Review: Though using one simple sentence to explain the general plot of “Vengeance” may seem like a shortcut for someone who hates to summarize (though that may be true, this is pure coincidence), the story of this Chang Cheh joint is as straight forward as the title would have you believe. Therein lies the instant gratification this movie provides. The audience immediately knows what to expect from the plot and is thus allowed to sit back and watch the gruesome, gritty revenge unfold.

The opening scene sets up the catalyst for revenge, the murder of Xiaolou’s brother who is an esteemed actor in the Chinese Operas. Chang Cheh frequently cuts together scenes of his stage play performance with those of his actual murder, as one mimics the other. Played by Ti Lung, his murder is a result of his affront to Master Feng and his school, which itself was retribution for Feng coming on to his wife. He dies a horrible death, stabbed countless times, rolling down the stairs with an axe in his stomach and finally stops writhing shortly after both of his eyes are gouged out. It’s a jarring scene and the lasting effect it has permeates throughout the rest of the movie as a constant reminder of why Xiaolou has come to kick ass and chew bubblegum, eschewing the gum altogether.

It’s impossible not to notice that Chang Cheh absolutely loves slow motion. It is his crack. Well, he fills the pipe up a lot in “Vengeance”, but he’s not stingy. Seriously, if Cheh could show an entire film in slo-mo, he would have in a flash, and damn if it wouldn’t have been the best movie ever. Whenever someone gets notably stabbed you’ll see time stop, and that funky soft “ch-ch-ch-ch-cha” sound blasts as the victim gazes about in bewilderment.

Speaking of slow motion, it’s amazing just how influential Chang Cheh films like this one have been throughout Asian filmmaking as a whole, but especially in Hong Kong productions. John Woo’s films practically scream, “I love Chang Cheh!”. Even the flow of the story, from the violent opening in the teahouse to the “vengeance with a white shirt on” finale, is mirrored in many films throughout the 80s and early 90s. Films such as Woo’s best known, the Killer and Hard Boiled ooze of appreciation and just like how many current films are throwbacks to the explosive HK heyday, so were the HK classics reminiscent of their predecessors as well.

David Chiang’s performance compliments Cheh’s direction well, as he grimaces throughout, bound and determined to show us he has earned his reputation as an inconsolable badass. Sure, he may kill the wrong guy a couple times, but they probably had it comin’ anyway! Viewers will marvel at his ability to sneak into a room full of guards and kill them off one by one, leaving them standing, dead and propped up against walls and columns.

Speaking of killing, this movie is brutal. Not in the way that squeamish viewers will want to avoid, but in it’s unrelenting gritty style. Red paint-like blood splatters every which way, and no one is spared in Xiaolou’s onslaught. The whole film runs dark, and though his vengeance should be celebrated, everything just seems so hopeless. In this manner, the atmosphere is fantastic. Fight scenes follow furious brooding contemplation, which is followed by more action. The pace may stagger a couple of times, but other than a few minutes here and there, your attention will blast full steam towards the inevitable climax.

As far as Kung Fu action goes, it’s not exactly the type you would expect. This movie focuses more on knife fighting and other forms of brazen stabbery. It might even be safe to say that “Vengeance” has more knives per minute than most movies have during their entire duration. Small knives, long knives, bloody knives, vicious knives and everything in between. The action scenes become a visceral crimson shaded extravaganza, and this being such a deadly game, it is always intense.