Overrated

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

IP MAN: THE FINAL FIGHT is the second of two biopic movies made by former Category III director Herman Yau. The first, THE LEGEND IS BORN: IP MAN, was a prequel to the Donnie Yen trilogy, whereas THE FINAL FIGHT is a natural successor. In this one, the great and underrated Anthony Wong delivers a subdued portrayal of the quiet master, once more driven into action by the machinations of some violent gang leaders.Yau's films look quite poor when compared to the great Yen trilogy, but on their own merits they're quite enjoyable. The main problem I have with them is that the writing isn't great, descending into sentimentality to often and never really feeling too mature. 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. 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. It's no masterpiece, but for solid martial arts fun you could do a lot worse.

Well it can't be said for sure, if it's the last one, but it does feel like a closure to a series that has spawned for movies altogether. While the first two remain the best (with zero being the weak link in that chain, though there are always worse movies as I like to say), this is a fine addition and nice round up.Not only do you have two fine (mature) actors opposite/side-to-side, you also have a story that is told. A story that tries to show us, that violence is not key. Don't worry though, there is plenty of great action scenes in it. It actually heightens those scenes, when you have something solid in between them, that makes you wait for them

This is another exaggerated movie about Ip Man. This movie may seem more down to earth and realistic with it's direction. But it's boring and fictitious. If they were doing a fictitious movie about Ip Man at least make it entertaining. Although there is no doubt that Ip Man is a wing chun grandmaster. Still his main fame came from being Bruce Lee's master. Instead it tries to make it seem more down to earth and realistic, but will bore the crap out of audiences that want to see a kung-fu movie. They should have titled this, "A Era in Foshan" since it seems to focus on the people of Foshan over Ip Man. It focuses in on the harsh era where there isn't any civil rights and people are dying or being sold because there isn't enough food. This problem is still problem is still probably going on but it was worse back then. Ip Man in the previous movies is portrayed as having cool, charismatic, powerful(almost untouchable), and has calmness with flare attributes. In this it's more experience Ip Man that seems more human and is broken down, but it's just so boring to watch. It's cool to see a character that builds up and has hidden potential. Even with movies where the character doesn't have have hidden potential but works hard to build himself up. Or even a character that gets in touch with the hidden abilities and the environment changes the character. Or even the master showing his skills and crafts. But this movie is just so darn boring and depressing. I think the makers wanted to go in a "The Dark Knight Rises" direction but it falters in every way possible. Donnie Yen is the best Ip Man so far and this is the worst one in this franchise. This is not going to be the last Ip Man movie, but for a movie on his final fight. It doesn't end with a bang but a whimper. This is basically a drama with bunch of characters showing their stories and what they are going through. Which can be fine, but this one seem to lose it's focus on Ip Man. And focus in on irrelevant characters that doesn't even have enough development to even care for. This movie just didn't seem to blend the different genre styles in one movie very well. The camera-work is however good. The subtle and more quite direction could have worked for Ip Man's final fight but this isn't it. It tries to hit that peace and heart area, where it shows the turmoil and hardship and the aftermath but it didn't work. Audiences that want to see a character driven movie or a kung-fu movie will be left disappointed. Not a awful movie and it could have been worse. Oh yeah, also I thought Ip Man's wife in this was his daughter for few minutes.5.5/10

The most interesting aspect between Herman Yau-Anthony Wong collaborations is that their partnership had its roots in Hong Kong Category III horror. Ebola Syndrome is still one of the most disgusting movies I have ever seen and been guiltily entertained by. Forget Outbreak or Contagion, Ebola Syndrome was a far more disturbing movie about a viral outbreak. Forget Hannibal Lecter, Anthony Wong truly played a disturbing sociopath in that movie. The point is: they're not afraid to delve into the gritty, the ugly and the disgusting.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. It is that essence of the grittier and the uglier sides of Ip Man that makes out for the more interesting parts in Ip Man: The Final Fight, but it's also the film's major weakness because it never treads far enough from familiar territory.What the film ends up being more like tonally is a combination of the Wilson Yip- Donnie Yen Ip Man films and Bruce Lee My Brother, where it is loosely glossing over the details of the grandmaster's life and dramatically punching up the action so it can allow for fight scenes, but also providing a retro-gaze of Hong Kong accompanied with a celebrity guest-list cameos.For example, it's been said that Ip Man sported an opium habit. The concept is telegraphed but never truly explored. Another example is Hong Kong actor Liu Kai Chi gives a cameo as Ip Man's friend who is suffering from poverty. They start what might be a potentially interesting storyline but it never finishes itself. Much of the film is like that.There are about several subplots running through the story and they all end up as separate vignettes that do not rise above the sum of it's parts. For a biopic drama, that's a problem because it does not provide an unified narrative goal. This is not an editing issue. The story was based on Ip Chun's stories of his father and it is as if seemed like the screenwriter noted them down as told and the director literally shot them that way. So I attribute this issue to lazy writing. The retroactive voice-over device ends up killing a lot of the drama. The scene will be happening and the voice-over will cut in summing up the rest of the scene in past tense. It keeps glossing over by stating what happened instead of letting the audience experience what's happening in the now.Anthony Wong is very natural as Ip Man. He looks most like the real-life version of Ip Man and actually adopts a Foshan accent. He breathes many colors into the role and the scenes with Ip Man and his students is the heart of the film. Anthony Wong is pretty much the best thing about this movie and his performance alone is the price of admission.Eric Tsang has a great supporting role as a Crane style master who befriends Ip Man. 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. Tsang and Wong share an awesome fight together. Not a lot of people remember that Eric Tsang started out as a stuntman; the fight looks very authentic. They were really smashing their forearms together. Eric Tsang is a badass.Something I noticed about the cinematography was there were way too many crane shots in this film. 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. I have a theory about this. In Hong Kong, booking a crane from a production house is a planned expense and usually you would require more crew members or more time to set up a crane shot. Production houses in the Mainland will give crews an entire film equipment package in their deals, which includes cranes and jibs. With the cheap labor and higher amount of crew members, a crane shot can be set up much faster in the Mainland. As a recent occurrence, a lot of Chinese productions lead by Hong Kong directors have recently been very crane shot-heavy. Hong Kong directors, this needs to stop. You have to remember to pull back every once and a while.Just as a small footnote, I really hated the Bruce Lee cameo. Playing Bruce Lee in a film is by no means an easy feat but the actor they chose was abysmally awful. He made Bruce Lee look like a rich asshole sellout. It was not fun, nor did it work as a pop culture reference.Overall, I enjoyed this film, but I do not think it works completely as a standalone piece. It seems to fit as the final piece to this whole line of Ip Man films. In a way, I can't help it because they've made so many movies about Ip Man in such a short time.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 still think The Grandmaster is the best Ip Man film. They really don't need to make any more Ip Man movies. And if they do (and I think they are because I saw a poster for an Ip Man 3 with Donnie Yen), please do the story with Bruce Lee and get him right.For more reviews, please visit my blog at http://hkauteur.wordpress.com/