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This review may contain spoilers
Chivalry. Brotherhood. Sisterhood: Revival of the Wuxia Dream Uniting Generations After Two Decades
A refreshing return to traditional storytelling for an intricate storyline relies on interactions, events, evolving individual-action choreography plus assumed knowledge of basic wuxia traditions and Chinese historical culture without exposition dumps! No green screens. No stand-ins. Throw out the filters! More than 70% of actions scenes shot in the Gobi Desert spanning 185 days, veering between -10 degrees and 55 degrees.
Special shoes were necessary due to intense heat from sand dunes. Wearing three to five layers of clothing or armour while wielding weapons not always pseudo-props, Yuen Woo-ping institutes 100% old-school HK-style authenticity in this movie adaptation of the acclaimed comic by Xu Xianzhe.
Fans of Quentin Tarantino, Christopher Nolan, Beat Takeshi and Kurosawa Akira will enjoy this blockbuster deserving of the best cinematic screens. Iconic Samurai films in Japan and Wild West films in USA are akin to Wuxia films in China and HK: They are quintessential classics able to incorporate partial modern adaptations but solidly traditional in many aspects. What are pros and cons of condensing multiple volumes (equivalent to 15 episodes of a well-received animated series) into 126 minutes?
This film resoundingly smashed all records for the wuxia genre at China’s box office within 6 days, grossing more than 1 billion RMB within 11 days. More than 95% of box office takings are domestic. Countries such as USA and Malaysia have also given a warm reception. Why is more than 50% of the domestic audience for “Blades Of The Guardians” age 40 and above, females of all generations comprising at least 40% of an overall still-growing audience?
Yuen Woo-ping is recognised globally for fundamentally transforming martial arts in films, in a career spanning more than 50 years. He specifically chose Wu Jing and Jet Li for certain roles in this movie, primarily partnering Wu Jing to enable this breathtaking wuxia epic recalling his most-glorious movies of the 70s, 80s and 90s. Refined and combined with everything he had learned and experimented with after 2000, the end result is volcanically devastating, lethally precise, and uplifting.
“New Dragon Gate Inn” (1992) by Tsui Hark and “The Blind Swordsman” (2003): Zatōichi” by Bīto Takeshi are the best parallels for this movie.
If you rely on subtitles for this epic set in the Western Regions during the third year of the Daye era in the Sui Dynasty, where pawns are easily expendable while survival is the priority in a world of unchecked corruption and suffering: Bodyguard/Bounty hunter Dao Ma refuses a request by Governor Chang Gui Ren of Chisha Town to train his elite troops. After doing the unthinkable and fleeing, he is wanted for 30,000 coins. Safely back in the village of the Mo clan, clan leader Lao Mo asks our anti-hero to escort Zhi Shilang (Leader of the Flower Rebellion wanted by tyrannical Emperor Yang Guang, who issued twelve Iron Blood Decrees resulting in a bounty of 100,000 coins) to Chang’an by a certain date.
Pei Shiju and his general nephew Pei Xingyan have been sent, to inform the Five Desert Merchant clans to submit to the Imperial Court and capture Zhishilang or lose their heads. While Lao Mo rejects this and chooses neutrality, Heyi Xuan has more than an axe to grind with Lao Mo. Instigated by Pei Shiju for the position of Khan while relying on an alliance with A Luo Han who leads Tokharian mercenaries, Heyi Xuan embarks on a plan to achieve his ultimate goal of retrieving what he deems as his.
Pursued by all bounty hunters, government officials, plus four of the Five Desert Merchant Clans, Dao Ma and surrogate son Xiao Qi alongside Ayuya and A-Ni wind up sharing a carriage with Shu and bounty-in-shackles Yanzi-niang. His past catches up with him in the forms of Di Ting and Kui Zhi. As events spiral into chaos, Dao Ma must define the meaning of chivalry in his heart and blade.
Without subtitles, a world of interesting complex characters deserving of their own spin-off storylines emerge, tied to multiple subplots moving at a pace calling for breathing space.
Containing at least six titanic martial arts set pieces involving pyrotechnics and jaw-dropping sequences seamlessly flowing within a mature script, more than 90 minutes in 126 minutes fly by. Professionally fluid camerawork respects authenticity of every cast member putting in 200% during 6 months of preparation and then filming. Not relying on CGI, slo-mo, quick-cut fancy spliced shots, and special effects as main stars of a traditional wuxia film to camouflage artists without solid basics in multiple necessary aspects (equestrian training, stunt wirework training and action training) for action scenes is great!
Vfx as an additional enhancement never overshadows reality of magnificent Yardang landforms and parching sand dunes. Yuen Woo-ping used four giant blowers to create the sandstorms on-site for multiple characters to become entangled in. Nicholas Tse wound up with more mouthfuls of sand than I'd preferred, and had to rest for months after filming ended. Liu Yaowen, Win Win, Wen Junhui and other young actors in supporting roles severely exhausted themselves under the scorching sun and during training.
Yanzi-niang, Ayuya, Heyi Xuan and Jade-face Ghost Shu are compelling with strong portrayals by respective actors and actresses. In brief well-edited interactions, Yanzi-niang’s character and values are precisely revealed. She is strong-willed, incisive, and principled. Despite Ayuya being unfriendly, she chose to subdue a certain clan leader’s daughter to aid the team. At the Dark Ox Flats before a certain fight erupts, Yanzi-niang could see Shu’s intentions and makes a snide criticism alluding to set-ups. If you’re not willing to pay a fair price, she’ll ensure lethal consequences for cheating.
Li Yunxiao as Yanzi-niang is perfect. Her Yue Opera background with speciality focus on Huadan role enables a wily charming female sharing Wu dialect in a unique manner with a cadence reminiscent of Suzhou pingtan, utilising flirtation as a weapon, as distinctive as Maggie Cheung portraying saucy calculating multi-faceted Jin Xiang Yu in “New Dragon Gate Inn”. Her performance is so vividly arresting that Xue Xianzhe intends to significantly expand on Yanzi-niang in his manhua.
When Nashi had to be replaced due to an education scandal, Chen Lijun as Ayuya surpassed all expectations from those who know nothing about this Yue Opera veteran. Legendary HK screen-goddess Lin Ching-hsia did not know martial arts but incorporated what she learned about movements and elements of Peking opera into her performances, specifically the "Daomadan" (sword-and-horse female warrior) role in Peking opera which made fluid theatrical movements very convincing for sword fights and poses, including her titular portrayal of Mo Yan in “New Dragon Gate Inn”.
Chen Lijun has 20 years of experience in Yue Opera since age 13, domestically popular with Li Yunxiao in Yue Opera performances which always sell-out. Her training in various roles (specifically as xiaosheng, which includes martial arts training) enables her to express and flexibly adapt to physical demands and emotional extremes of Ayuya becoming a leader. Watching her and Tony Leung as father and daughter pierces the heart. When she finally explodes in unrestrained bloodlust, her lines of rage truly embody ruthless lethality of the sandstorm and her arrows.
Ci Sha excels in micro-emoting to nail Heyi Xuan’s complex tragic inner world. Heyi Xuan is charming, cunning, repulsive, cowardly, manic, pathetic, and pitiful. I was initially sceptical of Ci Sha, and now I'm solidly convinced he's great for the big screen. I want more screentime for Heyi Xuan and several other characters such as Ayuya, Yanzi-niang, A-Ni, Pei Xingyan and Shu! Xiong Jinyi as A-Ni has earned praise from Shaw-Brothers-movies-martial arts-icon Kara Wai as a successor in martial arts scenes, and Xiong Jinyi's Huai opera background has been integral to conveying a tragic past and touching devotion as Ayuya's bodyguard. This movie easily passes the Bechdel test in terms of female representation and quality, making it a very unique wuxia film.
Jade-face Ghost Shu is cold and unemotive, but Yu Shi adds subtle twists in certain scenes allowing audiences to recognise specific inner changes happening. His swordplay is skilful and coldly proficient. As interactions with the team increase, his priorities of money and reputation shift places to define chivalry through his sword. Emotions start to filter through, instead of stagnating as a sword for hire. Yuen Woo-ping really appreciates this character and Yu Shi's performance. His tribute to Batman's Joker is a cross-cultural reference I appreciate.
When Shu and Dao Ma have their first “relaxed” conversation, indirect concise exchanges of two capable rivals probing each other recalls Tony Leung Ka-Fai in “New Dragon Gate Inn” as protagonist Zhou Wai An against a disguised Eunuch Jia Ting of the East Chamber, attacking each other through barbs hidden in friendly banter while trying not to expose their own identities. It was nostalgically enjoyable to relish traditional realistic conversations between potential enemies or friends.
Brotherhood in the Left Valiant Cavalry Guard inspired Di Ting to aid Dao Ma and tell the Right Valiant Cavalry Guard to stay out of their business. Brotherhood irreparably tears them apart. The Emperor has everyone in the Left Valiant Cavalry Guard killed for this choice, then orders survivors Di Ting with Kui Zhi to retrieve the child which Dao Ma has saved.
Dao Ma must choose between family and brotherhood, because Xiao Qi is his younger sister’s only son. Di Ting must answer to more than twenty brothers who died because of their brotherhood. Their final showdown keeping me on tenterhooks fulfils obligations and unspoken duty, maintaining a friendship honoured beyond words. Di Ting has all the hallmarks of a character in a Greek tragedy, unable to defy destiny and bound to fatalism because of honour.
Wu Jing as Dao Ma is as unforgettable as Zhang Jin the Double-headed Snake. Both actors quickened my heartbeat, stirred a sense of pride and brought tears to my eyes. Found family, sacrifice, redemption, refusal to give in- Duty and devotion and other emotions in silent emoting had me rapt. A three-way duel between wushu champions Jet Li, Wu Jing and Zhang Jin is indescribably excellent.
Dao Ma has been abandoned and betrayed by the system he once cherished, he has no voice, but he transforms self-resistance into heroism through found family. The female characters are marginalised in society, but the heroines care for those weaker than themselves or those who being persecuted. Upholding justice for the weak and utilising personal strength for the masses to cut down injustice, enduring windswept nights and unfeeling endless sand dunes (to replace aloof snowy mountains)- "Blades Of The Guardians" brings it all back!
One of the best changes for this movie is removing a kiss from Ayuya to Dao Ma during the sandstorm ie erasing all hints of romance from the comic. Ayuya is independent, wholly focused on her vengeance and A-Ni, tells her they will be sisters in their next life, then cuts away on horseback into the sandstorm to go after Heyi Xuan. A-Ni pursues her, knowing she herself might not survive. When valiant A-Ni finally has a chance to talk again to Dao Ma, she asks what is most important to her: Whether the village of the Mo clan is still standing.
In an ever-changing world regardless of circumstances, love and loyalty are steadfast to define justice in chivalry ie 有情有义有侠义! Etymology of "镖" in the movie title enables one to understand the history, core of the film and crucial keypoint of the plot plus characters.
Non-combat scenes could have been increased by eight to ten minutes, for more insight into characters for viewers with no background in the manhua or animated series. This would also aid viewers to gain better insight into motivations of specific characters, to connect better instead of reckoning “Blades of The Guardians” is too packed with characters they barely know.
Essential non-combat footage was edited out, such as a short revealing exchange between Lao Mo and Di Ting involving Dao Ma. Viewers yearn for more backstory of Di Ting with Dao Ma (such as lengthening one flashback), more material on the relationship between Dao Ma and Xiao Qi, Pei Xingyan’s character, and what makes Zhishilang such a compelling leader of a unique rebellion deemed a gigantic threat to be urgently dealt with by an oppressive unjust emperor.
“The Blind Swordsman” (2003): Zatōichi” by Bīto Takeshi also featured a great cast in a story about ending systemic deep-rooted powerful evil and restoring a village through multiple interesting characters as a team, incorporating humour to forge a bridge to the traditional Samurai genre. Katsu Shintarō is the blind masseur Zatoichi, portraying the iconic character in 26 films plus 100 episodes comprising four seasons.
2003 ending of Zatōichi involved an ensemble dance featuring the cast except himself. Bīto Takeshi understood allure of tapdancing and foreign successes such as Riverdance. But he is quintessentially and historically Japanese. The ensemble dance recalls the annual Red and White Song Festival (Kōhaku Uta Gassen) TV Special on NHK to welcome New Year since 1951 whereby in one year, performers wore sequinned kimonos.
Wu Jing, Nicholas Tse, and Chen Lijun use actual weapons while incorporating wrestling styles from Northwest China alongside dance movements of Dolan Uyghurs from Xinjiang within their combat movements. Yuen Woo-ping also narrates individual stories through each character’s martial arts style evolution or stagnation. Dao Ma has several different styles and able to switch between at least 7 different weapons. Di Ting uses double bamboo-section whips, but his style remains fixed.
This film is packed with trivia and cultural references. I recommend bridges. I am slower to recommend a quintessentially traditional classic film or drama. Not understanding history, culture plus language will easily lead to missing out between 40% to 60% of the context.
In “Blades Of The Guardians”, Yuen Woo-ping has crafted a crucial captivating bridge in wuxia for all generations to the past, present and future. Imbuing subtle doses of humour ever since he pioneered the approach of blending comedy with martial arts, lighter moments soften edges of a tension-packed adventure skilfully staying the path while wrapping up subplots for a sequel. The theme song is timelessly apt and heroic. Music score fans rising winds of anticipation and mood, soaring into an epic ending for a sequel! Yes, "epic" is yelled because this is unabashedly old-fashioned Chinese wuxia returning in a legendary manner with all the hallmarks of a grounded classic!
You don’t need to know mandarin or history of the Sui Dynasty to enjoy “Blades Of The Guardians”. The first volume of the English version is published tomorrow (3 March). This film released for 2026 Lunar New Year box office unites family, while also a great introduction for anyone new to the comics.
In the desert of wuxia movies, Yuen Woo-ping also inspired parents to bring their teenagers and learn about wuxia. Cast and crew have protected and revived the genre while scaling new heights. He said the best wuxia is about passing on traditions to future generations, and for artists in wuxia to find their voice. Hope springs anew, in tears and smiles and write-ups plus conversations about this film, which I happily shared with my mother 😊
Special shoes were necessary due to intense heat from sand dunes. Wearing three to five layers of clothing or armour while wielding weapons not always pseudo-props, Yuen Woo-ping institutes 100% old-school HK-style authenticity in this movie adaptation of the acclaimed comic by Xu Xianzhe.
Fans of Quentin Tarantino, Christopher Nolan, Beat Takeshi and Kurosawa Akira will enjoy this blockbuster deserving of the best cinematic screens. Iconic Samurai films in Japan and Wild West films in USA are akin to Wuxia films in China and HK: They are quintessential classics able to incorporate partial modern adaptations but solidly traditional in many aspects. What are pros and cons of condensing multiple volumes (equivalent to 15 episodes of a well-received animated series) into 126 minutes?
This film resoundingly smashed all records for the wuxia genre at China’s box office within 6 days, grossing more than 1 billion RMB within 11 days. More than 95% of box office takings are domestic. Countries such as USA and Malaysia have also given a warm reception. Why is more than 50% of the domestic audience for “Blades Of The Guardians” age 40 and above, females of all generations comprising at least 40% of an overall still-growing audience?
Yuen Woo-ping is recognised globally for fundamentally transforming martial arts in films, in a career spanning more than 50 years. He specifically chose Wu Jing and Jet Li for certain roles in this movie, primarily partnering Wu Jing to enable this breathtaking wuxia epic recalling his most-glorious movies of the 70s, 80s and 90s. Refined and combined with everything he had learned and experimented with after 2000, the end result is volcanically devastating, lethally precise, and uplifting.
“New Dragon Gate Inn” (1992) by Tsui Hark and “The Blind Swordsman” (2003): Zatōichi” by Bīto Takeshi are the best parallels for this movie.
If you rely on subtitles for this epic set in the Western Regions during the third year of the Daye era in the Sui Dynasty, where pawns are easily expendable while survival is the priority in a world of unchecked corruption and suffering: Bodyguard/Bounty hunter Dao Ma refuses a request by Governor Chang Gui Ren of Chisha Town to train his elite troops. After doing the unthinkable and fleeing, he is wanted for 30,000 coins. Safely back in the village of the Mo clan, clan leader Lao Mo asks our anti-hero to escort Zhi Shilang (Leader of the Flower Rebellion wanted by tyrannical Emperor Yang Guang, who issued twelve Iron Blood Decrees resulting in a bounty of 100,000 coins) to Chang’an by a certain date.
Pei Shiju and his general nephew Pei Xingyan have been sent, to inform the Five Desert Merchant clans to submit to the Imperial Court and capture Zhishilang or lose their heads. While Lao Mo rejects this and chooses neutrality, Heyi Xuan has more than an axe to grind with Lao Mo. Instigated by Pei Shiju for the position of Khan while relying on an alliance with A Luo Han who leads Tokharian mercenaries, Heyi Xuan embarks on a plan to achieve his ultimate goal of retrieving what he deems as his.
Pursued by all bounty hunters, government officials, plus four of the Five Desert Merchant Clans, Dao Ma and surrogate son Xiao Qi alongside Ayuya and A-Ni wind up sharing a carriage with Shu and bounty-in-shackles Yanzi-niang. His past catches up with him in the forms of Di Ting and Kui Zhi. As events spiral into chaos, Dao Ma must define the meaning of chivalry in his heart and blade.
Without subtitles, a world of interesting complex characters deserving of their own spin-off storylines emerge, tied to multiple subplots moving at a pace calling for breathing space.
Containing at least six titanic martial arts set pieces involving pyrotechnics and jaw-dropping sequences seamlessly flowing within a mature script, more than 90 minutes in 126 minutes fly by. Professionally fluid camerawork respects authenticity of every cast member putting in 200% during 6 months of preparation and then filming. Not relying on CGI, slo-mo, quick-cut fancy spliced shots, and special effects as main stars of a traditional wuxia film to camouflage artists without solid basics in multiple necessary aspects (equestrian training, stunt wirework training and action training) for action scenes is great!
Vfx as an additional enhancement never overshadows reality of magnificent Yardang landforms and parching sand dunes. Yuen Woo-ping used four giant blowers to create the sandstorms on-site for multiple characters to become entangled in. Nicholas Tse wound up with more mouthfuls of sand than I'd preferred, and had to rest for months after filming ended. Liu Yaowen, Win Win, Wen Junhui and other young actors in supporting roles severely exhausted themselves under the scorching sun and during training.
Yanzi-niang, Ayuya, Heyi Xuan and Jade-face Ghost Shu are compelling with strong portrayals by respective actors and actresses. In brief well-edited interactions, Yanzi-niang’s character and values are precisely revealed. She is strong-willed, incisive, and principled. Despite Ayuya being unfriendly, she chose to subdue a certain clan leader’s daughter to aid the team. At the Dark Ox Flats before a certain fight erupts, Yanzi-niang could see Shu’s intentions and makes a snide criticism alluding to set-ups. If you’re not willing to pay a fair price, she’ll ensure lethal consequences for cheating.
Li Yunxiao as Yanzi-niang is perfect. Her Yue Opera background with speciality focus on Huadan role enables a wily charming female sharing Wu dialect in a unique manner with a cadence reminiscent of Suzhou pingtan, utilising flirtation as a weapon, as distinctive as Maggie Cheung portraying saucy calculating multi-faceted Jin Xiang Yu in “New Dragon Gate Inn”. Her performance is so vividly arresting that Xue Xianzhe intends to significantly expand on Yanzi-niang in his manhua.
When Nashi had to be replaced due to an education scandal, Chen Lijun as Ayuya surpassed all expectations from those who know nothing about this Yue Opera veteran. Legendary HK screen-goddess Lin Ching-hsia did not know martial arts but incorporated what she learned about movements and elements of Peking opera into her performances, specifically the "Daomadan" (sword-and-horse female warrior) role in Peking opera which made fluid theatrical movements very convincing for sword fights and poses, including her titular portrayal of Mo Yan in “New Dragon Gate Inn”.
Chen Lijun has 20 years of experience in Yue Opera since age 13, domestically popular with Li Yunxiao in Yue Opera performances which always sell-out. Her training in various roles (specifically as xiaosheng, which includes martial arts training) enables her to express and flexibly adapt to physical demands and emotional extremes of Ayuya becoming a leader. Watching her and Tony Leung as father and daughter pierces the heart. When she finally explodes in unrestrained bloodlust, her lines of rage truly embody ruthless lethality of the sandstorm and her arrows.
Ci Sha excels in micro-emoting to nail Heyi Xuan’s complex tragic inner world. Heyi Xuan is charming, cunning, repulsive, cowardly, manic, pathetic, and pitiful. I was initially sceptical of Ci Sha, and now I'm solidly convinced he's great for the big screen. I want more screentime for Heyi Xuan and several other characters such as Ayuya, Yanzi-niang, A-Ni, Pei Xingyan and Shu! Xiong Jinyi as A-Ni has earned praise from Shaw-Brothers-movies-martial arts-icon Kara Wai as a successor in martial arts scenes, and Xiong Jinyi's Huai opera background has been integral to conveying a tragic past and touching devotion as Ayuya's bodyguard. This movie easily passes the Bechdel test in terms of female representation and quality, making it a very unique wuxia film.
Jade-face Ghost Shu is cold and unemotive, but Yu Shi adds subtle twists in certain scenes allowing audiences to recognise specific inner changes happening. His swordplay is skilful and coldly proficient. As interactions with the team increase, his priorities of money and reputation shift places to define chivalry through his sword. Emotions start to filter through, instead of stagnating as a sword for hire. Yuen Woo-ping really appreciates this character and Yu Shi's performance. His tribute to Batman's Joker is a cross-cultural reference I appreciate.
When Shu and Dao Ma have their first “relaxed” conversation, indirect concise exchanges of two capable rivals probing each other recalls Tony Leung Ka-Fai in “New Dragon Gate Inn” as protagonist Zhou Wai An against a disguised Eunuch Jia Ting of the East Chamber, attacking each other through barbs hidden in friendly banter while trying not to expose their own identities. It was nostalgically enjoyable to relish traditional realistic conversations between potential enemies or friends.
Brotherhood in the Left Valiant Cavalry Guard inspired Di Ting to aid Dao Ma and tell the Right Valiant Cavalry Guard to stay out of their business. Brotherhood irreparably tears them apart. The Emperor has everyone in the Left Valiant Cavalry Guard killed for this choice, then orders survivors Di Ting with Kui Zhi to retrieve the child which Dao Ma has saved.
Dao Ma must choose between family and brotherhood, because Xiao Qi is his younger sister’s only son. Di Ting must answer to more than twenty brothers who died because of their brotherhood. Their final showdown keeping me on tenterhooks fulfils obligations and unspoken duty, maintaining a friendship honoured beyond words. Di Ting has all the hallmarks of a character in a Greek tragedy, unable to defy destiny and bound to fatalism because of honour.
Wu Jing as Dao Ma is as unforgettable as Zhang Jin the Double-headed Snake. Both actors quickened my heartbeat, stirred a sense of pride and brought tears to my eyes. Found family, sacrifice, redemption, refusal to give in- Duty and devotion and other emotions in silent emoting had me rapt. A three-way duel between wushu champions Jet Li, Wu Jing and Zhang Jin is indescribably excellent.
Dao Ma has been abandoned and betrayed by the system he once cherished, he has no voice, but he transforms self-resistance into heroism through found family. The female characters are marginalised in society, but the heroines care for those weaker than themselves or those who being persecuted. Upholding justice for the weak and utilising personal strength for the masses to cut down injustice, enduring windswept nights and unfeeling endless sand dunes (to replace aloof snowy mountains)- "Blades Of The Guardians" brings it all back!
One of the best changes for this movie is removing a kiss from Ayuya to Dao Ma during the sandstorm ie erasing all hints of romance from the comic. Ayuya is independent, wholly focused on her vengeance and A-Ni, tells her they will be sisters in their next life, then cuts away on horseback into the sandstorm to go after Heyi Xuan. A-Ni pursues her, knowing she herself might not survive. When valiant A-Ni finally has a chance to talk again to Dao Ma, she asks what is most important to her: Whether the village of the Mo clan is still standing.
In an ever-changing world regardless of circumstances, love and loyalty are steadfast to define justice in chivalry ie 有情有义有侠义! Etymology of "镖" in the movie title enables one to understand the history, core of the film and crucial keypoint of the plot plus characters.
Non-combat scenes could have been increased by eight to ten minutes, for more insight into characters for viewers with no background in the manhua or animated series. This would also aid viewers to gain better insight into motivations of specific characters, to connect better instead of reckoning “Blades of The Guardians” is too packed with characters they barely know.
Essential non-combat footage was edited out, such as a short revealing exchange between Lao Mo and Di Ting involving Dao Ma. Viewers yearn for more backstory of Di Ting with Dao Ma (such as lengthening one flashback), more material on the relationship between Dao Ma and Xiao Qi, Pei Xingyan’s character, and what makes Zhishilang such a compelling leader of a unique rebellion deemed a gigantic threat to be urgently dealt with by an oppressive unjust emperor.
“The Blind Swordsman” (2003): Zatōichi” by Bīto Takeshi also featured a great cast in a story about ending systemic deep-rooted powerful evil and restoring a village through multiple interesting characters as a team, incorporating humour to forge a bridge to the traditional Samurai genre. Katsu Shintarō is the blind masseur Zatoichi, portraying the iconic character in 26 films plus 100 episodes comprising four seasons.
2003 ending of Zatōichi involved an ensemble dance featuring the cast except himself. Bīto Takeshi understood allure of tapdancing and foreign successes such as Riverdance. But he is quintessentially and historically Japanese. The ensemble dance recalls the annual Red and White Song Festival (Kōhaku Uta Gassen) TV Special on NHK to welcome New Year since 1951 whereby in one year, performers wore sequinned kimonos.
Wu Jing, Nicholas Tse, and Chen Lijun use actual weapons while incorporating wrestling styles from Northwest China alongside dance movements of Dolan Uyghurs from Xinjiang within their combat movements. Yuen Woo-ping also narrates individual stories through each character’s martial arts style evolution or stagnation. Dao Ma has several different styles and able to switch between at least 7 different weapons. Di Ting uses double bamboo-section whips, but his style remains fixed.
This film is packed with trivia and cultural references. I recommend bridges. I am slower to recommend a quintessentially traditional classic film or drama. Not understanding history, culture plus language will easily lead to missing out between 40% to 60% of the context.
In “Blades Of The Guardians”, Yuen Woo-ping has crafted a crucial captivating bridge in wuxia for all generations to the past, present and future. Imbuing subtle doses of humour ever since he pioneered the approach of blending comedy with martial arts, lighter moments soften edges of a tension-packed adventure skilfully staying the path while wrapping up subplots for a sequel. The theme song is timelessly apt and heroic. Music score fans rising winds of anticipation and mood, soaring into an epic ending for a sequel! Yes, "epic" is yelled because this is unabashedly old-fashioned Chinese wuxia returning in a legendary manner with all the hallmarks of a grounded classic!
You don’t need to know mandarin or history of the Sui Dynasty to enjoy “Blades Of The Guardians”. The first volume of the English version is published tomorrow (3 March). This film released for 2026 Lunar New Year box office unites family, while also a great introduction for anyone new to the comics.
In the desert of wuxia movies, Yuen Woo-ping also inspired parents to bring their teenagers and learn about wuxia. Cast and crew have protected and revived the genre while scaling new heights. He said the best wuxia is about passing on traditions to future generations, and for artists in wuxia to find their voice. Hope springs anew, in tears and smiles and write-ups plus conversations about this film, which I happily shared with my mother 😊
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