Truck driver Jack Burton arrives in Chinatown, San Francisco, and goes to the airport with his Chinese friend Wang Chi to welcome his green-eyed fiancée Miao Yin who is arriving from China. However she is kidnapped on the arrival by a Chinese street gang and Jack and Wang chase the group. Soon they learn that the powerful evil sorcerer called David Lo Pan, who has been cursed more than two thousand years ago to exist without physical body, needs to marry a woman with green eyes to retrieve his physical body and Miao is the chosen one. Jack and Wang team-up with the lawyer Gracie Law, the bus driver and sorcerer apprentice Egg Shen and their friends and embark in a great adventure in the underground of Chinatown, where they face a world of magicians and magic, monsters and martial arts fighters. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
John Carpenter really steps away from his usual fare in this easy going `fortune-cookie theater' parody that was originally the manuscript for the second Buckaroo Banzai movie. It features a cast of pithy characters, bizarre and memorable dialogue, entertaining special effects and fight scenes that are well choreographed by western standards.
For those of you who already love John Carpenter, prepare for one of his finest moments. In 1987 Carpenter's sentimental sci-fi-side made `Starman' an instant classic and in 1984 his tense, brooding gothism made `Prince of Darkness' truly frightening. Sandwiched in-between these movie greats is the 1986 production of `Big Trouble on Little China', where eastern martial arts mysticism meets John Wayne bravado with zany and often absurdly hilarious results. How can you not love a movie unwilling to take itself too seriously while at the same time still managing to keep a straight face?
Carpenter's skills as a director, producer and songwriter come together in this film to produce what many consider to be his finest work. Big Trouble' s theme and content naturally compliments Carpenter's style of cynical humor, flashy cinematic expression and loose, caricature-esque development of memorable story line figures. If this isn't his opus magnum then it is at least one of his greatest moments as a director.
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