Odd Couples

Shanghai Knights

Jackie Chan (RUSH HOUR 2) and Owen Wilson (THE ROYAL TENENBAUMS) jump back in the saddle for SHANGHAI KNIGHTS, the hilarious sequel to the hit action-comedy SHANGHAI NOON. When Chon Wang (Chan) gets news of his estranged father's murder in Shanghai, he leaves his honorable life as Carson City's sheriff in a cloud of dust and reunites with his yarn-spinning sidekick, Roy O'Bannon (Wilson). Together they make their way to London on a daring quest for honor and revenge. Hilarious escapades and hair-raising adventures ensue as our heroes find themselves in the middle of a devious plot to eliminate the entire royal family. And Chon gives Victorian Britain a royal kick in the pants as he tries to avenge his father's death and keep love-struck Roy away from his sister!

Better than your average sequel, Shanghai Knights almost defies the law of diminishing returns. Lacking the freshness of Shanghai Noon, it compensates with a looser, disposable plot that plays to the strengths of costars Jackie Chan and Owen Wilson. It's 1887, and odd-couple heroes Chon Wang (Chan) and Roy O'Bannon (Wilson) are in London to retrieve the Imperial Seal of China, stolen by an English lord (Aidan Gillen) who killed Wang's father in his quest for the British throne. Wang's lithe and lovely sister (Fann Wong) joins the battle with high-kicking force, appealing to Roy's roguish charm and surfer-dude anachronisms. While Chan continues his transition to safer stunts and good-natured homage to Buster Keaton, Gene Kelly, and other Hollywood legends, Wilson indulges the party vibe to good effect, maintaining the anything-goes approach that allows silly encounters with Jack the Ripper, Sir Arthur Conan Doyle, and a Dickensian urchin named Charlie Chaplin. (Chaplin wasn't born until 1889, but if the filmmakers didn't care, why should you?) --Jeff Shannon

Romeo Must Die

Cinematographer Andrzej Bartkowiak, the cameraman behind Speed, Lethal Weapon 4, and The Devil's Advocate, makes his directorial debut with a lively but by-the-numbers film that mixes Hong Kong action pyrotechnics with gritty urban gang drama. Jet Li stars as a jailed cop named Han who hightails it to Oakland, California, to seek revenge for the gang-related murder of his brother. What he finds, though, is a fierce war between his father's syndicate and that of Isaak O'Day (Delroy Lindo) for control of the city's precious waterfront land, as both groups are trying to make a deal with a corrupt football-team owner to build a new stadium. The political shenanigans are basically just a backdrop for the kick-ass action, and to give Li a number of enemies to lock limbs with. It also provides him with a love interest, Trish (hip-hop star Aaliyah), who's O'Day's daughter and like Han, the only straight arrow in a family of crooked mobsters. Li and Aaliyah have a teasing, gentle chemistry, and when they're onscreen together, the movie lights up and glides along smoothly. Li even finds a way to work Aaliyah into one of his action set pieces, using her arms and legs to fight a female adversary because "I can't hit a girl!" However, when these two aren't onscreen (and that's a fair amount of the time) the movie plods along, despite a stately turn by Lindo and Isaiah Washington and Russell Wong as two family allies who may not be as loyal as they seem. Li's action, though, is still phenomenal as ever, from his prison breakout (as he takes out a platoon of guards--strung upside down by one leg) to a knockdown-dragout fight with the agile and dangerously sexy Wong. And despite the Romeo and Juliet overtones, this is one mighty chaste romance, albeit one with a happy ending for the star-crossed lovers. --Mark Englehart

They've got the guns. They've got the posse. But they've got no chance when a street-fighting ex-cop (Jet Li) takes on both sides of a fierce Oakland turf war, involving "the wildest action scenes since The Matrix!" (Bill Bregoli, Westwood One).

DVD Features:
Documentary:8 Short Documentaries (26:56)
Featurette:Making of Romeo Must Die (15:00) Behind the Scenes (14:03)
Music Video:Aaliyah's "Try Again" video (3:40) Making of Aaliyah's "Try Again" music video (4:11) Aaliyah/DMX "Come Back In One Piece" video (3:42)
Other:Inside the Visual Effects Process (3:52) "Diary of a (Legal) Mad Bomber" (5:07) "Anatomy of a Stunt" (7:12) "The Sound Stage" (1:00)
Theatrical Trailer:Sampler

Red Heat (Special Edition)

After scoring a hit with the Eddie Murphy-Nick Nolte cop thriller 48 Hours, director Walter Hill returned to the buddy formula with this half-ridiculous, half-invigorating action flick about humorless Russian cop Ivan Danko (Arnold Schwarzenegger). He follows a drug dealer from Moscow to Chicago, where he's matched up with city cop Art Ridzik (James Belushi), whose work ethic is considerably more relaxed. Most of the humor revolves around Danko's grumpy reaction to good ol' American capitalism, while Ridzik urges him to chill out. Red Heat is not bad as action comedies go, but only if you get into the absurd spirit of this predictable fare, in which the unlikely buddies get to wisecrack and act casually while mayhem erupts everywhere they go. Incidentally, Red Heat was the first American film allowed to shoot in Moscow's Red Square. --Jeff Shannon

Rush Hour (New Line Platinum Series)

The plot line may sound familiar: Two mismatched cops are assigned as reluctant partners to solve a crime. Culturally they are complete opposites, and they quickly realize they can't stand each other. One (Jackie Chan) believes in doing things by the book. He is a man with integrity and nerves of steel. The other (Chris Tucker) is an amiable rebel who can't stand authority figures. He's a man who has to do everything on his own, much to the displeasure of his superior officer, who in turn thinks this cop is a loose cannon but tolerates him because he gets the job done. Directed by Brett Ratner, Rush Hour doesn't break any new ground in terms of story, stunts, or direction. It rehashes just about every "buddy" movie ever made--in fact, it makes films such as Tango and Cash seem utterly original and clever by comparison. So, why did this uninspired movie make over $120 million at the box office? Was the whole world suffering from temporary insanity? Hardly. The explanation for the success of Rush Hour is quite simple: chemistry. The casting of veteran action maestro Jackie Chan with the charming and often hilarious Chris Tucker was a serendipitous stroke of genius. Fans of Jackie Chan may be slightly disappointed by the lack of action set pieces that emphasize his kung-fu craft. On the other hand, those who know the history of this seasoned Hong Kong actor will be able to appreciate that Rush Hour was the mainstream breakthrough that Chan had deserved for years. Coupled with the charismatic scene-stealer Tucker, Chan gets to flex his comic muscles to great effect. From their first scenes together to the trademark Chan outtakes during the end credits, their ability to play off of one another is a joy to behold, and this mischievous interaction is what saves the film from slipping into the depths of pitiful mediocrity. --Jeremy Storey

Rush Hour 2 (Infinifilm Edition)

Rush Hour 2 retains the appeal of its popular predecessor, so it's easily recommended to fans of its returning stars, Chris Tucker and Jackie Chan. The action--and there's plenty of it--starts in Hong Kong, where Detective Lee (Chan) and his L.A. counterpart Detective Carter (Tucker) are attempting a vacation, only to get assigned to sleuth a counterfeiting scheme involving a triad kingpin (John Lone), his lethal henchwoman (Zhang Ziyi, from Crouching Tiger, Hidden Dragon), and an American billionaire (Alan King). Director Brett Ratner simply lets his stars strut their stuff, so it hardly matters that the plot is disposable, or that his direction is so bland he could've phoned it in from a Jacuzzi.

At its best, Rush Hour 2 compares favorably to Chan's glossiest Hong Kong hits, and when the action moves to Las Vegas (where Don Cheadle makes an unbilled cameo), the movie goes into high-pitched hyperdrive, riding an easy wave of ambitious stuntwork and broad, derivative humor. Echoes of Beverly Hills Cop are too loud, however, and stale ideas (including a comedic highlight for Jeremy Piven as a gay clothier) are made even more aggravating by dialogue that's almost Neanderthal in its embrace of retro-racial stereotypes. Of course, that's what makes Rush Hour 2 a palatable dish of mainstream comedy; it insults and comforts the viewer at the same time, and while some may find Tucker's relentless hamming unbearable, those who enjoyed Rush Hour are sure to appreciate another dose of Chan-Tucker lunacy. --Jeff Shannon

48 HRS.

Before the action-oriented "buddy movie" formula settled into place in the 1980s and 1990s with the Lethal Weapon films, Walter Hill's 48 HRS. presented a much more irreverent and politically incorrect version of the genre. Eddie Murphy made an auspicious film debut alongside veteran Nick Nolte's consummate performance as a worn cop. Murphy plays a convict on a two-day furlough from prison to help capture his former partner (James Remar). The intense animosity between his character and Nolte's impatient detective is rude and violent--albeit in a comic way--and the film's racist and sexist banter is so ubiquitous that some viewers might be turned off. (This early, raw Murphy is not the Murphy of The Nutty Professor.) Then again, sometimes deliberate overkill is funny in itself, which is certainly closer to Hill's intention. There are a couple of scenes for the ages in this film, especially Murphy's single-handed shutdown of the action in a redneck bar. --Tom Keogh

Lethal Weapon (Director's Cut)

Mel Gibson set aside his art-house credentials to star as a crazy cop paired with a stable one (Danny Glover) in this full-blown 1987 Richard Donner action picture. The most violent film in the series (which includes three sequels), it is also the edgiest and most interesting. After Gibson's character jumps off a building handcuffed to a man, and Gary Busey (as a cold, efficient enforcer) lets his hand get burned without flinching, there is a sense that anything can happen, and it usually does. Donner's strangely messy visual and audio style doesn't make a lot of aesthetic sense, but it stuck with all four movies. The DVD release includes production notes, Dolby sound, theatrical trailer, optional full-screen and widescreen presentations, optional French soundtrack, and optional English, French, and Spanish subtitles. --Tom Keogh

Mel Gibson set aside his art-house credentials to star as a crazy cop paired with a stable one (Danny Glover) in this full-blown 1987 Richard Donner action picture. The most violent film in the series (which includes three sequels), it is also the edgiest and most interesting. After Gibson's character jumps off a building handcuffed to a man, and Gary Busey (as a cold, efficient enforcer) lets his hand get burned without flinching, there is a sense that anything can happen, and it usually does. Donner's strangely messy visual and audio style doesn't make a lot of aesthetic sense, but it stuck with all four movies. The DVD release includes production notes, Dolby sound, theatrical trailer, optional full-screen and widescreen presentations, optional French soundtrack, and optional English, French, and Spanish subtitles. --Tom Keogh

With over seven minutes of previously unavailable scenes, the director's cut of Lethal Weapon is a long-overdue present for fans. Riggs' solitary homelife and the tragic loss spurring him in a reckless disregard for his own safety now come into greater focus. We see that recklessness is new scenes underlining the differences between the two cops. Murtaugh, just 50, needs reassurance about his skills at a firing range. Riggs, not caring if he sees another birthday, coolly walks into a schoolyard sniper's field of fire. All the humor and adrenaline that made this original an entertainment milestone are here, too. No scenes have been removed. But new action and new insight are now included. Include yourself in the excitement.

Showdown in Little Tokyo

Showdown in Little Tokyo is a 1991 martial arts action-comedy that, in pitting Dolph Lundgren and Brandon Lee as L.A. cops against Japanese drug dealers, plays like a B-movie Tango and Cash or Lethal Weapon 2 (both released just two years before). Between career highs in Rocky IV (1985) and Universal Soldier (1992), Lundgren looked as if he might make it big at the box office, and clearly wanting to be the new Schwarzenegger he is here directed by Mark L Lester, who had earlier helmed Ah-nold's Commando (1985). In the event both actor and director headed for straight-to-video territory, while Lee (Bruce's son) went on to The Crow. The 75-minute running time suggests the studio lost confidence and seriously cut the movie though, as the space between the action is filled with nothing but cringe-inducing dialogue, thriller clichés, and Lundgren "romancing" Tia Carrere, it still makes sense. Basing its title on John Carpenter's 1986 fantasy-comedy Big Trouble in Little China and anticipating Rush Hour (1998), Showdown in Little Tokyo alternates between crude tongue-in-cheek moments and action so ludicrous it's unintentionally hilarious . A camp disaster that simply defies belief, this is so-bad-it's-good entertainment. --Gary S. Dalkin

Lethal Weapon

Mel Gibson set aside his art-house credentials to star as a crazy cop paired with a stable one (Danny Glover) in this full-blown 1987 Richard Donner action picture. The most violent film in the series (which includes three sequels), it is also the edgiest and most interesting. After Gibson's character jumps off a building handcuffed to a man, and Gary Busey (as a cold, efficient enforcer) lets his hand get burned without flinching, there is a sense that anything can happen, and it usually does. Donner's strangely messy visual and audio style doesn't make a lot of aesthetic sense, but it stuck with all four movies. The DVD release includes production notes, Dolby sound, theatrical trailer, optional full-screen and widescreen presentations, optional French soundtrack, and optional English, French, and Spanish subtitles. --Tom Keogh

Mel Gibson set aside his art-house credentials to star as a crazy cop paired with a stable one (Danny Glover) in this full-blown 1987 Richard Donner action picture. The most violent film in the series (which includes three sequels), it is also the edgiest and most interesting. After Gibson's character jumps off a building handcuffed to a man, and Gary Busey (as a cold, efficient enforcer) lets his hand get burned without flinching, there is a sense that anything can happen, and it usually does. Donner's strangely messy visual and audio style doesn't make a lot of aesthetic sense, but it stuck with all four movies. The DVD release includes production notes, Dolby sound, theatrical trailer, optional full-screen and widescreen presentations, optional French soundtrack, and optional English, French, and Spanish subtitles. --Tom Keogh

Another 48 HRS.

The boys are back in town, but they're wearing their carbon-paper suits in this frantic but not nearly as funny sequel to the action-comedy hit. The first time around, the combination of Eddie Murphy and Nick Nolte had the element of surprise going for it: Who expected these two to have chemistry? This time, chemistry is virtually all they have in a veritable rehash of the first film. What plot there is has to do with Nolte's needing Murphy (who is just out of jail) to help him clear his own name and save his job on the police force. Director Walter Hill is back in place, but this time the script is the work of action hack Jeb Stuart and the movie barely gives Murphy room to unleash his comic riffs; when he does, we're expecting them (though he's still entertaining). --Marshall Fine