In the vast sea of cinematic offerings, "Bao chou1970" emerges as a delightfully quirky and unconventional film that challenges our perceptions of what constitutes a captivating narrative. This cinematic experience is not for the faint of heart or those seeking a traditional storytelling structure. Instead, it invites viewers to embark on a thought-provoking journey that defies conventions and pushes the boundaries of artistic expression.

From the very first frame, "Bao chou1970" establishes itself as a film that demands our undivided attention. The opening sequence, a masterful exercise in visual poetry, sets the tone for what is to come - a surreal exploration of the human condition that transcends the confines of linear storytelling. Wang Bing's use of unconventional cinematography and experimental techniques creates an immersive and hypnotic experience, challenging our senses and forcing us to confront our preconceptions about what constitutes a "film."

The film's narrative, or lack thereof, is a deliberate departure from traditional storytelling conventions. Instead of a cohesive plot, "Bao chou1970" presents a series of vignettes, each a self-contained exploration of themes that resonate with the human experience. From the mundane to the profound, these vignettes offer a kaleidoscopic view of life, inviting us to ponder the complexities of existence and our place within it.

While "Bao chou1970" may not appeal to those seeking a conventional cinematic experience, it is a must-watch for anyone who appreciates the art of filmmaking and the exploration of the human condition in all its complexities. The film's unconventional approach may challenge and even frustrate some viewers, but for those willing to embrace its unique perspective, it offers a richly rewarding and thought-provoking journey.

In conclusion, "Bao chou1970" earns a well-deserved 7 out of 10 rating for its daring artistic vision, masterful execution, and ability to provoke introspection and contemplation. It is a cinematic gem that defies conventions and challenges our perceptions, leaving an indelible mark on those who dare to embark on this unconventional journey.

I can understand younger brother's distress at the loss of older brother by way of murder, but it was almost impossible to keep track of all the bodies that piled up on the way towards killing the parties responsible.

So many goons biting the dust, their only crime choosing the wrong guy for whom to be a goon. Is there a Goon's Widows & Orphans Society? I hope there is.

This is not to say I disliked the movie, far from it. It is very dark, certainly not something to see on a down day. I had a pretty good idea how things would end, given that every David Chiang movie I've watched recently his characters croak, but they take a LOT of killing from a lot of bad guys before they actually die.

Blood flows, spurts, seeps through clothing, furniture is broken, bad guys get zorched [& they don't always see it coming -- are they ever surprised!], guys crash through railings--it's all there.

Vengeance gets off to a bloody, visceral, frantic, and amazing start. The way it cuts between the stage show and the violent fight scenes - just great, effective editing. And I also loved how cold and brutal the main character was straight away, when his quest for vegetable began. Plus a lot of the fight scenes are shot in a very intimate, in your face kind of way, and it made the already quite gory action have even more of an impact.

Things slow down in parts of the second act, as they often do. I also wasn't really sure about the romance aspects of this movie, and didn't really feel it, but at least it's brief.

But what matters most is that the main premise, while simple, is executed fantastically. David Chiang is also great in the lead role (he might be becoming my favourite of the regular Shaw Brothers actors) and the action - much of its relegated to the opening scenes and climax - satisfies. It's in the upper echelon when it comes to classic martial arts movies; that's for sure.