| Andy Lau | ... | Yeung Kwan | |
| Michelle Reis | ... | Sum Yu | |
| Willie Chi | ... | Wong Fei-Hung | |
| Simon Yam | ... | Gay Man on Bus | |
| Chia-Liang Liu | ... | Uncle Yan | |
| Adam Cheng | ... | Wong Kei-Ying | |
| Chia Hui Liu | ... | Gov. Li | |
| Ka-Kui Ho | ... | Yuan Shi-Kai | |
| rest of cast listed alphabetically: | |||
| Giorgio Pasotti | |||
| Bradley James Allan | ... | Foreigner on bus (uncredited) | |
Directed by | |||
| Chia-Liang Liu | |||
Writing credits(in alphabetical order) | ||
| Wing Siu | ||
Produced by | |||
| Fanny Chan | .... | executive producer | |
| Kuo-chung Chou | .... | line producer (as Tony Chow) | |
| Chris Li | .... | producer | |
Original Music by | |||
| Chun Hung Mak | |||
Cinematography by | |||
| Peter Ngor | |||
Film Editing by | |||
| Nam Siu | |||
Art Direction by | |||
| Luk Tze Fung | |||
Production Management | |||
| Spencer Chan | .... | production manager | |
Stunts | |||
| Sing Kwong Lai | .... | stunt coordinator | |
| Hu Jian Qiang | .... | stunts | |
Other crew | |||
| Hu Jian Qiang | .... | choreographer | |
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| The Legend | The Myth | Shanghai Noon | Curse of the Golden Flower | Shu jian en chou lu |
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| Full cast and crew | Company credits | External reviews |
| IMDb Action section | IMDb Hong Kong section |
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.