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It was a busy weekend as I checked out a variety of action projects that came out this weekend at the Big Bad Film Fest. Well Go USA was there with its offerings, which now include director Xu Haofeng (The last master) and the historical martial arts action drama of first co-director Xu Junfeng 100 meters (which premiered yesterday) is a period film that effortlessly drips with loyalty, honor, and betrayal and features top-notch martial arts action. I was curious about this film with the title, especially because it’s about a part of Chinese history I wasn’t familiar with, but upon watching it, it was a fascinating film with all the heavy-handed drama that accompanies the masterfully choreographed action sequences that pit the film’s stars Jacky Heung and Andy On against each other to see who has what it takes to run their martial arts school when their master sets up a duel on his deathbed. It’s a positive and delicious premise that reeks of Shakespeare, and the results are positive, but in the end I will say that 100 meters offers solid and worthwhile cinema for fans of the genre who are looking for more than just bone-breaking action.
First I have to explain the title of the film. 100 meters because it’s a fascinating and interesting concept of a time in China when life was transitioning from the old style to more modern tropes. This world revolves around Master Shen’s (Guo Long) martial arts academy, whose most important rule is that there will be no violence or fighting within, you guessed it, 100 meters of the school. It’s a long-standing rule that protects the people of the area from unwanted violence, but also keeps the school’s students from participating in nefarious acts or unjustified fighting. It’s basically like an old-school DMZ (demilitarized zone) lurking in Korea, but it’s this premise and fact that builds the film’s plotlines and moves, leading to the inevitable, jaw-dropping climax.
When the first match between Shen An (Jacky Heung), the master’s son, and Qi Quan (Andy On), his best student, is held behind closed doors with only Shen present to announce the result, the master declares Quan the sole winner, which Shen doesn’t like. The result leads Shen to embark on a personal mission to go against his father’s final wishes and initiate a conspiracy to claim the school for himself, which ultimately leads to disastrous results and ultimate and unforgivable actions by both men.
If any, 100 meters proves that action and drama from the Chinese martial arts era is still alive and well for those looking for something with more substance. Sure, we’re treated to plenty of martial arts wizardry from the stars and cast, but there’s also a barrage of dramatic strife, love, loss, and retribution that sets this film apart from other martial arts films that forgo weightier plot points and instead just show the physical. The synopsis may be a little hard to follow at first, as some viewers may not know who to root for, but that’s what makes the film unique, as in most action films, there are standard good guys and bad guys. It’s not always black and white, the real world is grey, and that’s what Xu Haofeng is trying to convey here with all the empty-handed imagery and flair. We’ve seen this kind of plot where two students fight for supremacy in the martial arts school, but here it’s handled with the utmost care and respect.
The old adage that it takes an army to make a film is evident here, as Xu Haofeng is not alone, with his own brother Junfeng assisting him in directing. Two heads are sometimes better than one, and this is a true collaborative effort, with the brothers bringing what makes them tick to the material we see on screen. Add to that the masterful action design from none other than Ip Man’s disciple Duncan Leung, and the even more masterful cinematography from Dao Shan, and this is one of the best examples of how when you surround yourself with the best in the business, you get the best of the best on screen.
Jacky Heung as Shen An and Andy On as Qi Quan are both up to the challenge here, delivering some of their best performances both dramatically and physically. They excel in verbal sparring as much as they do in real life, and the moments when they give up sometimes pack more punch than the hyperkinetic finesse of the stunts. The supporting cast is also spot on, with Shiyi Tang, who plays Qi Quan’s lover Gui Yung, standing out. The actress, who I admit I didn’t know, blew me away with her performance, and it also helps that she’s a graduate of the Beijing Dance Academy and can amplify the men’s action when given the chance to grace the screen with some ballet choreography, including a spectacular fight we see early on. If Tang isn’t careful, she might be mentioned in the same breath as Michell Yeoh and Zhang Ziyi, which would certainly bode well for her career. She is another example of how well-trained dancers can transform their movements into breathtaking martial arts grace at the touch of a button.
Now we have to talk about the film’s many fight scenes and the masterclass in action design that helps bring them to life on screen. I mentioned that the film’s choreographer, Duncan Leung, is a student of Ip-Man, and I don’t think anyone could have a better reference on their resume when it comes to creating fight action. The stunts here simply prove that China is still the country to beat when it comes to no-holds-barred fighting, and here the wild aspects are fused with a ballet-like and traditional atmosphere that is justified. Multiple fighting disciplines are on display, with the climax utilizing a treasure trove of skills that fans should be mesmerized by after watching all the glorious action. It’s just that good, and after watching Eye for an Eye 2 which was a masterful WUXIA addition, this one complements it with something different, but still the same.
Shan’s camerawork is what really makes the visual effects of the art stand out, and he uses a system that I’ve always praised. Too many times I’ve complained about the camerawork and editing in fight sequences because some filmmakers thought we needed chaos to convey what was happening. This is incredibly frustrating at times, but here it’s remedied by Shan moving the camera back and forth in a fluid motion that highlights all the movement and consequences. He pans back and glides around while the actors do their work, and it’s fast, fluid, coherent, and breathtaking all at once. I hope Western action filmmakers take note of this film, because it’s a masterclass in how to shoot, edit, and highlight what fans really want from their martial arts epics.
In total, 100 meters is a sadly endangered species. This is a true classic martial arts story mixed with masterful action design and actors who don’t need stuntmen. It’s a film that evokes everything from that era, with politics and love mixed with jaw-dropping action that makes a crowd-pleasing impact. Hopefully with Well Go USA acquiring this title, the film will reach its desired audience as this company takes pride and care with their releases. I just wish I could have seen the film live at the festival as I’m sure the big screen would have done it even more justice.
Xu Haofeng is clearly an elite martial arts filmmaker and has the best of the best as muses in Andy On and Jacky Heung. On in particular is making a name for himself as an international action star and proves here that he can deliver action, whether it is a historical film or a modern one. What is shown here is magic and whatever I watch next will suffer because of it, because this film should be mentioned in the same breath as The attack Movies or other genre flicks that have given the action genre a new lease of life and given it much-needed recognition. Simply put…100 meters is just so good.
VERDICT: 4.5 out of 5 stars
100 meters is a masterpiece in combining brutal drama, politics and love with fast-paced and masterfully filmed martial arts action for a breathtaking viewing experience.
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