Chan movie.

actors/actresses but just plain fun and awesome overall.

that the final fight scene between Chan and the two toughest badies in the the bad men's stock fight is incredible. My favorite fight scene of all moviedom, especially the man whose specialty is his incredible legwork.

understand this . And the white guy who fights with Jackie Chan is a karate star, Ron Smoorenburg. For Dutch people and other people of course who haven't seen this movie yet: go see it and enjoy!!!

trying to get to the bottom of Who He Am.This takes Jackie across Africa and all the way to Holland for a massive setpiece finale in. And on. And down a huge office building that rates alongside any of Jackie's best.1/ Are there any "WOW!" fights? You know it. The last 25 minutes through Holland are spectacular.2/ Are there any "WOW!" stunts? Yes, Jackie runs up trees and down buildings literally , basically continuing his policy of putting his body through punishment that no-one should accept.3/ Which Jackie is it? Serious / Whimsical / Cocky...This film is as serious as almost anything Jackie has done bar perhaps Heart of Dragon.4/ Does he get to use Jackie-exclusive toys? Mitsubishi gets a look in as always with the car rally and there is some little golf cart motorbike amalgam that they use at the end for no apparent reason aside from it looks cute.5/ Do stolen relics come up? Only stolen power sources and stolen identities.6/ Are there hot chicks that usually can't act ? This time a supposedly hot white reporter and a more cute than hot Japanese rally driver. Edge: Japanese rally driver. 7/ Is there a blooper reel over the credits? Yes.8/ Were there injuries on the shoot? Severity? Yep, in going for broke it seems that Jackie had more mishaps in filming the fight scenes than in most films.9/ Has he still got it? I'm not sure if he knew he was fading just a little but Jackie went all out here.10/ Is it a "Jackie Chan" film, or just one he is in? Jackie all the way, just with some different locales and a few more bullets Final Rating - 9 / 10. The only negative is that this runs about 20 minutes overtime. Make this a 100 minute film instead of 2 hours and it stacks up with anything else he has done!

are headed for recreational leave, they're sabotaged. Chan makes it out alive, but barely. He hits his head and acquires amnesia. The bulk of the film has him coping with his situation--he first ends up in the middle of a traditional South African community--while government agents try to track him down and kill him.There are some details I could not fill in above, because the primary flaw with the film, and this is what brought my score down to an 8, or a "B", rather than a 9 or 10, is that the story is almost absurdly convoluted and difficult to glean there was also a fair amount of ridiculous English dubbing in the version I saw--it was difficult to tell how intentional the "problems" with the dubbing may have been . But the story isn't really the point; and to the extent that it is, the point may be to make it absurdly convoluted and difficult to glean--this is to a large extent a spoof, after all. More important, the story propels the film from one jaw dropping, action-filled set piece to the next. On a surface level, at least, those set pieces are the raison d'etre of Who Am I. But surprisingly perhaps, Chan, who co-directed and co-wrote the film in addition to starring in it, also has a lot of interesting subtextual things to say.Most viewers will come to this film as Chan fans. As such, they'll be hoping to see his "trademark" martial arts abilities, impressive stunt work and notorious sense of humor; they will not leave disappointed. During the climax, Who Am I has one of the longer extended martial arts sequences in any Chan film, and it unexpectedly gets back to the basics. For at least ten minutes, Chan fights just two "big baddies" who are close matches in skill. He uses relatively few props and relies very little on moving about his environment in fancy ways.Of course, there are plenty of props and a lot of well-choreographed, complicated blocking elsewhere. A few of these more ostentatious scenes are intentionally hilarious in their absurdity. One of the most memorable spoof scenes involves an extended car chase. Chan imports physics from an alternate universe for about half of this sequence.As an adventure film, Who Am I presents a kind of James Bond-like travelogue. We go from the jungles of Malaysia doubling as South Africa to the South African plains where Chan disguises himself as a tribesman to Namibia for a cross-country 4 x 4 race partially across what looks like the Etosha Pan to the Netherlands. Those familiar with South Africa will find it amusing that during one sequence, Chan and the cohorts he picks up along the way travel from the Sun City's Lost City to downtown Johannesburg to Pretoria in a matter of minutes. But this is the movies, after all, and a fantastical work of fiction at that. The varied environments were very well chosen, providing a lot of eye candy while also providing great fodder for comic and action scenes.While it's funny that Chan's character who is referred to as "Jackie Chan" at one point comes to be known as "Whoami" once amnesia sets in, there is much more intended than a silly comic device. It's significant that the film is set in South Africa, a nation with a complicated multicultural history and not a little turmoil over the same. The title isn't just a reference to amnesia or Chan's character; it's a rhetorical question about cultural and ethnic identity. The members of Chan's special forces squadron were all loaded with different passports from different countries. They were told to forget their identities. It's never clear who they were, where they came from or who they were working for--a point is made to not let the audience know, and to not even let us know whether they were "good guys" or not.Chan has to fit into tribal culture. He becomes associated with a Chinese race team in or near Namibia, and then befriends a reporter who appears half Asian and half Caucasian. The American CIA is prominent in the film. They have their hands in every culture shown in the film. There are subtexts about globalism and how first world technology is affecting the development of non-first world countries. The ease of travel, symbolizing ethnic mobility, is a prominent theme. Chan makes sure that the film ends in the Netherlands, which has had a strong presence and influence in South Africa for hundreds of years. The villainy in the film is centered on building better weapons, which of course tend to be used to annihilate persons from opposing cultures or ethnicities. Cultural and ethnic identity has become far more complex in the last couple centuries than it ever was before, even if it was never the clear issue that many people around the world assume it to be.That the film is able to bring up such interesting issues, all while awing us with graceful action sequences and making us laugh, makes Who Am I a very enjoyable experience. Chan fans shouldn't miss this one.

genius at integrating the improbable into the story, that the film becomes a vehicle in which satire characterized by dialogue that mocks the situation, has Chan, playing a flawed, kind of stupid, but certainly lovable Huck Finn of the Pan Asian world, a plucky hero in the losing quest for the elusive grail of justice and fair playOur hero is an island of bewildered calm in a chaotic sea of dangerously frenetic characters, united in their evil resolve to eliminate him – and as the chase ebbs and flows, his issue remains, "Who am I?", as he remains ever true to the existential inquiry that the film poses while continually re-proving that he is both, tough AND resourceful, albeit, at bottom, everyman as an impossible klutz, often verging on dorkiness.His plastic face simultaneously registers every nuance of fear, fright, chagrin, uncertainty, as he careens from environ to environ, from the jungles and deserts of South Africa to the boulevards and canals of Amsterdam, to be chased in wooden clogs through a brilliantly colorful impromptu street festival. From morning to late, late at night, the relentless chase ensues while the hopelessly effervescent Jackie plays an ever diminishing game of catch up with a sub rosa world of bad guys who live a parallel existence of high tech criminal activity, doing what bad guys have always done – pool resources to rule the world, and exterminate the rest of us. Run, Jackie! So, not a lot of people know this, but, really outrageous stuff is going on right under the very noses of the hoi-polloi and bourgeoisie – and THAT is the state of consciousness that Chan's character is awakening to. Jackie, look behind you!His directing of action is impeccable, if there is any weakness in his formidable arsenal of tools, perhaps it may be found in the level of line reading by the so-called actors who support Chan, which, being generous, can only be contrasted with that level of acting approached by startled porn stars who find themselves in a film where they are cooperating to carry a story line, and find, to their chagrin, that their scene is expected to move the greater story forward while we thought it was only about sex. Good porn is about the ACTING. And so is a good Jackie Chan movie.In his movie making vision, over and over again, in scene after scene, Chan reveals that he is a Marxist of the Groucho variety. And, after the summum momentum mano a mano martial arts scene in which Chan's brilliance as choreographer dominates, his character has his epiphany and fully arcs to Jackie becoming the chaser, no longer absorbed in his question, "Who am I?", but rather, is now lost in a greater cause, to save the world, recapture the MacGuffin, and speak his everyman's philosophy to only use your powers for good, not evil. And with that, he makes the gesture that resolves the emptiness and meaninglessness of any interpretation of his drama, and flies off in the setting sun of the last true hero. And then... The cherry on the top of the meringue on top of the shards of titanium sundae that is the life of the live Manga-boy of action adventure; outtakes, which provide background the end title credits. My favorite moment is Jackie teaching 'native' African children the Macarena. This man is COMMITTED to your entertainment, and I, for one, say thank you, Jackie Chan.

police to the CIA is after him. Like most Jackie Chan films, there's also a strong reliance on humor, except this film doesn't have nearly as much slapstick as, say, "Police Story", to the point where it becomes annoying. The humor is carefully blended into the proceedings, and even when it reaches unintentional levels, it somehow makes the movie all the more enjoyable.I won't spoil the various stunts performed in the film, you just have to see them to believe them, but needless to say, they are jaw-dropping. Speaking of jaw-dropping, the rooftop fight, which also serves as the final fight sequence in the film, is one of the best I've ever seen. It goes on for a while, but it's so well choreographed and stunningly executed that you'll want it to keep going for a few more minutes afterwards. The score by Nathan Wang, while nothing remarkable, fits the movie well, and sometimes goes so far as to raise the excitement factor, specifically during the chase sequences. It must be hard for anybody to direct themselves in a film, especially in an action film on such a large scale as this one, but Jackie Chan does so admirably here, alongside Benny Chan. It's some of his best work of the 90's alongside "Operation Condor".