This movie is a fascinating film. First of all, the plot is very original. I liked the story-within-a-story approach to the plot. It deals with an adventurer going up against the Japanese for a mythical scripture. The events of the story parallel the life of the author of the story. What I liked about this film were the fight scenes. Most of them were short, unfortunately. However, they were fairly original. The viewer gets a chance to see Jet Li use tai chi, a chain, flaming swords, and his lethal feet. My only complaints were the fights scenes weren't that long. Otherwise, it's an entertaining film.

I have to disagree with one of the previous reviewers who said that this movie would be ideal for Hong Kong cinema neophytes. I believe that only HK fanatics should even attempt to watch it - the less experienced viewers will probably turn it off after about 30 minutes (it's no wonder that no American distributor picked it up for re-release; it certainly doesn't have the wide appeal of a movie like "Meltdown" / "High Risk"). The idea is ambitious, the production is lavish, but the story is confusing and unengaging, and the result is a film too bizarre and self-indulgent for most audiences. Jet Li once again proves that he can act (in a dual role, no less),but the vast majority of the fighting is over-the-top and (intentionally) unrealistic. There are some memorable moments, however, like his brief encounter with two huge sumo wrestlers! (**)

DR. WAI IN "THE SCRIPTURE WITH NO WORDS" (Mao Xian Wang)

Aspect ratio: 2.39:1 (Anamorphic)

Sound format: Dolby Digital

A huge disappointment from director Tony Ching (DUEL TO THE DEATH, "A Chinese Ghost Story"),this lumbering would-be spectacular - conceived as a light-hearted riff on the Indiana Jones subgenre - finds paperback author Jet Li ploughing all of his frustrations from a crumbling marriage to Rosamund Kwan into a work of fiction where his brave alter ego (a 1930's soldier of fortune, also played by Li) seeks a magical scripture and is thwarted at every turn by a villainous seductress (also Kwan) and her evil cohorts.

The half-hearted script (by Szeto Cheuk-hon, Sandy Shaw and Lam Wai-lun) lurches from one overblown set-piece to another in search of a worthwhile narrative, combining lackluster comedy and predictable action scenes in a failed attempt at a modern epic. However, the combat sequences - choreographed by Ching himself, aided and abetted by Ma Yuk-sing (CAT AND MOUSE) - are staged with typical cinematic bravado, but the formula is wearing a little thin, and the intrusive comic asides serve only to drain tension from the various confrontations between Good and Evil. Stunningly photographed in an uncredited scope format by veteran cinematographer Tom Lau (DRAGON INN, THE EAST IS RED),the film conjures a vivid period atmosphere, and there's a couple of outstanding set-pieces - including a spectacular train crash; Li's encounter with a couple of Sumo wrestlers (don't ask!); and the final showdown with villain Billy Chow - though the climactic visual effects are poor by western standards. Li and Kwan, reunited from their successful teaming in the ONCE UPON A TIME IN CHINA series, are attractive and lively, while Takeshi Kaneshiro (CHUNG KING EXPRESS) and Charlie Yeung (FALLEN ANGELS) are largely wasted in routine supporting roles.

Plagued by budgetary problems following a disastrous fire which destroyed $HK10 million worth of sets, producers sought to bolster the film's international fortunes by hiring Tsui Hark to direct additional footage for a re-edited export version which drops the modern day sequences and rearranges the narrative in linear fashion. It doesn't help much, but the filmmakers at least deserve points for trying.

(Cantonese dialogue)