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Richard James Havis

In the Line of Duty 3 and In the Line of Duty 4 were intended as sequels to the hit films Yes, Madam! (1985) and Royal Warriors (1986).
But as action stars Michelle Yeoh (then known as Michelle Khan) and Cynthia Rothrock were unavailable, the sequels featured the Hong Kong debut of Taiwan-born Cynthia Khan (real name Yeung Lai-ching, also spelled Yang Li-tsing).
Khan, whose name is an amalgam of the names of the previous stars of the series, seamlessly filled Yeoh’s shoes. The two later films, released in 1988 and 1989, succeed as action classics in their own right.
The Post discussed the In the Line of Duty films with Frank Djeng, who provided the audio commentary for the Eureka Classics Blu-ray release.


What was the idea behind the sequel In the Line of Duty 3?
Part three was originally meant to continue Michelle Yeoh’s character from Royal Warriors, and the producers intended to set the story in Japan. But with Michelle’s imminent early retirement and subsequent marriage to [studio boss] Dickson Poon, production house D & B Films needed someone to take over.
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So they decided to start the story anew with a character played by Cynthia Khan, called Madam Yeung – they even made her character’s Chinese name the same as her own real Chinese name, Yeung Lai-ching!
As for Cynthia Rothrock, she was already contracted to Golden Harvest, so it would not have been possible to have her return to the series.
Cynthia Khan had not made any films in Hong Kong before In the Line of Duty 3. What is her story?
Cynthia was born and raised in Taiwan.

She studied both Chinese dance and modern jazz dance at school and entered the Taiwanese entertainment industry when she won a national talent contest at 17.
She also learned Taekwondo and has made several films in Taiwan before she was persuaded by her colleagues to come to Hong Kong to pursue an action career.
She went to Hong Kong on her own and against her parents’ wishes, auditioned and won a contract with D & B films to replace Michelle Yeoh and made a sensational Hong Kong film debut with In the Line of Duty 3.
The film’s box office success started her long career as sequels and other films followed, many of them in the “girls with guns” genre.

She was a worthy replacement [for] Michelle Yeoh and at that time was even referred to as Yeoh’s successor. But she never gained the same star level and popularity as Michelle, even if she was as athletic as Yeoh and also came from a similar dance background.
What do you think of the action scenes in In the Line of Duty 3?
They are surprisingly raw, gory and downright visceral – they are on par with Mang Hoi’s equally gritty choreography for Michelle Yeoh in Royal Warriors.
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There’s also some over-the-top gunplay. – this film was made in 1988 when the Hong Kong film industry was feeling energised by “gun fu” and the heroic bloodshed genre, thanks to the success of the John Woo films A Better Tomorrow I and II.
Guns are more involved in the fights here compared to previous films. In films by Jackie Chan and Sammo Hung Kam-bo, they try to get rid of the guns so they can fight. But because of the Woo influence, the guns became part of the fights here. This can also be seen in the American John Wick films.
Martial arts legend Yuen Woo-ping directed In the Line of Duty 4. What do you think he brings to the series?
Yuen Woo-ping brought a heavier, darker tone to this film, which was very different from the previous films in the series.


There’s hardly any comedy, the story is a bit more layered and complex, and it touches on themes that were relevant to Hong Kong people at that time, such as immigration, and living and surviving overseas.
All the fights in this film were expertly choreographed, of course.
There is some mixed martial arts in In the Line of Duty 4, too.
This film was very important in the way that it incorporated MMA (mixed martial arts) into Hong Kong film action at a time when MMA wasn’t well known.

I am certain it was Donnie Yen Ji-dan who got the wrestling moves added to his rooftop fight with Michael Woods. There’s even a character who’s an amazing Thai kick-boxer.
Cynthia Khan really shines in In the Line of Duty 4, and she works well with Donnie Yen as her partner.
Cynthia really came into her own in [In the Line of Duty 4], and together with Donnie Yen, they made a formidable pair that expertly carried the film. I felt that she was on par with Michelle Yeoh in this film in terms of her action performance. She really went all out and you could tell she gave her all.

There are also some impressive stunts, such as a lengthy roof chase filmed without edits. What do you think of the stunts in In the Line of Duty 4?
The stunts were certainly very impressive, whether it was the high jump into the water in Seattle, the crazy motorcycle stunt with the shovel and sledgehammer fight [which would later be seen in not just the John Wick films but also the Korean film The Villainess], or the two-storey jump from the apartment later in the film.
But nothing impresses me more than Cynthia [Khan]’s stunts during the fight on the top of the ambulance. You could clearly see that was her doing some of the really hair-raising moves, and it was as dangerous as Michelle Yeoh hanging on the side of a car in Police Story 3: Supercop.
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A young Donnie Yen ably demonstrates his martial arts prowess. What stage was his career at?
Donnie was still being mentored by Yuen Woo-ping at this stage of his career, having been discovered by Yuen, who cast him in his films.
In the Line of Duty 4 was Donnie’s fourth film under Yuen’s mentorship. It’s difficult to say why this film didn’t make him a major star, and he didn’t really get serious recognition by both Hong Kong and Hollywood until his villainous turn in Once Upon a Time in China II.

It was probably because at this point the local action-film industry was still dominated by [actors and martial artists] Sammo Hung, Jackie Chan and Yuen Biao.
In this regular feature series on the best of Hong Kong cinema, we examine the legacy of classic films, re-evaluate the careers of its greatest stars, and revisit some of the lesser-known aspects of the beloved industry.
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From Cheng Pei-pei to Michelle Yeoh, Hong Kong cinema’s history of action heroines

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Asian cinema: Hong Kong film

No Michelle Yeoh, no problem: how Cynthia Khan made In the Line of Duty 3 and 4 her own with her sensational performances, including one alongside a young Donnie Yen

Cynthia Khan and Donnie Yen in a still from “In the Line of Duty 4”. Photo: Eureka Entertainment

Cynthia Khan in a still from “In the Line of Duty 3”. Khan stepped in when Michelle Yeoh and Cynthia Rothrock were unavailable to film sequels to their hits “Yes, Madam!” and “Royal Warriors”. Photo: Eureka Entertainment

Hiroshi Fujioka (left) and Cynthia Khan in a still from “In the Line of Duty 3”. Photo: Eureka Entertainment

Cynthia Khan in a still from “In the Line of Duty 3”. Photo: Eureka Entertainment

Donnie Yen in a still from “In the Line of Duty 4”. Photo: Eureka Entertainment

Cynthia Khan in a still from “In the Line of Duty 4”. Photo: Eureka Entertainment

(From left) Yuen Yat-choh, Donnie Yen and Cynthia Khan in a still from “In the Line of Duty 4”. Photo: Eureka Entertainment

How Hong Kong film star Maggie Cheung was able to explore her acting abilities in 2 films directed by Olivier Assayas, to whom she was briefly married

Maggie Cheung in a still from “Clean” (2004).

Hong Kong actress Maggie Cheung appeared in two films directed by her husband Olivier Assayas: Irma Vep, in which she played a film star (above), and Clean, in which she played a heroin addict. Photo: Dacia Films

French film director Olivier Assayas during an interview with the Post in February 1997. Photo: SCMP

From left: Michelle Yeoh, Maggie Cheung and Anita Mui in a still from “The Heroic Trio” (1993).

Maggie Cheung in a still from “Clean”.

Maggie Cheung plays a mother and heroin addict in “Clean”.

Maggie Cheung during an interview with the Post in November 2004. Photo: SCMP

Not his best work: how Wong Kar-wai’s 2046 and My Blueberry Nights left their marks, despite being considered two of the Hong Kong director’s lesser films

Tony Leung Chiu-wai (left) and Zhang Ziyi in a still from “2046”. Photo: Block 2 Pictures and Jet Tone Contents

Tony Leung Chiu-wai in a still from “2046” (2004). This film, along with “My Blueberry Nights” (2007) contributed to Wong Kar-wai’s impressive oeuvre despite not being considered his best work.

Maggie Cheung in a still from “2046”.

(From left) Fox Asia vice-president Bob Girard, Wong Kar-wai and his wife Esther Wong, Tony Leung Chiu-wai, Carina Lau and Chang Chen attend the film premiere of “2046” in Hong Kong, in 2004. Photo: SCMP

Zhang Ziyi and Tony Leung in a still from “2046”. Photo: AP Photo/Prokino Fox

Norah Jones in a still from “My Blueberry Nights” (2007).

Jude Law (left) and Chan Marshall aka Cat Power in a still from “My Blueberry Nights”.

How Charlie Young, actress and singer, became one of Hong Kong’s most versatile stars, and worked with Donnie Yen, Leon Lai and Wong Kar-wai

Charlie Young, pictured at a film promotion event in June 2004. Photo: SCMP

Actress and singer Charlie Young, pictured at an event in August 2005. Young projected a wholesome image when she emerged in the 1990s, but did not let that limit her choice of screen roles. Photo: SCMP

(From left) Aaron Kwok, Gouw Ian Iskandar, director Patrick Tam and Charlie Young promote “After This, Our Exile”, in March 2006. Photo: SCMP

Charlie Young (right) and Leslie Cheung in a still from “Ashes of Time” (1994).

(From left) Nicholas Tse, Charlie Young, Charlene Choi and Jackie Chan at the premiere of “New Police Story” in September 2004. Photo: SCMP

(From left) Aaron Kwok, Charlie Young and Tony Leung Ka-fai in a still from “Cold War“ (2012).

Young with Hong Kong filmmakers Tsui Hark (left) and Peter Chan Ho-sun in 2005. Photo: SCMP

Charlie Young in a still from “Seven Swords” (2005).

Charlie Young at an interview with the Post in 2013. Photo: Jonathan Wong

Charlie Young and Nicky Wu on the set of “The Lovers” (1994).

Charlie Young and Aaron Kwok in a still from “After This Our Exile” (2006).

1980s Hong Kong cinema: From Chow Yun-fat, Leslie Cheung and Anita Mui to gangster films and adults-only movies, it was a rich era

From left: Sam Hui, Sylvia Chang and Karl Maka in a still from “Aces Go Places” (1982). Photo: SCMP

From Chow Yun-fat, above, left, with Cherie Cheung in a still from 1987’s “An Autumn’s Tale”, to Leslie Cheung and Anita Mui, gangster films and adults-only movies, the 1980s was a rich era in Hong Kong cinema, and a time of change. Photo: D&B Films

Lawrence Cheng (left) and Carol Cheng in a still from “The Yuppie Fantasia” (1989). 

Leslie Cheung and Shu Qi in a still from “Viva Erotica”, a Category III film released in 1996. Photo: SCMP

Chow Yun-fat in a still from “A Better Tomorrow” (1986). Photo: ISD Photo

Gordon Liu in a still from “The Eight Diagram Pole Fighter”. Photo: Shaw Brothers

Leslie Cheung and Anita Mui in a still from “Rouge” (1988), directed by Stanley Kwan. Photo: Golden HArvesy

Ng Man-tat (left) and Stephen Chow in a still from “Tricky Brains” (1991), directed by Wong Jing. Photo: Newport Entertainment

Chow Yun-fat (left) and Danny Lee in a still from “The Killer” (1989). Photo: Film Workshop

A still from “Mr. Vampire” (1985). Photo: Golden Harvest

Who led cinema’s Hong Kong New Wave? The directors, from Tsui Hark to Ann Hui, their movies and how they changed filmmaking in the city

Leslie Cheung and Cecilia Yip in a still from “Nomad” (1982), one of the films of Hong Kong New Wave cinema.

Alex Man and Angie Chiu in a still from Ann Hui’s “The Secret” (1979), a well-known Hong Kong New Wave film. Hui was one of a group of young filmmakers who brought modern techniques and stories to Hong Kong cinema.

Che Bo-law in a still from “Dangerous Encounters of the First Kind” (1980), directed by Tsui Hark.

Film producer Karl Maka (left) and Tsui Hark, pictured in 1986. Photo: SCMP

Hui Siu-ying (left) and Peter Wang in a still from “Ah Ying” (1983), directed by Allen Fong.

Hong Kong musician and actor Sam Hui Koon-kit (left) and Selina Chow Liang Shuk-yee, then Assistant General Manager of television station TVB, in 1977. Photo: SCMP

Ann Hui On-wah, in 1984. Photo: SCMP

Kwan Chung (left) and Kenneth Tsang in a still from “ICAC: A Man” (1977), directed by Ann Hui.

Lee Yue-tin (left) and Shi Lei in a still from “Father and Son” (1981).

Leslie Cheung (front) and Cecilia Yip in a still from “Nomad” (1982).

Callan Leung in a still from “Jumping Ash” (1976).

Chen Chi-chi (left) and Adam Cheng in a still from “The Sword” (1980).

(From left) Tsui Siu-ling, Lau Siu-ming and Michelle Yim in a still from “The Butterfly Murders” (1979).

Callan Leung (left) and Eddie Chan in a still from Alex Cheung’s “Man on the Brink” (1981).

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Classic Hong Kong cinema

Classic Hong Kong cinema: John Woo on action, violence, influences, growing up in poverty and working in Hollywood in 1997 interview

Legendary Hong Kong action film director John Woo in 1990. Photo: SCMP

Famous Hong Kong action film director John Woo talks about his life and work in a 1997 interview. Photo: SCMP

John Travolta (top) and Nicolas Cage in a still from Face/Off.

John Woo during an interview in 1996. Photo: SCMP

Tony Leung (left) and Chow Yun-fat in a still from Hard Boiled (1991), directed by Woo.

Woo (left) shakes hands with actor Tom Cruise at a photo call in Tsim Sha Tsui in 2000.

Danny Lee (left) and Chow Yun-fat in a still from The Killer, a 1989 film directed by John Woo.

Woo in his office in 1993. Photo: SCMP

Woo on the set of Red Cliff, with actor Takeshi Kaneshiro.

How Ringo Lam crime thriller Full Alert mixed realistic action on Hong Kong streets with premonition of 1997 handover

Lau Ching-wan in a still from Full Alert.

Lau Ching-wan hunting down an escaped robber in the mean streets (Bird Street) of Mong Kok in Ringo Lam’s 1997 movie Full Alert.

Ringo Lam, pictured in 1995. Photo: SCMP

Lau Ching-wan (left) and Francis Ng in a still from Full Alert.

Amanda Lee (front) in a still from Full Alert. Photo: Eureka Entertainment

Francis Ng in a still from Full Alert.

Ringo Lam in an interview with the Post in 1997. Photo: SCMP

Hong Kong’s first art-house film, Cecille Tong Shu-shuen’s The Arch, starring Crazy Rich Asians’ Lisa Lu Yan, was ahead of its time

Lisa Lu in a still from Cecille Tong Shu-shuen’s The Arch (1970), considered to be Hong Kong’s first art-house film.

Cecille Tong and members of her staff at Joss, the Chinese restaurant she runs on Sunset Boulevard, Los Angeles.

Lisa Lu, who starred in The Arch and The Empress Dowager, poses with her daughter Lucia Hwong in 1978. Photo: SCMP

Lisa Lu in a still from The Arch.

Promotional stills for Sup Sap Bup Dup (1975), directed by Tong.

A scene from the 1974 film China Behind, directed by Tong.

How Bruce Lee’s Way of the Dragon made Chuck Norris a star with their fight in Rome’s Colosseum, and what the film showed about Lee’s directing

Bruce Lee in a still from The Way of the Dragon (1972). Photo: Criterion Collection

Bruce Lee in a still from The Way of the Dragon (1972), which he starred in and directed. Photo: Criterion Collection

Bruce Lee as Ah Lung (front) and Nora Miao as Chen Ching Hua in a still from The Way of the Dragon. Photo: Golden Harvest

Chuck Norris and Bruce Lee in a still from The Way of the Dragon. Photo: LCSD

Bruce Lee and Chuck Norris in a still from The Way of the Dragon. Photo: Criterion Collection

Maggie Cheung in her own words, on Wong Kar-wai and In the Mood for Love, marrying Olivier Assayas and being an actress, not just a film star

Interview with award-winning actress Maggie Cheung Man-yuk at Grand Hyatt Hotel.

Maggie Cheung at an interview with the Post in 2001. Photo: SCMP.

Maggie Cheung (left) and Cherie Chung in a still from Prince Charming (1984).

Maggie Cheung (left) and Andy Lau in a still from As Tears Go By (1988).

Maggie Cheung in a still from the 1996 film Irma Vep.

Maggie Cheung (left) and Tony Leung in a still from In the Mood for Love (2000).

Peter Chan’s early films, featuring the two Tony Leungs and Maggie Cheung, were a breath of fresh air in Hong Kong

Anita Yuen (left) and Leslie Cheung in a still from He’s a Woman, She’s a Man (1994).

A promotional image of He Ain’t Heavy, He’s My Father (1993), starring Tony Leung Chiu-wai (first from right) and Tony Leung Ka-fai (second from right). Peter Chan Ho-sun’s early films “have an international, almost placeless feel” despite their local issues and references.

Film director Peter Chan Ho-sun in 1995. Photo: SCMP

Eric Tsang (left) and Leslie Cheung in a still from He’s a Woman, She’s a Man, the 1994 film directed by Peter Chan.

Fallen Angels: Wong Kar-wai on casting Leon Lai, Michele Reis, Charlie Yeung and Karen Mok against type in 1995 film

Michele Reis and Takeshi Kaneshiro in a still from Wong Kar-wai’s Fallen Angels. Photo: Block 2 Pictures and Jet Tone Contents

Leon Lai in a still from Wong Kar-wai’s Fallen Angels, the 1995 film that was almost part of Chungking Express.

Wong Kar-wai in front of a promotional poster for Fallen Angels in 1995. Photo: SCMP

Takeshi Kaneshiro in a still from Fallen Angels.

Leon Lai (left) and Michele Reis in a still from Fallen Angels.

Michele Reis in a still from Fallen Angels.

(Clockwise from top left) Charlie Yeung, Michele Reis, Leon Lai and Takeshi Kaneshiro in a still from Fallen Angels.

Leon Lai plays a hitman in a still from Fallen Angels.

How Running Out of Time, starring Andy Lau and Lau Ching-wan, helped shape the ‘Johnnie To Cinematic Universe’

Andy Lau in a still from Johnnie To’s Running Out of Time (1999).

Andy Lau, pictured with Helena Law at the 19th Hong Kong Film Awards in 2000, where he was named best actor for his role in Running Out of Time. Photo: SCMP

A still from The Mission (1999).

Lau Ching-wan (left) and Andy Lau in a still from Running Out of Time (1999).

Johnnie To in his Kwun Tong office in 1999. Photo: SCMP

Ekin Cheng in a still from Running Out of Time 2.

Likened to Hollywood hit Love Story, this film beat Jackie Chan, Jet Li at the Hong Kong box office in 1993

Anita Yuen (left) and Lau Ching-wan in a still from C’est La Vie, Mon Cheri.

Anita Yuen (left) and Lau Ching-wan in a still from C’est la Vie, Mon Cheri. It beat films starring Jackie Chan and Jet Li to become a box-office hit in 1993. Photo: courtesy of LCSD 

Film director Derek Yee Tung-sing giving a thank-you speech after being awarded the best director prize at the 13th Hong Kong Film Awards for his film, “C’est La Vie, Mon Cheri”. Photo: SCMP

Lau Ching-wan (left) and Anita Yuen in a still from C’est La Vie, Mon Cheri.

Winners at the 13th Hong Kong Film Awards pose for a group picture. From left in the first row are best supporting actor Paul Chun Pui, best actor Anthony Wong Chau-sang, best actress Anita Yuen Wing-yee, best supporting actress Fung Bo-bo and best director Derek Yee Tung-shing. With the exception of Wong, all the others worked on C’est La Vie, Mon Cheri. Photo: SCMP

Brigitte Lin’s first gender-neutral role, Sally Yeh’s butch Beijing Opera performer make Tsui Hark’s 1986 period comedy Peking Opera Blues highly enjoyable

Peking Opera Blues starring Brigitte Lin remains an enjoyable tale of espionage, Chinese opera and gender bending. Mark Cheng (left) and Brigitte Lin in a still from Peking Opera Blues. Photo: Peking Opera Blues

Playwright Raymond To Kwok-wai, pictured in 1994, was the screenwriter behind both Shanghai Blues and Peking Opera Blues. Photo: SCMP

Sally Yeh (left) in a still from Shanghai Blues, which was released two years before Peking Opera Blues. Photo: Hong Kong Film Archive

(From left) Brigitte Lin, Cherie Chung and Sally Yeh in a still from Peking Opera Blues. Photo: Peking Opera Blues

Tsui Hark, posing beside the poster for another of his movies, A Better Tomorrow III, in 1989. Photo: SCMP

Brigitte Lin (right) in a still from Peking Opera Blues. Photo: Peking Opera Blues

A change from Jackie Chan and Jet Li – Beast Cops’ Gordon Chan on how directing the Hong Kong gangs vs police film was not like his previous work

A still from Beast Cops. Photo: Handout

(From left) Sam Lee, Anthony Wong and Michael Wong in a still from Beast Cops, a Mong Kok-set gangs vs police action drama directed by Gordon Chan.

Best actress Sandra Ng Kwan-yu (left) and best actor Anthony Wong Chau-sang with their awards at the 18th annual Hong Kong Film Awards in 1999. Ng starred in Portland Street Blues and Wong in Beast Cops. Photo: SCMP

Jet Li in a still from Fist of Legend, the 1994 film directed by Gordon Chan.

Michael Wong (front) in a still from Beast Cops.

Directors Gordon Chan (left) and Dante Lam, pictured in 2006. Photo: SCMP

(From left) Anthony Wong, Kathy Chow and Michael Wong in a still from Beast Cops.

Anthony Wong in a still from Beast Cops.

Romance meets ghost story in Hong Kong movie masterpiece Rouge, starring Anita Mui and Leslie Cheung and directed by Stanley Kwan

Anita Mui and Leslie Cheung in a still from Rouge.

Leslie Cheung and Anita in a still from Rouge (1988), directed by Stanley Kwan, in which she plays a 1930s courtesan who returns 50 years later as a ghost seeking her lover, played by Cheung.

Anita Mui (centre) alongside Alex Man (left) and Elaine Chu in a still from Rouge.

Stanley Kwan in an interview with the Post in 1988. Photo: SCMP.

Anita Mui and Leslie Cheung in Rouge.

Made in Hong Kong, Fruit Chan’s take on grim reality of 1997 for many in the city, and how the groundbreaking independent film was conceived

Sam Lee in a still from Made in Hong Kong. Photo: Focus Films Limited

Sam Lee in a still from Made in Hong Kong, Fruit Chan’s 1997 film about the grim reality of life for many people in Hong Kong. Photo: Golden Scene

(From left) Wenders Li, Sam Lee and Neiky Yim in a still from Made in Hong Kong.

Fruit Chan (centre), winner of Best Director and Best Picture at the 3rd Golden Bauhinia Awards Ceremony, alongside actors Neiky Yim (left) and Sam Lee, in 1998. Photo: SCMP

Sam Lee and Neiky Yim in a still from Made in Hong Kong. Photo: Golden Scene

Sam Lee and Neiky Yim in Made in Hong Kong. Photo: Nicetop Independent

Why Boat People, starring Andy Lau and George Lam, Ann Hui’s hit film about post-war Vietnam, displeased the Chinese and French authorities

Andy Lau as To Minh in a still from Boat People (1982). Ann Hui intended the film to tell a human story that explained why refugees were fleeing Vietnam. Hong Kong film-goers saw it as an allegory of the city’s future under Chinese rule. Photo: Bluebird Film Company

George Lam (left) and Season Ma in a still from Boat People. Photo: Bluebird Film Company

Ann Hui won the Golden Lion for Lifetime Achievement at the 77th Venice Film Festival in 2020. Photo: Reuters

A still from Boat People showing Vietnamese military personnel in the streets.

Andy Lau as To Minh (left) and George Lam as Akutagawa in a still from Boat People.

Andy Lau as To Minh in a still from Boat People.

What they said about In the Mood For Love: director Wong Kar-wai and stars Tony Leung and Maggie Cheung on filming the romantic drama

Maggie Cheung in a still from In The Mood For Love. Photo: Jet Tone Films

Maggie Cheung Man-yuk and Tony Leung Chiu-wai in a still from In the Mood for Love, directed by Wong Kar-wai. Photo: Jet Tone Films

Tony Leung (left), Maggie Cheung and director Wong Kar-wai during the promotion for In the Mood For Love in Cannes, in 2000. Photo: AFP/Jack Guez

Maggie Cheung in a still from In the Mood For Love. Photo: Jet Tone Films

Tony Leung in a still from In The Mood For Love. Photo: Jet Tone Films

Tony Leung (left) and Zhang Ziyi in a still from 2046. Photo: Block 2 Pictures and Jet Tone Contents

Maggie Cheung and Tony Leung in a still from In the Mood For Love. Photo: Jet Tone Films

Jackie Chan focused on ‘real kung fu’ in Drunken Master II in reaction to shoddy ‘wire fu’ martial arts films of the early 90s

Jackie Chan in a still from Drunken Master II (1994). The movie focused heavily on real kung fu by real martial artists, as an antidote to the slew of shoddy ‘wire fu’ movies in the early 1990s.