“A blind man, a kid. You claim to be bounty hunters. Right?”

A surprise hit after its release on various streaming platforms, director and writer Yang’s short online wuxia film “Eye for an Eye: The Blind Swordsman” (2023) starring Xie Miao as the protagonist went on to generate a fair amount of attention both in Mainland China and overseas. Therefore it is inevitable that a sequel soon follows with both Yang and Xie returning. Though scheduled for a wilder cinema release, the much anticipated and a longer follow-up still ended up streaming on iQIYI.

This second installment kicks off in Youzhou during the Tang Dynasty. Believing that five fugitives are hiding in a gambling den, blind swordsman Cheng Xia Zi shows up to arrest them. Naturally, they try to fight their way out but of course they are no match for the lethal bounty hunter. Apparently, Cheng is trying to make as much money as possible so he can retire in Chang An, his old hometown.

Meanwhile, in another part of town, a pair of homeless orphans, Zhang Xiao Yu and her little brother Xiao Cao, are stealing food and are caught up in a confrontation between ruthless officer Li Jiu Lang and his rebels. The merciless Li kills the defenseless rebels, Zhang manages to escape but her brother is not that lucky. While on the run, she accidentally bumps into the grumpy Cheng who reluctantly shelters her. After a while, they start to bond and eventually work as a team to bring the cold-blooded Li and his little empire down.

Yang’s sequel plays like a proper wuxia film probably because of its longer running time which allows him to further develop the main lead characters and the dramatic elements. A subplot that concentrates on the orphan Zhang Xiao Yu, played by Yang En You, a traumatized little girl who is obsessed with revenge after the tragic death of her brother. The bond between her and Blind Cheng which takes on centerstage is engaging and not rushed. However, it seems like director Yang is doing a Zatoichi style adventure with a bit of Lone Wolf and Cub thrown in for good measure at times.

Visually the film looks great, especially the outdoor location of rolling hills, forests and mountain ranges. Besides, the detailed town buildings plus their interiors all look lived in and authentic. The fast and crisp fight sequences designed by action choreographers Qin Peng Fei and Du Xiao Hui are impressive, though quite brutal. Also, the fight which features a thug wielding a pair of flaming sword looks interesting and fun, but it is borrowed from Su Chao Pin and John Woo’s “Reign of Assassins” (2010). Though epic, the end fight between Cheng and three hundred guards seems too far fetched and rushed. However, Yang’s use of split screens during the film’s lighter moments is refreshing.

Actor and martial arts champion Xia Miao, born in Beijing, is no stranger to Asian action films who appears in more than thirty films and TV series. He started his film career as a child actor alongside Jet Li in “The New Legend of Shaolin” (1994) and again in “My Father is a Hero” (1995), these films gained him a reputation both overseas and locally. After that he takes a break to study and then makes a comeback in the TV series “Legend of the Shaolin Temple” (2006) and “The Kung Fu Master” (2010). Xia Miao’s portrayal of the blind bounty hunter Cheng is impressive and his moves are equally smooth and convincing during the many fight sequences.

The introduction of a second lead character, the vengeful child, Zhang Xiao Yu (Yang En You) is a nice touch. Child star Yang is impressive and shines as the orphan Zhang, as she effortlessly tackles the emotional and dramatic moments of the film. In addition, her interchange-like bickering and the playful moments with swordsman Cheng are interesting to watch and a nice distraction from the otherwise violent fight scenes, besides adding the much needed emotional connection. Furthermore, Hung Tao is adequately evil and memorable playing the cruel officer Li Jiu Lang.

Even though the storyline of “Eye for an Eye 2” is predictable and familiar, it is still impressive and satisfying production. Besides, the well written lead characters are a plus, and when topped off with the well choregraphed action and engaging visuals, it all makes for a balanced sequel.

Challengers also has brilliant world-building, which extends to even the off-court action. We initially see Art, married to Tashi, waking up at the Ritz Hotel to a routine charted out with a choreographed workout and a restricted diet with even a bottled drink labelled ‘Electrolytes’. On the contrary, we see a hungry Patrick, just up from his sleep in the car, borrowing half a doughnut from someone he just met. While these parallels are thought-worthy enough, we get another flashback moment in which Patrick tells Art, “Tashi Duncan is gonna turn her whole family into millionaires,” and Art later ends up living just that life. In another scene, after Patrick and Art play the first set of the Challenger match, the film takes us back to a time when Tashi meets Patrick before the finale match. In a different context, Tashi says, “You typically stagger around the second round,” hinting at how he gets overconfident if he wins the first set. This eventually comes true, as he falters in the second set after winning the first one in the match against Art. If observed and understood keenly, this staging and the callbacks add immense value to the film’s narrative.

Challengers is abundant with scenes of coitus and intense lovemaking akin to the sexual exploration featured in Guadagnino’s Call Me By Your Name, a different genre film. These scenes are placed at the right intervals to take your mind away from the monotony of tennis. Guadagnino gets us quite gripped in the world of tennis, but he also carefully distracts us away from it in a good way. We hear the commentator say, “Code violation, audible obscenity, warning Donaldson,” when Art uses profanity. We also see the usage of jargon like ‘Deuce’ and ‘Advantage’, a focus on Tashi’s backhand stroke, and close attention to how Art and Patrick serve, which makes for a brilliant callback. With these elements, the director ensures that there is enough in the film to appease tennis fans, even as the chemistry and love between the leads keep non-tennis viewers interested in the proceedings.

An intriguing premise

When I’m about to watch a supernatural horror movie with a plot that revolves around a home, where a man and his friends used to hang out, then my femicide-senses are immediately tingling.

We meet Emily (María José De La Cruz) who is having terrible nightmares. She’s also medicated, so we’re made aware that there might be some mental health challenges for her. The story begins with her going from the US to Mexico City with her boyfriend, Mateo (Javier Dulzaides).

Mateo’s father recently passed away, so they’re going to his funeral, where Emily will also meet Mateo’s mother and his friends for the first time. Not the best way to meet someone, but Mateo insists it’s as good a time as any.

Before I go any further, let me just say that Mateo’s mother, Melora, was portrayed by Andrea Noli. She looked like a younger Betty Buckley and was just as sharp and funny. The most kitsch and entertaining character in This Never Happened.

Not that the rest of the cast wasn’t good. They were, for the most part. Especially María José De La Cruz as Emily was good. Andrea Noli was simply a true scene-stealer!

Anyway, as soon as Emily arrives at the house (which is more like a high-tech mansion), she starts seeing things. Things as in a woman, who seems to be an angry and violent spirit. Of course, this comes as absolutely no surprise, when we see how Mateo’s friends are entitled rich kids.