5.1/10
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Drunken Master Killer (1994)

Jui kuen III (original title)
Set around the turn of the century in China, the White Lotus Society plots to put the next Emperor on the throne. To do this they want their protege to marry the Princess Sun Yu who ... See full summary »

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(as Wing Siu)
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Cast

Credited cast:
...
Yeung Kwan
...
Sum Yu
Willie Chi ...
...
Gay Man on Bus
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Uncle Yan
...
...
Gov. Li
Ka-Kui Ho ...
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Storyline

Set around the turn of the century in China, the White Lotus Society plots to put the next Emperor on the throne. To do this they want their protege to marry the Princess Sun Yu who possesses an important jade ring. They dispatch Yueng Kwan to fetch her. However, Yueng Kwan is a patriot, working for the revolutionary forces of Sun Yat Sen. He abducts Sun Yu and finds refuge with the father of the future hero Wong Fei Hung. Written by Brian Rawnsley <rawnsleb@natlib.govt.nz>

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Release Date:

2 July 1994 (Hong Kong)  »

Also Known As:

Drunken Master Killer  »

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1.85 : 1
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Did You Know?

Trivia

Due to creative differences with 'Jackie Chan', Chia-Liang Liu quit _Legend of the Drunken Master (1994)_ and made this movie. See more »

Crazy Credits

Outtakes (mostly of stunts that went wrong) are shown behind the closing credits. See more »

Connections

Follows Drunken Master (1978) See more »

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User Reviews

 
revenge is poor reason to make bad film
23 June 2006 | by (United States) – See all my reviews

Liu Chia-Liang, once the best and most careful of 'fu film directors, apparently made this film as a way of getting back at Jackie Chan for kicking him off the Drunken Master II (aka Legend of) project. I therefore expected DMIII to be the film that Liu intended to make with DMII that Chan would not allow him to complete.

Instead, what I get is a wildly unfocused post-modern parody of contemporary martial arts films, from Tsui Hark's Once Upon a Time in China to the commonplace crime thrillers that flooded Hong Kong screens after the success of A Better Tomorrow.

What in heaven's name is going on here? I have a high tolerance for post-modern experimentation in cinema, and for parody as well. What I lack is the willingness to surrender good taste to either of these.

It is quite clear that Liu holds much of the Hong Kong New Wave in contempt; but this era in Hong Kong would certainly have allowed him to make a more traditional exploration of the cultural problems presented in DMIII, especially since he had never lost the respect of either the older or the newer generations of filmmakers and film audiences. In other words, he could have done anything he wanted to with this film. It wholly inconceivable that he would throw away this opportunity in order to whine about Hong Kong cinema growing too corrupt to make a better film. But that's all this film amounts to.

Some good fight scenes; but even some of these are unnecessarily confusing.


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