Overview: Picking up where Volume One left off, this sophomore collection of Hong Kong cinema classics draws together many of the best films from the final years of the Shaw Brothers studio, proving that while the end was nigh, these merchants of martial arts mayhem weren’t going to go out without a fight!

Armed with stunning special features and ravishing new restorations, this box-set is even bigger and bolder than the last one.

Blu-ray Verdict: This sophomore collection by Arrow Video presents fourteen jewels from the Shaw crown, all released within the 1970s and 1980s, beginning with kung fu master Lau Kar-leung’s instant classic The 36th Chamber of Shaolin (1978), in which his adoptive brother Gordon Liu achieved overnight stardom as the young man who unexpectedly finds spiritual enlightenment on the path to vengeance.

In my humble opinion, The 36th Chamber of Shaolin sets itself apart from other kung-fu movies of its era with better choreography and a bigger focus on training.

Many times when a young would-be martial artist has to train in order to defeat his foe he goes through a brief training, learns a deadly technique, then is off to avenge his master/friend/brother/etc. The training aspect of the movie tends to be abbreviated. In this gem of a movie the training phase took considerable time and I loved it.

Yes, we do want to see the protagonist eventually take down the big boss but it has to have some credibility and some weight. How truly satisfying is that victory if he only trained for a little bit and then is able to be victorious?

Even if the training wasn’t short in movie time (meaning they condensed a year down to 15 minutes) it still feels less fulfilling. But, when that young man has trained for months or years on end and we get to see his growth and development through several stages, then that brings about a very satisfying win.

And that’s what we had here: much arduous training to make the protagonist into a ready opponent for the top bad guy.

Lau and Liu then followed the original with two comically inventive sequels, the first being Return to the 36th Chamber (1980), where when thugs prey upon innocent factory workers, a small-time scammer trains for revenge by studying the moves of Shaolin temple monks.

The workers of a dye factory have their pay cut by 20% when the factory owner brings in some Manchu thugs to try and increase production. Desperate to reclaim their full wages, the workers hire an actor to impersonate a priest and kung-fu expert from the temple of Shaolin.

Once again, director Lau Kar-leung excels in this action-comedy. When a lot of people think Shaw Brothers kung fu, I think they envision Chang Cheh, which may be a wee bit narrow-minded of them, sure, Lau is every bit as great, and in some ways maybe even better, because although much of this looks like a Shaw action film, the comedy is excellent; clearly drawing on old-school American slapstick!

Then comes the other sequel, Disciples of the 36th Chamber (1985), where Gordon Liu Chia-hui reprises his famous Monk San Te role as he tries to support and protect Shaolin her Fang Shih-yu who purposely attacks corrupt Ching officials.

Also known as Disciples of the Master Killer or Master Killer III, this is completes the trilogy of movies nicely and was, of course, written, directed and choreographed Lau Kar-leung.

Hsiao Ho (Mad Monkey Kung Fu, Legendary Weapons of China) takes on the role of another legendary hero of the martial arts, Fong Sai-Yuk. He’s a troublemaker and keeps running into trouble with the Manchu warlords. To save his family’s honor, his mother asks San Te (Gordon Liu) to allow her son to study in the 36th chamber, the place where non-monks may train. However, Sai-Yuk’s pride and lack of respect make quite a headache for the monks.

Sai-Yuk keeps going into town at night, which is forbidden and becomes friends with the Manchu. They are using him to get the secrets of the Shaolin, so that they may destroy the temple. The film closes with Sai-Yuk poisoned and all of the monks trapped inside the Manchu fortress for what they believed was a wedding.

The battle that closes the film is absolutely astounding, with every art show in the film paying off in a final battle that is as much about the Shaolin’s refusal to hurt anyone and help one another as it is combat. Nearly every cast member is involved in a gigantic battle that simply must be experienced!

Already established as a genius at blending dazzling action with physical comedy, Lau himself plays the lead role in the hilarious Mad Monkey Kung Fu (1979), where a disgraced former Kung Fu expert makes a living as a merchant with the help of a hot headed friend. When the men are harassed by gangsters, the merchant decided to teach his friend monkey boxing so they can defend their business.

Next up is Lo Mar’s underrated Five Superfighters (1979), where three young martial arts students and their teacher are beaten up badly by a wandering man who proclaims himself a corrector of bad kung-fu. Determined to avenge their teacher and regain their honor, the three students all go their separate ways to find kung-fu masters who will take them as students.

OK, sure, Five Superfighters is a serviceable kung fu flick from the Shaw Brothers stable, albeit very much one of their lesser-budgeted productions, but nonetheless a film which proves to be reasonably enjoyable. The bare bones story line is about a crazy, black-garbed kung fu fighter who travels around the land, correcting the kung fu of people he meets; which typically means he beats them up.

A handful of fighters take exception to the stranger’s antics and decide to train for six months using the usual novel methods. Inevitably they then team up for the lively climax. Truth be told, this is very much a Shaw version of Jackie Chan’s brilliant Drunken Master; especially given that there is actually a drunken master and a beggar in the film! There are no big stars here, but there’s a wealth of action which is certainly acceptable, if not quite top tier.

Next, we once again meet Chang Cheh’s basher boy band the Venom Mob in no less than four of their best-loved team-ups, the first being Invincible Shaolin (1978), where critically acclaimed director Chang Cheh has The Five Venoms turn Shaolin fighters as they challenge the authority of the evil Chings in Invincible Shaolin.

Three kung fu experts (Feng Lu, Chiang Sheng, and Sun Chien) from the North Shaolin temple are summoned to train the Qing army, but must first prove themselves in a friendly fight against the current South Shaolin trainers. North wipe the floor with their cocksure opponents.

Later that day, in a move designed to pit North vs South and destroy Shaolin once and for all, devious Qing General Pu (Wang Lung-wei) kills the shamed South Shaolin trainers, pinning the blame on the new arrivals from the North.

On hearing of his students’ deaths, the South Shaolin master sends three more of his men to exact revenge, but this time around, two of them are accidentally killed by the Northerners, the third injured fighter returning to his temple to relay the bad news.

Realizing that none of his students are good enough to beat the North Shaolin, the South Shaolin teacher picks three more men (played by Lo Mang, Kuo Chui and Pai Wei), each to train under a different kung fu master. Six months later, the trio leave to face the North Shaolin, even though both North and South now suspect that they are being manipulated.

With the Five Venoms on top form, kung fu fans can rightfully expect some astonishing old school martial arts action in Chang Cheh’s Invincible Shaolin, including an entertaining training sequence that shows off the impressive skills of Lo Mang, Kuo Chui and Pai Wei (Lo Mang does one finger press-ups with a large polystyrene rock placed on his back!!!) and a wonderfully bloody final battle that makes use of lots of red paint as North and South battle it out before joining forces to kick some well-deserving Qing butt!

Then we get The Kid with the Golden Arm (1979) where the Five Venoms are reunited in this second biggest cult hit in the West. It’s Lo Meng’s most memorable performances whose showdown with fellow Venom Kuo Chue is artistically violent while being graphically artsy.

In truth, the story line for The Kid With The Golden Arm is about as basic as can be: the good guys are escorting a shipment of gold to a famine-stricken region and have to stop the bad guys, a collection of broad, yet colorful comic-book style bandits with self-explanatory names (ie: Bronze Head, Silver Spear, Iron Robe), from stealing it along the way.

Then again, it makes a change from all of those old school kung fu films that require an in-depth knowledge of Chinese political history in order to understand what is going on, I suppose.

Fortunately, what director Chang Cheh’s film lacks in plot development, it more than makes up for with awesome kung fu action, the film comprising of one expertly choreographed and flawlessly executed martial arts scene after another, with a wide variety of impressive weapon work, lots of breath-taking acrobatics, and a surprising amount of bright red gore (characters are regularly sliced and impaled).

Philip Kwok, as drunken Agent Hai Tao, proves particularly impressive with his amazing athleticism and impeccable timing.

Then along comes The Magnificent Ruffians (1979). Yuan Ying Fei is the descendant of the one known as Golden Sword and himself is a master of the technique as well as being boss of the town. He is so a cruel man and has killed his sparring partners with unnecessary blows, causing many martial artists to leave the town with only Guan Ah Yun remaining.

Guan is the owner of Wu Wei security bureau which Yuan wishes to buy but cannot bully Guan out as he has an eye for his sister and Guan cannot fight back because any time he tries his sister and mother stop him. Yuan is stuck until he learns of four kung fu experts who are passing through the town by eating in restaurants and then taking it in terms to take a beating due to not being able to pay!

Yuan tricks He Fei,Yang Zhui Feng, Zeng Qiao and Feng Jia Ji into being his friends and then tricks them into believing that Guan is a cruel and unhelpful man. The four go to fight Guan, but do so away from his mother and sister - but the fights produce mutual respect and friendship between sparring which leads Yuan to more deadly deception.

Magnificent Ruffians a.k.a The destroyers is an action revenge movie that works on so many levels, most all of them hitting their marks here nicely.

OK, sure, it is about as typical a Venom’s film as you can get, but trust me, there is nothing wrong with that! Indeed, it has an interesting subtext about the growth of new technology and weapons meaning that martial artists are left out of luck, but this is very much secondary to the story of Lu Feng’s greedy property owner who’ll stop at nothing to indulge in his twin passions of expansion and killing rival martial artist!

Lo Meng is a delight as the upright security bureau chief standing against him, while the others play vagabonds who get caught up in the plot. There’s plenty of action, of course, the best of it saved for the elaborate climax, and it’s never less than engaging at any point.

The fourth of these films culminates with the all-star Ten Tigers of Kwangtung (1980), co-starring Ti Lung and Fu Sheng, where the movie involves two stories concerning the original Ten Tigers and their future disciples.

Cheh Chang and the Venom Mob deliver again! Told via two stories, one is about the Ten Tigers seeking disciples to train and then exact their revenge on an evil general, whilst the second half of the film follows the disciples fighting off a group of assassins.

So the story is a standard martial arts tale of revenge, but this is a Venom Mob film, so the action is going to be far above average, and thus, as expected, Director Cheh Chang, along with Ti Lung, Fu Sheng, and Phillip Kwok deliver the goods!

++ SPOILER ALERT ++ I think the finale is worth noting that as much as the demise of the film’s villains was wildly unexpected, it also contains one of the craziest martial arts decapitations scenes ever (Riki-Oh not included!).

After all those, Lau brings us perhaps his best high-kicking comedy with My Young Auntie (1981), a playful star vehicle for his real-life muse Kara Hui. Cheng Tai-Nan (Kara Hui) is an honest and faithful servant of a dying patriarch who wants nothing more than to protect his vast wealth from his selfish, conniving nephew, Yung-Sheng.

Tai-Nan is young enough to be his granddaughter, but still agrees to marry her master so that all of his wealth will be lawfully safe with her so she can then transfer it to Ching-Chuen (Lau Kar-Leung), her new husband/master’s favorite nephew.

This angers the hateful Yung-Sheng greatly, who sends multiple thugs after Tai-Nan, but she is a highly skilled martial artist who is not easily defeated. Amazingly, things become even more complicated when Ching-Chuen’s son, Yu Tao (Hou Hsiao), arrives home from a university in Hong Kong and discovers a mysterious women in his house and attacks her, not realizing she is actually his new great aunt, Tai-Nan!

Complicating things even more is the uncomfortable sexual tension between Yu Tao and Tai-Nan. Next Yung-Sheng finally manages to steal all the paperwork, titles, and deeds to Ching-Chuen’s wealth. Left with no choice but to lead an all-out attack against Yung-Sheng at his booby-trapped mansion, Tai-Nan decides to get Ching-Chuen and his older brothers back into fighting shape.

My one so-called irk is how suddenly the comedic aspects of the film die off during the conclusion. The film transitions from outright farce to dramatic intrigue with little but a change in incidental music. But, ok, there is a certain symmetry in it, I guess.

Sure, the film begins focused on the intrigue, focused more on Lau Kar Leung’s character, and it ends that way, too, but the final scene returns to the movie’s comedic roots (all too soon, in my humble opinion), giving conclusion to both aspects of the film.

Up next we witness the Shaw Brothers fully embracing eighties excess in our strangest double feature yet: the first being Wong Jing’s breathtakingly wild shoot-‘em-up Mercenaries from Hong Kong (1982), where a gang of ex-military guys are hired by a mysterious dame who wants them to go into Cambodia and kidnap the assassin who killed her father.

This is one of those ensemble all-star productions similar to The Expendables, but to my mind done much better. Ti Lung has never been tougher as the moustachioed lead and he assembles a crack squad of classic Shaw stars to go on the mission.

Wong Yu is the magician who’ll do anything for money; the great Lo Lieh is a sniper; the extremely tough Johnny Wang Lung Wei is a boxer; Michael Chan Wai-Man is a soldier with combat experience in Vietnam; and Chan Pak-Cheung is the comic relief and ladies’ man.

The odds are stacked against the heroes, with a vengeful Yuen Wah hunting them in Hong Kong, Phillip Ko playing the target, and the ultra-imposing Lee Hoi San as a sinister character who keeps turning up to commit murder.

Don’t go in expecting dense plotting, because the emphasis of this film is very much on the action, and it delivers in spades. From Lung’s opening hit to the assembling of the team and the eventual mission, it’s exciting stuff indeed with a strong mix of hand-to-hand combat and explosive gun-dominated set-pieces.

The stakes continue to raise in the second half, and there’s an admirably dark streak well handled by writer/director Wong Jing at the outset of his career. Personally, the only contemporary Shaw film that I like better than this is the exemplary Hong Kong Godfather.

The other title in the double feature is Kuei Chih-hung’s spectacularly unhinged black magic meltdown The Boxer’s Omen (1983), where whilst in Thailand to avenge his brother, who was crippled in a fight with a corrupt Thai boxer, a man gets caught up in a web of fate, Buddhism and black magic.

Chan Hung is a Hong Kong boxer who travels to Thailand to avenge his brother, who was crippled in a fight with unscrupulous opponent Mr. Bu-bo (played by martial arts movie legend Bolo Yeung, who rarely fights fair in his films anyway!).

After agreeing to a boxing match against Bu-bo in three months time, Chan visits a Buddhist temple where he is drawn into a battle with an evil wizard who has used his dark powers to prevent the local abbot from achieving immortality.

The supernatural skirmish that ensues sees the wicked magician using some bizarre techniques to try and gain the upper hand against Chan, including summoning killer bats from the eye sockets of crocodile skulls (which also come alive), using rat blood to bring a skeletal bat back to life, cutting off a chicken’s head to perform a spell, conjuring up a flying alien head from a gloopy mess of puke, and ultimately removing his own noggin from his shoulders to launch a last-ditch attack!

It’s all for nowt for nowt though, because the wizard loses the fight when sunlight makes his head dissolve! After all of that, the film gets REALLY strange!

Last but certainly not least, Lau Kar-leung directs the last major Shaw production, Martial Arts of Shaolin (1986), filmed in mainland China with a hot new talent named Jet Li in the lead role. In ancient China, Zhi Ming trains at the legendary Northern Shaolin temple to avenge the death of his father at the hands of a nefarious magistrate.

This film is notable as the only collaboration between film director Lau Kar-leung and actor Jet Li. It is the third part of the successful Shaolin film series which began with the aforementioned Shaolin Temple and was followed by the blow-mentioned Kids From Shaolin.

Although it stars many Mainland actors from either or both predecessor films (Jet Li, Yu Chenghui, Yu Hai, Hu Jianqiang and Huang Qiuyan), Martial Arts Of Shaolin uses a Hong Kong production crew from Shaw Brothers Studio, in contrast to the other two films (which are Hong Kong-funded but are shot by a Mainland director with a Mainland crew).

The production values, especially the set, are a dramatic improvement over the old Chang Cheh films. So, for that, the film is to be commended. But is there much new to offer? For me, not so much. Also, the movie really drives home the theme music. Don’t get me wrong, I like the idea of using the music over and over in different ways, but they seem to have used the same melody for almost 75% of the film!

That is paired in this set with The Bare-Footed Kid (1993), a reverent remake of a Chang Cheh classic with Johnnie To (Running Out of Time) in the director’s chair and Lau back on fight choreography duties, in arguably the ultimate filmed tribute to Shaws’ everlasting cinematic legacy.

While working at a family friend’s business, a penniless orphan draws the attention of a corrupt competitor and is torn between divided loyalties.

Although the central themes of the Barefoot Kid are hardly original by kung-fu cinema standards - doomed love, coming of age and redemption - they are delicately and effectively handled to produce a result which is by turns charming, exciting and funny.

Similarly, although the structure of the action sequences is rarely ground-breaking, superb choreography, clever camera work and a standout performance from Aaron Kwok elevate them well above the ordinary.

To a veteran of Kung Fu films, The Barefoot Kid would appear rather pedestrian and certainly nothing exceptional, but for a beginner, its simple, but strong themes, crisp cinematography and whipcrack action performances make it a uniquely accessible and hugely enjoyable ride nonetheless.

LIMITED EDITION BLU-RAY COLLECTION CONTENTS:
• High Definition (1080p) Blu-ray presentations of all fourteen films, including nine new 2K restorations by Arrow Films
• Illustrated 60-page collectors’ book featuring new writing by David Desser, Jonathan Clements, Lovely Jon and David West, plus cast and crew listings and notes on each film by Simon Abrams
• New artwork by Mike Lee-Graham, Chris Malbon, Kagan McLeod, Colin Murdoch, “Kung Fu” Bob O’Brien, Lucas Peverill, Ilan Sheady, Tony Stella, Darren Wheeling and Jolyon Yates
• Hours of never-before-seen bonus features including several cast and crew interviews from the Frédéric Ambroisine Video Archive
• Two CDs of music from the De Wolfe Music library as heard in several of the films, exclusive to this collection
DISC ONE – THE 36TH CHAMBER OF SHAOLIN:
• Brand new 4K restoration by Celestial Pictures and L’Immagine Ritrovata
• Newly restored uncompressed Mandarin, Cantonese and English original mono audio
• Newly translated English subtitles, plus optional hard-of-hearing subtitles for the English dub
• Brand new feature commentary by critic Travis Crawford
• Brand new select-scene commentary by film critic and historian Tony Rayns
• Interview with star Gordon Liu, filmed in 2003
• Interview with cinematographer Arthur Wong, filmed in 2006
• Shaolin: Birthplace of a Hero and Elegant Trails, two archive featurettes with Gordon Liu produced by Celestial Pictures in 2003
• Tiger Style: The Musical Impact of Martial Arts Cinema, a newly filmed overview of Shaw Brothers’ influence on hip hop and other music genres, featuring music historian Lovely Jon
• Cinema Hong Kong: Swordfighting, the second instalment in a three-part documentary produced by Celestial Pictures in 2003 and featuring interviews with Gordon Liu, Lau Kar-leung, Cheng Pei-pei, John Woo, Sammo Hung, Kara Hui, David Chiang and others
• Alternate opening credits from the American version titled Master Killer
• Hong Kong and German theatrical trailers, plus US TV spot
• Image gallery

DISC TWO – RETURN TO THE 36TH CHAMBER / DISCIPLES OF THE 36TH CHAMBER:
• Uncompressed Cantonese, Mandarin and English original mono audio for both films
• Newly translated English subtitles for both films, plus optional hard-of-hearing subtitles for the English dubs
• Interview with star Gordon Liu, filmed in 2003
• Citizen Shaw, a French TV documentary from 1980 directed by Maurice Frydland, in which Sir Run Run Shaw gives an all-access tour of the Shaw Brothers backlot (including behind-the-scenes footage from Return to the 36th Chamber), remastered in high definition
• Hero on the Scaffolding, an archive featurette produced by Celestial Pictures in 2003
• Alternate opening credits sequences for both films
• Hong Kong theatrical trailers for both films
• Image galleries for both films

DISC THREE – MAD MONKEY KUNG FU / FIVE SUPERFIGHTERS:
• Brand new 2K restorations of both films from the original negatives by Arrow Films
• Uncompressed Cantonese, Mandarin and English original mono for both films
• Newly translated English subtitles for both films, plus optional hard-of-hearing subtitles for the English dubs
• Brand new commentary for Mad Monkey Kung Fu by martial arts cinema experts Frank Djeng and Michael Worth
• Newly filmed appreciation of Mad Monkey Kung Fu by film critic and historian Tony Rayns
• Interview with actor Hsiao Hou, filmed in 2004
• Shaw in the USA, a brand new featurette on how Shaw Brothers broke America featuring Grady Hendrix and Chris Poggiali, authors of These Fists Break Bricks
• Hong Kong and US theatrical trailers for Mad Monkey Kung Fu
• Hong Kong theatrical trailer and UK VHS promo for Five Superfighters
• Image galleries for both films

DISC FOUR – INVINCIBLE SHAOLIN / THE KID WITH THE GOLDEN ARM:
• Brand new 2K restorations of both films from the original negatives by Arrow Films
• Uncompressed Mandarin and English original mono audio for both films, plus Cantonese mono for Invincible Shaolin
• Newly translated English subtitles for both films, plus optional hard-of-hearing subtitles for the English dubs
• Interview with action director Robert Tai, filmed in 2003
• Poison Clan Rocks The World, a brand new visual essay on the Venom Mob written and narrated by author Terrence J. Brady
• Alternate “continuity” cut of The Kid With The Golden Arm, presented via seamless branching
• Alternate and textless title sequences for The Kid with the Golden Arm
• Hong Kong theatrical trailer for Invincible Shaolin
• Hong Kong theatrical trailer (audio only) and US TV spot for The Kid with the Golden Arm
• Image galleries for both films

DISC FIVE – MAGNIFICENT RUFFIANS / TEN TIGERS OF KWANGTUNG:
• Brand new 2K restorations of both films from the original negatives by Arrow Films
• Uncompressed Mandarin and English original mono audio for both films, plus Cantonese mono for Ten Tigers of Kwangtung
• Newly translated English subtitles for both films, plus optional hard-of-hearing subtitles for the English dubs
• Brand new audio commentary on Ten Tigers of Kwangtung by filmmaker Brandon Bentley
• Interview with star Chin Siu-ho, filmed in 2003
• Rivers and Lakes, a brand new video essay on Shaw Brothers’ depiction of Chinese myth and history, written and narrated by Jonathan Clements, author of A Brief History of China
• Hong Kong (audio only) and German theatrical trailers for Magnificent Ruffians
• Hong Kong trailers (Mandarin and Cantonese audio options) and US TV spot for Ten Tigers of Kwangtung
• Image galleries for both films

DISC SIX – MY YOUNG AUNTIE:
• Uncompressed Cantonese, Mandarin and English original mono audio
• Newly translated English subtitles, plus optional hard-of-hearing subtitles for the English dub
• Brand new select-scene commentary by film critic and historian Tony Rayns
• Interview with star Kara Hui, filmed in 2003
• Cinema Hong Kong: The Beauties of the Shaw Studios, the final installment in the three-part documentary produced by Celestial Pictures in 2003
• Alternate standard-definition VHS version
• Hong Kong theatrical trailer
• Image gallery

DISC SEVEN – MERCENARIES FROM HONG KONG / THE BOXER’S OMEN:
• Brand new 2K restorations of both films from the original negatives by Arrow Films
• Uncompressed Cantonese and Mandarin original mono audio for both films plus English mono for Mercenaries from Hong Kong
• Newly translated English subtitles for both films, plus optional hard-of-hearing subtitles for the English dub
• Brand new commentary on The Boxer’s Omen by critic Travis Crawford
• Newly filmed appreciation of filmmaker Kuei Chih-hung by film critic and historian Tony Rayns
• Additional footage from Mandarin VHS version of The Boxer’s Omen
• Interview with Mercenaries from Hong Kong action director Tong Kai, filmed in 2009
• Hong Kong theatrical trailers for both films
• Image galleries for both films

DISC EIGHT – MARTIAL ARTS OF SHAOLIN / THE BARE-FOOTED KID:
• Uncompressed Cantonese, Mandarin and English original mono audio for both films
• Newly translated English subtitles, plus optional hard-of-hearing subtitles for the English dubs
• Brand new commentary on Martial Arts of Shaolin by Jonathan Clements
• Brand new commentary on The Bare-Footed Kid by Frank Djeng of the NY Asian Film Festival
• Newly filmed appreciations of both films by film critic and historian Tony Rayns
• Interview with Martial Arts of Shaolin screenwriter Sze Yeung-ping, filmed in 2004
• Alternate standard-definition version of Martial Arts of Shaolin
• Hong Kong and Japanese theatrical trailers for Martial Arts of Shaolin, plus trailers for the preceding Shaolin Temple films starring Jet Li
• Hong Kong theatrical trailer and UK VHS promo for The Bare-Footed Kid
• Image galleries for both films

DISC NINE – MUSIC FROM THE 36TH CHAMBER OF SHAOLIN, FIVE SUPERFIGHTERS, INVINCIBLE SHAOLIN AND THE KID WITH THE GOLDEN ARM (CD)

DISC TEN – MUSIC FROM RETURN TO THE 36TH CHAMBER, MAGNIFICENT RUFFIANS, TEN TIGERS OF KWANGTUNG, MY YOUNG AUNTIE, MERCENARIES FROM HONG KONG AND DISCIPLES OF THE 36TH CHAMBER (CD)

www.ArrowFilms.com