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Movie: Ip Man: The Final Fight (2013)
Genre: ,
Director: Herman Yau
Date of Release: 28 Mar 2013
Duration: 100
IMDB Rating: 6.2/10
Movie review score

About Ip Man: The Final Fight (2013)

Another example is Hong Kong actor Liu Kai Chi gives a cameo as Ip Man’s friend who is suffering from poverty. There’s a scene that ends on a connective moment between two characters and then it cuts to a crane shot backing away presenting a view of the entire rooftop set. There is a self-referential joke where Tsang says being a ‘clan master’ (獎門人) is difficult, a reference to his famous television game show, that was self-serving and unnecessary. He is also patience, compassionate, tolerant, while unflinchingly uncompromising when it comes to matters of fundamental principles. This one feels like a soap opera at times, but the good news is that the hard-hitting fight sequences are really effective and give the performers a chance to shine. And focus in on irrelevant characters that doesn’t even have enough development to even care for. He looks most like the real-life version of Ip Man and actually adopts a Foshan accent. The movie provides a message beyond the standard “righteousness prevails” and is definitely worth the watch. Anthony Wong’s Ip Man has some of those traits as well but he’s also a man who’s gained a lot of wisdom from his experiences. This movie may seem more down to earth and realistic with it’s direction. “Yip Man: Jung gik yat zin” is a Biography – Action movie in which we watch Ip Man being called to prove his skills in what it seemed to be a simple challenge. But it’s not much of a struggle as it turned out, although the narrative steered clear on passing any judgement or ending on the character, except to remind that he was an important source of income to keep things going. All the actors in these Ip Man films have done a decent job as far as what appears on screen is concerned, and let’s leave it at that. I’ve always been a fan of Wong and he doesn’t disappoint here, while the likes of Eric Tsang, Ken Lo, and Sammo’s lad Timmy all impress. Does it want to be a nostalgic piece to serve as a trip down memory lane for older Hong Kong citizens? After the first film, the Ip Man series had problems trying to incorporate action into the plot but there’s a lot less of that here. Don’t worry though, there is plenty of great action scenes in it. While I was there to work as a foreign expert, I had the chance to work for China Films, where they were writing subtitles for Chinese movies which were exported to abroad customers. Wing Chun style is not hard to replicate on screen but difficult to master in reality. With every film, I see a little more of who this man was, what his legacy was and it had me thinking about even what being a good teacher means. I really wish one day, someone will make an Ip Man movie that has action but doesn’t have a villain. It shows the final years of Ip Man’s life and has a more somber tone to it compared to the previous films. The actors have barely skills and that does not include WT in any way. But the movie did not travel on the path as I expected. Secondly, the story. This film shows Ip Man in his older years which was an interesting portrayal. It keeps glossing over by stating what happened instead of letting the audience experience what’s happening in the now. One of the most important technique called ‘chain punch’ is just not available in this movie.

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Not a lot of people remember that Eric Tsang started out as a stuntman; the fight looks very authentic. Set against the big commercial movie cog machine and the Ip Man franchise, the majority of Yau-Wong penchant for grittiness is diluted and only some of it remains in Ip Man: The Final Fight. That finale is but one of four thrilling action setpieces, and easily the most gripping and exhilarating one. The first, THE LEGEND IS BORN: IP MAN, was a prequel to the Donnie Yen trilogy, whereas THE FINAL FIGHT is a natural successor. The camera-work is however good. I don’t have any of that in my background, I simply picked the film up because I’ll take in a kung fu flick, in this case Wing Chun, from time to time just to see what’s current. Two that I would like to mention, however, are mere cameos that have the least screen time: Liu Kai-Chi whom many consider Hong Kong’s best character actor and Law Koon-Lan who is among Hong Kong’s top stage actresses. They play a couple driven by poverty to sell one of their six children. Eric Tsang is a badass. Hong Kong directors, this needs to stop. Where he stayed alone in a rented rooftop house teaching martial arts to the young generation. The concept is telegraphed but never truly explored. While not the standard string of kung-fu bouts, this movie has it’s fist of fury moments where the watcher will be captivated by wing-chun’s lightning speed strikes and close body guards. It doesn’t end with a bang but a whimper. The film could have better explained why he stayed behind in Hong Kong after Madame Ip left, that was a big question mark for me. It seems to fit as the final piece to this whole line of Ip Man films. 6/10. This is another exaggerated movie about Ip Man. Both portrayals are great but you can’t really say one is better because they’re playing different ages at Ip Man’s life. Or even the master showing his skills and crafts. Playing Bruce Lee in a film is by no means an easy feat but the actor they chose was abysmally awful. Actually it won’t tell anything about Bruce Lee-Ip Man’s relationship. The other Ip Man movies released before include that and are far beyond competition with this movie. So I have no fricking idea whether or not the first Ip Man movie is canon with this film. Final remark: this reviewer had the great honour of shaking Grand Master Ip’s hand in one of his birthday banquets in the late 60s. The most interesting aspect between Herman Yau-Anthony Wong collaborations is that their partnership had its roots in Hong Kong Category III horror. It may disappoint some people for its lack of some good actions and some people for not strong enough emotions. As for the movie it has got every element in it from romance to emotion i nearly cried when northern lady fall ill with lung cancer. Instead, with no warning, the director finds his inner SHAW BROTHER and the final fight is paced quickly, with flash cuts, and even a downpour from the heavens to confuse an already confused scene.

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I kinda expected that and got disappointed. The opening film of this year’s Hong Kong International Film Festival, with that territory comes a certain guarantee that this has to live up to its honor with high production values, which was a plus point as the 50s and 60s Hong Kong got recreated both in terms of external sets and interior art direction and production to transport the audience into an era long gone. This movie had me in tears. And that is the key to this film. While Tony Leung’s was just like any other of his from other Wong Kar Wai collaborations and Donnie Yen’s was probably more stagey than who Ip Man was in real life, Wong’s depiction is – we dare say – the most nuanced that captures both the man’s humble dispositions and his internal struggles. I’m still not completely sure about this movie’s continuity. What’s next? But now when I see Anthony Wong playing the Ip Man’s part, maybe someone like him is a better cast for telling the twilight years of Ip Man’s story. Wong is absolutely brilliant in these intimate moments of Ip Man’s life, and it’s hard to imagine a more befitting actor here to play the role. It’s no masterpiece, but for solid martial arts fun you could do a lot worse. In choosing to illuminate the less ostentatious but more relatable characteristics of Ip Man’s twilight years, Yau’s film truly stands apart from the other four films that have come before it. I still think The Grandmaster is the best Ip Man film. Less concerned about the legend than the Man behind it, ‘Ip Man: The Final Fight’ is the most heartfelt one yet about him, with an assured and sensitive directorial hand from Yau guiding a well-written script and a terrific lead performance by Anthony Wong as well as fine supporting acts from Jordan Chan, Eric Tsang and Chuchu. But this movie is just so darn boring and depressing. The surprise is of course Yau teaming up with his one time iconic collaborator Anthony Wong, who together have made classical Category III films in The Untold Story and Ebola Syndrome. It takes the better part of two hours to get to this point. Ironically, the sole flaw in the film is the final fight scene where a geriatric Ip Man does his “final” battle with a local thug. It tries to hit that peace and heart area, where it shows the turmoil and hardship and the aftermath but it didn’t work. Not a awful movie and it could have been worse. Headlining the disciples were the likes of Gillian Chung chalking up her resume in her recent comeback, but her role was rote at best, with her relatively less well known stars given more screen time instead. Recommended! Ip Man in the previous movies is portrayed as having cool, charismatic, powerful(almost untouchable), and has calmness with flare attributes. Besides some speeding up detected, it doesn’t have over the top style, but kept things as simple as Wing Chun’s philosophy, and that battle between Ip Man and Master Ng (Eric Tsang) remains one of the best in this movie, and dare I mention also ranks as one of the best amongst the rest of the Ip Man films put together. Yau’s films look quite poor when compared to the great Yen trilogy, but on their own merits they’re quite enjoyable. The techniques are not really WT. WT fights are not supposed to take more time as really needed. Good that National Arts Films Production beat Ip Man 3 to the punch on the final chapter of Ip Man’s saga. other than I’ve watched the other three, so maybe it has had a larger effect on me. And it couldn’t get more authentic than this, even with artistic license obviously taken at some points. Expertly weaving several disparate themes, screenwriter Erica Li deftly paints a vivid picture of a colony rocked by tensions between the unions and their companies, infighting between the various martial arts schools, corruption of the local police and most importantly, the struggle of ordinary folk to make ends meet and provide for their family.

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