Jimmy Wang Yu is trying to scrape together the cash for his sister’s eye operation, but hekeeps getting involved in fights, and the need to pay fines and whatnot is actually pushing thefamily towards bankruptcy. Meanwhile, in Japan, a ferocious grandmother has been training herthree grandsons their entire life to be killing machines intent on taking revenge on the man sheblames for her wartime suicides of her daughter and son-in-law. That man is Jimmy’s father. Thestage is …et for a major confrontation.
But the setting of the stage takes too long for the film’s own good. There are plenty of fights,but, kitschy enjoyment of the cheesy sound effects aside, the choreography is not very exciting.The soundtrack, however, is exactly what the 70s sound like in Quentin Tarantino’s funkiestdreams, and is to die for.
The source material has aged, and wasn’t THX approved in the first place, and the age isapparent in the serious distortion that accompanies the music. The sound is marred by hiss andother electronic noise, but this somehow adds to its grungy 70s feel.
The print is a match for the sound: damaged and a bit murky. The colours aren’t bad, overall,and the anamorphic widescreen aspect is very much appreciated. This will never by a Superbitcandidate, but it’s watchable.
Critics Wade Major and Tim Coghill do the commentary track, as they did for Pathfinder’sMaster of the Flying Guillotine, and do the usual fine job of contextualizing the film(though they do tend to interrupt each other). Also here is a subtitled interview with Jimmy WangYu, a still gallery, and a handful of bios, plus the trailer. The main screen of the menu isscored.
A welcome slice of preserved 70s exploitation film history, even if the film itself isn’t adeathless classic.
Special Features List
- Audio Commentary
- Jimmy Wang Yu Interview
- Still Gallery
- Theatrical Trailer