Man (left) and Elaine Chu in a still from Rouge.

Stanley Kwan in an interview with the Post in 1988. Photo: SCMP.

Anita Mui and Leslie Cheung in Rouge.

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Sam Lee in a still from Made in Hong Kong. Photo: Focus Films Limited

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(From left) Wenders Li, Sam Lee and Neiky Yim in a still from Made in Hong Kong.

Fruit Chan (centre), winner of Best Director and Best Picture at the 3rd Golden Bauhinia Awards Ceremony, alongside actors Neiky Yim (left) and Sam Lee, in 1998. Photo: SCMP

Sam Lee and Neiky Yim in a still from Made in Hong Kong. Photo: Golden Scene

Sam Lee and Neiky Yim in Made in Hong Kong. Photo: Nicetop Independent

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George Lam (left) and Season Ma in a still from Boat People. Photo: Bluebird Film Company

Ann Hui won the Golden Lion for Lifetime Achievement at the 77th Venice Film Festival in 2020. Photo: Reuters

A still from Boat People showing Vietnamese military personnel in the streets.

Andy Lau as To Minh (left) and George Lam as Akutagawa in a still from Boat People.

Andy Lau as To Minh in a still from Boat People.

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Maggie Cheung in a still from In The Mood For Love. Photo: Jet Tone Films

Maggie Cheung Man-yuk and Tony Leung Chiu-wai in a still from In the Mood for Love, directed by Wong Kar-wai. Photo: Jet Tone Films

Tony Leung (left), Maggie Cheung and director Wong Kar-wai during the promotion for In the Mood For Love in Cannes, in 2000. Photo: AFP/Jack Guez

Maggie Cheung in a still from In the Mood For Love. Photo: Jet Tone Films

Tony Leung in a still from In The Mood For Love. Photo: Jet Tone Films

Tony Leung (left) and Zhang Ziyi in a still from 2046. Photo: Block 2 Pictures and Jet Tone Contents

Maggie Cheung and Tony Leung in a still from In the Mood For Love. Photo: Jet Tone Films

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Jackie Chan in a still from Drunken Master II (1994). The movie focused heavily on real kung fu by real martial artists, as an antidote to the slew of shoddy ‘wire fu’ movies in the early 1990s.

Jackie Chan at an interview with the Post in 1994. Photo: SCMP

Jackie Chan in a still from Drunken Master (1978). Photo: Golden Harvest

Jackie Chan (left) on the set of Drunken Master II.

Jackie Chan (right) and Felix Wong in a still from Drunken Master II (1994).

Stephen Chow’s Shaolin Soccer and Kung Fu Hustle were not the films that made the Hong Kong comedian famous – so which ones did?

Stephen Chow as Trinket in a still from the film Royal Tramp.

Stephen Chow (left) and Ng Man-tat in a still from Royal Tramp. Critics called Chow 
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Stephen Chow at an interview with the Post in 1989. Photo: SCMP

Stephen Chow at a film shoot in 1989. Photo: SCMP

Ng Man-tat (left) and Stephen Chow in a still from All for the Winner.

Stephen Chow (left) and Anita Yuen in a still from From Beijing with Love.

Gong Li (left) and Stephen Chow pose for photographers to promote The Flirting Scholar in 1993. Photo: SCMP

Stephen Chow in a still from Shaolin Soccer.

‘I am not Jackie Chan or Chow Yun-fat’: Hong Kong actor Lau Ching-wan on why Hollywood doesn’t need him, bad guy roles, and The Godfather

Lau Ching-wan during an interview with the Post in 1996. Photo: SCMP

Lau Ching-wan during an interview with the Post in 1996. He reveals why he measures his English comprehension against The Godfather and why Hollywood does not need him. Photo: SCMP.

Leon Lai (left) and Lau Ching-wan in a still from A Hero Never Dies (1998).

Lau Ching-wan in a still from Full Alert (1997).

Lau Ching-wan (left) and Anita Yuen in a still from C’est La Vie, Mon Cheri (1993).

Lau Ching-wan in a still from Too Many Ways to be Number One.

Lau Ching-wan (third from left) in a still from Big Bullet (1996), directed by Benny Chan.

Lau Ching-wan in a still from Lifeline (1997).

Lau Ching-wan and his wife, Amy Kwok, pose for photographers on the red carpet of the 32nd Hong Kong Film Awards at the Hong Kong Cultural Centre in Tsim Sha Tsui in 2013. Photo: SCMP

What they said about The Killer: director John Woo and stars Chow Yun-fat and Sally Yeh on shooting the classic Hong Kong action movie

Chow Yun-fat and Danny Lee in a still from The Killer (1989), directed by John Woo.

Chow Yun-fat (right) as the hitman Ah Jong and Danny Lee as Detective Li Ying in a still from The Killer (1989), directed by John Woo.

Chow Yun-fat plays hitman Ah Jong in a still from The Killer.

John Woo in his Hong Kong office, pictured in 1993. Photo: SCMP.

Sally Yeh as Jennie the nightclub singer and Danny Lee as Detective Li Ying in a still from The Killer.

Chow Yun-fat (left) and Danny Lee in a still from The Killer.

Chow Yun-fat in a still from The Killer.

Hong Kong horror cinema, from kung fu ghost movies to adults-only shockers like the human flesh eaters of The Untold Story

Once Upon a Time in China movies and the rip-offs rated

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}Tsui Hark’s film series that originally starred Jet Li as martial arts legend Wong Fei-hung spawned several knock-offs, such as Kickboxer

1. Once Upon a Time in China (1991, directed by Tsui Hark)

Tsui Hark’s film series that originally starred Jet Li as martial arts legend Wong Fei-hung spawned several knock-offs, such as Kickboxer