Cuando el gobierno británico es descubierto traficando con obras de arte chinas fuera del país, Wong Fei Hung utiliza sus extravagantes artes marciales, y su inmensa agilidad que aumenta a medida que bebe alcohol, para salvar las piezas.
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In his review of Jackie Chan's performance in LoDM, Roger Ebert reminds us that “Computerized special effects have made the authenticity of his physical skills sort of obsolete. When you see bodies whirling in air in The Matrix you don't think about [CGI], you simply accept them [as real]. But what Chan does, he is more or less actually doing [like] Buster Keaton, Douglas Fairbanks, Sr., Fred Astaire, Gene Kelly.”
[5/5] - Absolutely one of the greatest cinematic experiences of my life. Of the nine Jackie Chan films I've seen so far, he's never better. Hilarious, acrobatic and even dramatically restraint. Every setpiece is staggering with the Ken Lo (Chan's real life bodyguard at the time) and Chan's final fight the stand out. Also a particular highlight is the late Anita Mui, as Chan's stepmother. Absolutely delightful.
(Generous) 9 - Together with the superlative "Police Story" (a completely different film aiming for a very distinct feeling), this is Chan's supreme achievement, containing his best choreographies and resting completely on his likability and corporeal fluidity. Not two neighboring moments in this are anything if not a delight to watch.