Excellent adaptation.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

It's hard to review these 70s kung fu flicks. It's not like anyone watches them for deeply moving portrayals of the human condition, dialog that slices through social pretense or cinematography that makes you look at the world in a whole new way. These movies are a form of adolescently macho ballet where guys pretend to beat the holy heck out of each other in often ludicrously elaborate ways. You can evaluate them, but you've got to use a standard that doesn't apply to another other form of cinema.To start with, I'm not going to concern myself with how poorly constructed is the plot of The Iron-Fisted Monk. Husker (Sammon Hung Kam-Bo) is a goofy student at a Shao-Lin temple who runs away one day because he's anxious to get revenge on the Manchu clan who killed his uncle. So of course, he really does nothing to seek revenge until he's dragged into it kicking and screaming by Tak (Sing Chen), a villager who has both of his sisters raped and his mother killed by the Manchu. But before either of them go looking for justice, they naturally try and drag Husker's Shao-Lin master (James Tien) to a whore house. In fact, the whole "revenge" thing is almost forgotten until the Manchu slaughter an entire factory full of guys after an attempted business scam involving all the red dye in town goes awry. But, once everyone else is dead, Husker and his master do finally get around to kicking Manchu ass and taking Manchu names.There's also no point is trying to analyze any of the performances here. As with many other 70s kung fu flicks, the acting in The Iron-Fisted Monk is of a very broad and almost vaudevillian nature. Between that and the ridiculously bad dubbing of the dialog into English, it's impossible to tell if you're watching bad acting or good acting from a different cultural context.Occasionally, the direction of one of these things can be a bit more interesting than usual. That's not the case here. If you've seen another 70s kung fu flick, you pretty know what this one looks like. The only thing that ultimately matters with this film and all its brethren is…what are the fight scenes like? And the answer is…they're pretty good. The Iron-Fisted Monk is pre-wire fu, so nobody flies through air and does a triple lutz before landing on the petal of a daffodil and toe-kicking some guy across the room. But the ritualized back and forth of strike and counterstrike is pulled off nicely, with the "fights" following a certain logic and staged in such a way and you can see what each combatant is doing and trying to do. Distinguishing a lot of a action here is the fact that Sammo Hung Kam-Bo is just plain old fat. He's got a double chin and a physique like a pickle barrel, but he moves with surprising grace and power. Watching him do kung fu is like watching a guy with no fingers play the violin. That he can do it at all is impressive. That's he's really good at it is makes it impossible to take your eyes off him.The Iron-Fisted Monk also has some naked female flesh and a weirdly graphic rape scene. I say weirdly graphic because the tone of the rest of the movie is more slapstick than serious drama, yet the rape of Tak's first sister is pretty explicit and goes on for a while. The effect is almost like someone took a Three Stooges short and spliced in a few minutes from the middle of I Spit On Your Grave. But again, it's hard to know if it's crude and exploitative storytelling or it's some Chinese thing that Caucasians don't understand.If you want a see a 70s kung fu flick, this one is as good as any other. Beyond that, I'm not sure what to say.

Sammo stars as a man who is learning kung fu so that he can fight the Manchus. The directing from Sammo is good, the camera-work is brilliant, the story is decent, and the fights are very good for 1977. Fung Hak-on plays the main villain, and Yen Shi Kwan and Chien Yuet San play his top 2 henchmen. Always nice to see those 3 in action. Chen Sing has a small role and unfortunately he doesn't get to show off his handwork as much as he usually does. But he's still a great actor so I liked his role. If you have seen most of Sammo's movies and are looking for something else to feed your Sammo craving, then give this a try.Picture and sound quality on the 20th century Fox DVD are good.

In some ways, it was a memorable film. It wasn't noticeably good or shockingly bad, but it had a few unusual scenes that will certainly surprise and unsettle the viewer. It is not your regular kung fu flick even though it had it all: bad guys, good guys, fights between the two and humour between the fights. For one, it also had descriptive rape scenes. I can't remember a Chinese kung fu film with sex being shown in such a crude way, clothes being ripped off, breasts popping out, lewd smirks on the rapist face and ultimately, the victim's death.That gave the film a startling and awkward contrast with the lighter scenes. A little after the sister of one of the lead characters died following a tragic chain of events, we see that same man, who seemed to be on a quest for revenge, playing around with the idea of going to a brothel with a monk. As this shows, the characters had little consistency -- and little cohesion too, even though Sammo Hung's character was supposed to be the hero, the perspective was shifting so much eventually that it felt difficult to isolate one character as the subject.Bad guys received more and more screen time, secondary characters came forth while the lead wandered off. The only appropriate way to clear up this profusion of central characters was to have them all kill each other. And so is what the script did. Confrontations suddenly pick up speed, people die en masse, "patience", which virtually was the only reason holding back everyone to settle the scores is no more, thrusting the remaining characters into the grand finale, a somewhat intimate fight between the toughest and the nastiest characters, whose unrestrained sadism had been cultivated during the infamous rapes.As if in response to these extreme scenes, the makers chose to end with another extreme, gory violence. Like it or not, it does feel fair, but fair as in a talion. Without these short sadistic bouts that seemed borrowed from American exploitation films of the time, it would have been a pretty unremarkable kung fu story. The fights, well-choreographed and using the classic animal postures dear to a long kung fu tradition, are however terribly choppy, to the point that you could easily time the moves "one-two, one-two" as they are performed. Iron-Fisted Monk is not a good kung fu film to start with, it is an oddity that will be met with greater interest by longtime B-movie amateurs.

Iron Fisted Monk, heavyweight HK superstar Sammo Hung's directorial debut, is a powerful old school kung fu movie which sees the portly one at his physical peak on screen as well as calling the shots behind the camera.The story is a familiar one of revenge and retribution, but it is told with style and verve and features some truly incredible martial arts sequences.Husker (Sammo) is a student of the Shaolin monks, learning kung fu so that he can avenge his uncle, who was murdered by the nasty Manchus who control the province. He leaves his training early, desperate to teach the killers a lesson and teams up with a martial artist monk (Chan Sing) who is teaching a group of factory workers how to defend themselves. When the Manchus attack the factory and kill everyone there, Husker and his Buddhist pal decide it's time to even the score.Sammo directs this polished film with surprising skill and delivers a superb movie that blends humour, action and some moments of shocking violence. The scenes of sexual violence (there a couple of nasty rapes perpetrated by the Manchu baddies) may be hard to take at times, but they do give the viewers a real good reason to want to see the Manchus get their comeuppance.The final fight scene is a fantastic display of athletic agility, superb choreography and totally mind-blowing action. Sammo's first movie is a brilliant example of late 70s HK movie-making and should be seen by all fans of the genre.