(This review is brought to you courtesy of MovieXclusive's
lucky-draw invitation, without which it won't be out today, and I
wouldn't have as much fun at the gala premiere - gala premiere
observations will be published separately)
The overall narrative feel of House of Fury, is a mixture of Tim
Burton's Big Fish, and Pixar's The Incredibles (with super powers
replaced by kungfu prowess), but the delivery is not as well
polished.
Simply put, it's a story about a single father (Anthony Wong)
family (with Stephen Fung, the director, and Gillian Chung, one
half of HK pop duo Twins, as his children), whose secret agent past
catches up with him and threatens his family. Like Big Fish, while
dramatizing his colourful past in delightful
unbeatable-secret-agent-kung-fu-prowess stories, his children
outgrows them and their disbelief causes their relationship with
their father to be distant at best. Until somewhere along the way
when they discover that those stories have some element of truth
behind them.
Like The Incredibles, we are shown the potential of his kids, who
naturally have learned kung fu, in a similar dining table setting,
and when daddy's threatened, we also know that it is up to family
to bail him out, and in the process, improving their family
ties.
With a title (in mandarin) containing "Jing Wu", one cannot help
but expect comparisons, references and the paying of homage to
Bruce Lee and his film "Fists of Fury", and yes, this film does
too. The name of Anthony Wong's shop contains the letters "Jing
Wu", and during his fight with Japanese ninja type adversaries, we
see the slow break up of the shop's name ("zhao pai") to
not-so-subtly emphasize "Jing Wu", and the very hilarious and
creative use of make-shift nanchakus. There is also the obligatory
fights with "Ang Mos" (Westerners), and in this show, the Ang Mo is
reduced to a teenage sensation whose expertise is with the staff.
(We can't expect Chuck Norris now can we?)
The artistes are no real life exponents, and it is left up to Yuen
Wo Ping to fashion the martial arts scenes. I applaud the
film-makers deliberate crafting of various martial arts for the
lead actors - Anthony Wong's style is subtle yet forceful (funny at
times), Stephen Fung's direct and in-your-face, while Gillian
Chung's is graceful, elegant, yet packs a punch (I like hers
best).
However, the wire-work seems to be out of place in a movie like
this, and somehow isn't as disciplined, so the audience can tell
when it was used, as it's not well-executed to perfection. While we
can suspend our belief in martial arts shows set in pugilistic
worlds, where exponents can fly from tree to tree, or in unreal
worlds like The Matrix where the laws of physics do not apply to
those who are "free", having a film set in a real world scenario,
and yet having people float around, somehow doesn't cut it. My
personal opinion is if the kung fu was more grounded (pardon the
pun) then it'll be perfect. And yes, wire-work with wires digitally
removed doesn't mean one should opt shoddy work - watch and you'll
see what I mean.
The good looking cast does compensate somewhat though, with special
appearances by Daniel Wu and Charlene Choi, but it is the veterans
like Anthony Wong and Wu Ma who lent some acting weight to this
otherwise fluffy teenybopper show. The villains, led by Michael
Wong, a cross between Austin Power's Dr Evil and James Bond's
Blofeld on a wheelchair, are one-dimensional, and most prefer to
let their fighting do the talking.
Like most HK contemporary movies, it is peppered with comedic
moments throughout the film, very simple romances, a predictable
plot cum ending without much emotional depth or theme. During the
interview before the show, Stephen Fung was asked the message this
film is bringing across, but sidestepped with an answer asking the
audience to watch and decide for themeselves. Not a very good sign,
but enjoyable as a popcorn movie.