Shot in English and budgeted higher than any of his previous Asian features, Jackie Chan's last film under his Hong Kong contract is an action-packed, globe-trotting adventure shot with the American audience in mind. The spies and secret agent-laden plot is packed with car chases, explosions, gunfire aplenty and of course Jackie's own brand of gymnastic martial arts. But the flood of his older films between his hits Rumble in the Bronx and Rush Hour had sated American viewers and Who Am I? wound up being sold directly to cable. It's our loss, for this mix of goofy slapstick and jaw-dropping action is his most impressive film since Drunken Master II. Playing a special forces agent (named, naturally, Jackie) struck with amnesia and adopted by an African bush tribe following a failed assassination attempt, he embarks on a quest to discover his true identity while armies of killers pour after him. After an explosive opening, the story gets momentarily bogged down in the kind of mugging humour that leaves most American audiences scratching their heads, but once Jackie kicks into gear the film is a high-speed action flurry that culminates in a furious battle atop a Rotterdam skyscraper. Jackie is at his most charmingly naive (he berates the villains, pleading "Why do you want to destroy when you can make things better?") and athletically impressive: the marvellous stunts--including a flight down the side of the skyscraper--and fight choreography make Rush Hour look like a Sunday drive. --Sean Axmaker
Once upon a time, in a childhood land of lollipops and sleepovers, Chuck and Buck were the best of friends; their days marked out with "fun, fun, fun". The trouble is that Chuck grew up and Buck did not. When the pair are reunited at a family funeral, Chuck (now a thrusting music exec with a pert girlfriend and an apartment in the Hollywood hills) finds himself bothered and bewildered by the creepy lost boy he thought he'd left behind. "I like your house," mumbles Buck, sticking out like a sore thumb at an uptight yuppie party. "It's very old person-y." Shot on a shoestring budget by Miguel Arteta, Chuck and Buck offers a uniquely rich and strange comedy of retarded childhood. Think of this as a Peter Pan for modern-day America, or the Tom Hanks film Big viewed through a glass darkly. The slender premise contains deep pockets of ambiguity. After all, who's the real victim here? The harassed Chuck (played by American Pie co-creator Chris Weitz) or the spurned, saucer-eyed Buck (Mike White, who also wrote the script)? And who is the hero: the successful, status-conscious professional or the dopey, tearful wild card? Throughout the tale, you find your sympathies swinging back and forth between them. Make no mistake, Chuck and Buck is alive with hilarious, often horrific set-pieces. Yet Arteta's direction keeps it on a tight leash, prevents it from descending to the level of a simple freak-show. Instead his film blossoms from an odd-couple farce into a drolly provocative (and oddly humane) portrait of that shadow period between infancy and adolescence. White's character comes across as a very human kind of movie monster. Resplendent in stripy T-shirt, Buck is Chuck's conscience, his id, the ghost of childhood come back to haunt him. --Xan Brooks
Jackie Chan is Bei a less-than-successful exercise equipment salesman who yearns for excitement in his life. One day Bei follows his instincts and trails two suspicious men into action and foils their plans. The resulting publicity from Bei's heroism brings him to the attention of a private investigator who informs him that he is actually the long-lost son of a wealthy businessman!
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