Kung Pow Charlie Osborn is all talk and no action until he crosses paths with a reclusive goat farmer named Mr. Shutaki who is rumored to be a martial arts master. After receiving a beating... See full summary »
Kung Pow: Enter the Fist is a movie within a movie, created to spoof the martial arts genre. Writer/director Steve Oedekerk uses contemporary characters and splices them into a 1970s kung-fu film, weaving the new and old together. As the main character, The Chosen One, Oedekerk sets off to avenge the deaths of his parents at the hands of kung-fu legend Master Pain. Along the way, he encounters some strange characters, one of which is a cow trained in the martial arts. Written by
The film's credit list is followed by a preview for a sequel, and "Kung Pow 2" was listed as being in "pre production" on IMDB for a while in 2003-4. However, Steve Oedekerk insisted when asked about it, that the KP2 trailer was made purely as a gag, and that no sequel was ever seriously considered. The phony sequel idea may have been a tribute to Mel Brooks, who is famous for parodies similar to this one, many of which end with the promise of an outrageous, implausible sequel that Brooks never intended to make. See more »
During the final fight when the song "Black Betty" is first played and the Chosen One starts dancing, there's a shot of Master Pain being played by Leo Lee, the actor who plays Young Master Pain instead of Fei Lung, the primary Master Pain actor. See more »
We're children. We're children.
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The character of "Tonguey" is credited to "Escobar Tongue." See more »
The more of a basic understanding of the history and genre of this movie type the viewer has, the more he will appreciate the good natured satire that celebrates it. Oedekerk exploits all of the essential points of this movie style's formula, and does so from a very alert and skillful standpoint. The extra attention and energy given to the inherent goofs and inconsistencies in the original movie ("Tiger And Crane Fists", Hong Kong, 1976) are priceless. The accuracy of the spoofing, and its entire purpose in this film has been needed for quite some time (since 1976), and it's very welcome and highly applauded by those of us who appreciate satire at its best. This film deserves an award.
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