1992·Action·1h 53m
7.1
★
Wong Fei-Hung faces the White Lotus Society, a fanatical cult seeking to drive the Europeans out of China through violence, even attacking Chinese who follow Western ways. Wong must also defend revolutionary Dr. Sun Yat Sen from the military.
Directed by Tsui Hark
martial arts
kung fu
congress
china
colonisation
martial arts master
sect
kung fu master
Trailer
IMDB
N/A
Where to Watch
Cast
Jet Li
Wong Fei Hung
Rosamund Kwan Chi-Lam
13th Aunt
Max Mok Siu-Chung
Leung Foon
Donnie Yen
Commander Lan
David Chiang Da-Wei
Luke Ho-Dung
Xiong Xinxin
Priest Gao Kung
Yen Shi-Kwan
Governor Chung
Leung Yat-Ho
Commander Lan's Assistant
Michael Miller
Dr. Thompson
Dion Lam
Governor Chung's Assistant
Joseph Chi Chiong Chavez
White Lotus Sect Regiment Commander
Zhang Tielin
Dr. Sun Yat-Sen
Crew
Tsui Hark
Director
Charcoal Tan
Writer
Marco Mak Chi-Sin
Editor
Arthur Wong Ngok-Tai
Director of Photography
Tsui Hark
Producer
Ng See-Yuen
Producer
Raymond Chow
Executive Producer
Tsui Hark
Author
Xiong Xinxin
Stunt Double
Xiong Xinxin
Stunts
Jackie Chan
Theme Song Performance
George Lam Tsz-Cheung
Songs
Popular Reviews
29 reviews
Fuji
9.0★ · 04/13/26
So so stylish and the action is magnificent, but I still prefer the first installments more human story and characters.
So so stylish and the action is magnificent, but I still prefer the first installments more human story and characters.
Hassan
5.0★ · 01/23/26
another installment in jet li's fighting a flaming arrow barrage and blind musician playing during a fight cinematic universe
donnie yen as gangster as always
donnie yen as gangster as always
another installment in jet li's fighting a flaming arrow barrage and blind musician playing during a fight cinematic universe
donnie yen as gangster as always
donnie yen as gangster as always
James
8.0★ · 09/21/25
in my heart I will always be an American…but
Whenever Wong Fei-Hung is fighting and the music starts playing, somehow I get this real patriotic feeling, I don’t know how to explain it, it’s the beauty of cinema I guess, that a movie about the clash of east and west, tradition vs modern, set in 1890s china can make a person(me) born and raised in fucking Wisconsin feel a sense of Chinese patriotism, it’s the strangest thing.
Whenever Wong Fei-Hung is fighting and the music starts playing, somehow I get this real patriotic feeling, I don’t know how to explain it, it’s the beauty of cinema I guess, that a movie about the clash of east and west, tradition vs modern, set in 1890s china can make a person(me) born and raised in fucking Wisconsin feel a sense of Chinese patriotism, it’s the strangest thing.
in my heart I will always be an American…but
Whenever Wong Fei-Hung is fighting and the music starts playing, somehow I get this real patriotic feeling, I don’t know how to explain it, it’s the beauty of cinema I guess, that a movie about the clash of east and west, tradition vs modern, set in 1890s china can make a person(me) born and raised in fucking Wisconsin feel a sense of Chinese patriotism, it’s the strangest thing.
Whenever Wong Fei-Hung is fighting and the music starts playing, somehow I get this real patriotic feeling, I don’t know how to explain it, it’s the beauty of cinema I guess, that a movie about the clash of east and west, tradition vs modern, set in 1890s china can make a person(me) born and raised in fucking Wisconsin feel a sense of Chinese patriotism, it’s the strangest thing.
dparasol
10.0★ · 01/10/25
This entry is, of course, where they really start pushing the romance between Wong Fei Hung and Siu-Kwan, his Thirteenth Aunt. Don't worry, they're not actually related, although their romance is still considered inappropriate.
If you've seen the first film, you know what you're in for. A series of quaint east vs. west jokes in the early running, a surprisingly developed and nuanced nationalism, incredible wuxia action playing out in insanely intricate set pieces.
Some of the most iconic moments and images of martial arts cinema happen in this film, and there are some amazingly well-composed images throughout.
I think this film is better than the first, which I know not everyone agrees with.
"Gods are useless. You must rely on yourself."
If you've seen the first film, you know what you're in for. A series of quaint east vs. west jokes in the early running, a surprisingly developed and nuanced nationalism, incredible wuxia action playing out in insanely intricate set pieces.
Some of the most iconic moments and images of martial arts cinema happen in this film, and there are some amazingly well-composed images throughout.
I think this film is better than the first, which I know not everyone agrees with.
"Gods are useless. You must rely on yourself."
This entry is, of course, where they really start pushing the romance between Wong Fei Hung and Siu-Kwan, his Thirteenth Aunt. Don't worry, they're not actually related, although their romance is still considered inappropriate.
If you've seen the first film, you know what you're in for. A series of quaint east vs. west jokes in the early running, a surprisingly developed and nuanced nationalism, incredible wuxia action playing out in insanely intricate set pieces.
Some of the most iconic moments and images of martial arts cinema happen in this film, and there are some amazingly well-composed images throughout.
I think this film is better than the first, which I know not everyone agrees with.
"Gods are useless. You must rely on yourself."
If you've seen the first film, you know what you're in for. A series of quaint east vs. west jokes in the early running, a surprisingly developed and nuanced nationalism, incredible wuxia action playing out in insanely intricate set pieces.
Some of the most iconic moments and images of martial arts cinema happen in this film, and there are some amazingly well-composed images throughout.
I think this film is better than the first, which I know not everyone agrees with.
"Gods are useless. You must rely on yourself."
Gabriel Silva
9.1★ · 03/13/24
The fight for an identity for China in the midst of foreign occupation and colonial expanse reveals the other side of the coin - staunch and fanatical nationalism - in this sequel to Once Upon A Time In China. Wong Fei-hung returns, once again representing a sort of balance between progress and traditionalism, but now to focus more of his attention on forces of that traditionalism perverted in the name of maintaining power.
The action sequences are much more striking, visually, here, willing to go borderline cartoony in their explosive nature. The underlying drama of it all heightens it and it is clear that that dramatic influence has had an effect on how action sequences are shot, now giving ample amount of screentime to the faces of the combatants alongside the large, sweeping setpieces and the more close-up insert shots of minuscule movements that give a punch or a kick some extra oomph.
The action sequences are much more striking, visually, here, willing to go borderline cartoony in their explosive nature. The underlying drama of it all heightens it and it is clear that that dramatic influence has had an effect on how action sequences are shot, now giving ample amount of screentime to the faces of the combatants alongside the large, sweeping setpieces and the more close-up insert shots of minuscule movements that give a punch or a kick some extra oomph.
The fight for an identity for China in the midst of foreign occupation and colonial expanse reveals the other side of the coin - staunch and fanatical nationalism - in this sequel to Once Upon A Time In China. Wong Fei-hung returns, once again representing a sort of balance between progress and traditionalism, but now to focus more of his attention on forces of that traditionalism perverted in the name of maintaining power.
The action sequences are much more striking, visually, here, willing to go borderline cartoony in their explosive nature. The underlying drama of it all heightens it and it is clear that that dramatic influence has had an effect on how action sequences are shot, now giving ample amount of screentime to the faces of the combatants alongside the large, sweeping setpieces and the more close-up insert shots of minuscule movements that give a punch or a kick some extra oomph.
The action sequences are much more striking, visually, here, willing to go borderline cartoony in their explosive nature. The underlying drama of it all heightens it and it is clear that that dramatic influence has had an effect on how action sequences are shot, now giving ample amount of screentime to the faces of the combatants alongside the large, sweeping setpieces and the more close-up insert shots of minuscule movements that give a punch or a kick some extra oomph.