It shows the offence in , an arraignment, then he failed to appear. That is case CR, which is a felony contempt of court charge for failure to appear. That is a violation of statute Then his counsel withdrew on October 1st, on the Carnal Knowledge Charge , then again on October 20th, again on that charge different lawyer? Then he eventually pled guilty on March 3rd, , and got sentenced to 10 years with 6 suspended, and 5 years probation, which he terminated on March 12, If, as he claims, this was a pimping charge from and he violated conditions and that's what the mess is about, then I still have questions:.
Was he charged with the wrong crime and pled guilty to carnal knowledge with a year old when he didn't do it but was just pimping her mother? He violated conditions in and was arrested for that, and got, in , and arraignment, pre-trial motions, no-showed because he was still out, arrested again, had two counsels withdraw, another counsel appointed, then pled guilty? Since when do condition violations get all that for just the condition violation?
On top of that, the newspaper article at the time of arrest clearly lists just like the court documents the reason for arrest, and when the offense took place. No mention of any charge in Unless the court documents, sex offender registration, and newspaper article all got it wrong, and there's also paperwork for a offence which no one can find, nor will Mouse produce, nor is there anything else under his name in the Culpepert Circuit Court, then this is what happened.
As far as the "dumb 18 year old" nonsense, cut the shit. As of present writing August 14, , the Sex Offender Registration renewed a few weeks ago shows current age as Black Tavern is the best whip movie in the history of whip-moviedom.
My mouth was so agape watching this film that I swallowed a thousand flies. Whip master Zhang Ku Feng is like a flamethrower full of rocket fuel. It's on the list not for the story, but for the fight scenes that are cooler than liquid nitrogen freezing the Terminator, which includes the whacked out, Viking-helmeted, villain Hu terrorizing the Inn like an enraged bull in a ring filled of blind matadors who forgot their capes and swords.
The story opens when after a drunk monk performs shu xiao ban 11 th century Chinese rap music to an inn full of vagabond, thieves, and a cryptic swordswoman that a treasure chest is heading to Black Tavern, all the rascals leave the inn with brains wrapped in greed. At the tavern, all hell breaks loose as the menagerie of Chekhovian pseudo-heroes, back-stabbing villains, zombie men, ghosts, leopard-skin lackeys, switched women and Hu partake in increasingly lethal and inventive death scenes.
Ku's choreography goes far beyond simple whip twirling circles and figure eight motions that inject a whip crack or two. He's Quisp and Quake, and the continued use of cool sight gags stupefy our brains like how his whip uniquely beheads a woman, and when Hu attacks Ku with a pole, what follows is an outlandish kooky fight sequence featuring a wicked reverse-angle point-of-view shot of Hu holding onto his weapon for dear life while he's being lifted skyward, travels in an overhead semi-circle, lands on his back, while his face grimaces into camera the whole time, then ends up being whipped into a coffin and dragged across the ground toward several swords.
The night fight in a snowstorm between the swords-woman and Zhang is a combo whip-in-a-whip-in-a-whip crescendo with a headless horse and carriage as a wayward rolling wheel tries to crush them. The Japanese dojo challenges the Chinese guan to a competition to draw Liang out of hiding.
He complies and the dojo pays a dear price for their misplaced loss of face. Choreographer Lin You-chuan was known for creating relentless, fast-paced fights that didn't rely on perfect technique, posture, or real kung fu fighting. My hat goes off to Wen. In earlier films, he put his body on maniacal overdrive and just kicked and scrapped his way all over the screen, not caring about what other kung fu stars thought of him.
When he takes on multiple attackers in this film, each shot is pure mayhem. He's as intense as he's fun to watch, regardless of the choreography's haphazard nature and the somewhat sloppy kung fu. The key to Lin's choreography was having Wen throw his leg in the direction of an attacker and the stuntman would react to his leg placement. As a result, Wen's not kicking at anyone, he's rapidly lifting his leg in many directions.
It's flail-on-flail choreography with animalistic luster. Wen mimicking Lee's nunchaku dojo sequence with a piece of rope is so blatant that you've got to admire his audacity. Wen's rope has the same sound effect, Wen copies Lee's nunchaku movements and the fight is shot using the same camera angles. Wen kicks the karate dojo sign like the Shanghai Park sign and a brief Bruce Li moment is a sign of things to come.
The film follows the path of jujutsu expert Uyeshiba Jiro Chiba losing fights to karate expert Natori Shinbei Sonny Chiba; Jiro's brother and to the bokken -wielding sword master Okita.
Uyeshiba thus learns karate from Soubei Honda. Armed with newfound skills, Uyeshiba revenge fight plans go awry causing Shinbei' brother to commit suicide setting up a superbly orchestrated fight between two real brothers, Chiba vs.
Chiba, with a hard-style karate vs. Though the fights are intensely riveting, it's the displays of true karate morality that is most memorable. When Honda presents Uyeshiba with a teacher's certificate and Uyeshiba declines it because he can't afford it, Honda replies, "I don't take money when I give lessons to a man I trust. Though I can sell my skills, I can't sell my marital heart.
Jiro Chiba's portrayal of Uyeshiba's martial transformation is transcendently dynamic as to how he adjusts his martial movements from one teacher and fight scene to the next. His techniques subtly change and improve over the film's duration, which shows how Uyeshiba's aikido evolves from Japanese jujutsu to aikido's basic hand guard, fight-ready position that is modeled after the way a samurai holds his samurai sword during battle.
On the surface, the movie appears to be a run of the mill, topsy turvy, grittily and cheaply made early '70s Taiwanese kung fu flick; yet it balled me over. Imagine Led Zepplin meets Def Leppard ala Deep Purple wrapped into one group and their sole song's music is translated into the sensibility of the final fight scene. When Zhen Zheng Jiang Bin returns home, he's called a traitor, ostracized by his village and his girlfriend forsook him as his brother, a turncoat that mines red sand from a river for the Japanese, who use it to forge steel to make guns to kill Chinese.
Though the early fights resemble out-of-control windmills, they're raw and you watch them to the point of mental fracking. They're filled with unabashed desperation and overblown fantastical facial expressions associated with silent-film stars.
It's like female fans of Rod Stewart saying he's so ugly that he's cute, Jiang's fights are so sloppy that they're great. Just when you think Jiang can't get any worse the attack ante rises as Yasuaki Kurata skulks onto the screen as the nefarious nemesis from Nippon, who oozes the animalistic intensity that Sonny Chiba brought to his Street Fighter films, yet Kurata's hapkido kicks elevate the film's frays and makes Jiang look like a 20 th degree black belt in everything.
Midway through the finale, Zhen taps into his Buddha Prayer Fist, a cheesy and effective turning point in the fight as they begin battling on a fast-moving freight train with the frenzied intensity of Lee Marvin vs. Ernest Borgnine in Hitchcock's savage barreling train skirmish in Emperor of the North The emotional sacrifice of breathless intent behind the assault asphyxiates every moment of the fight for them and us.
This was a rare accomplishment in Chinese kung fu films that also featured the bewitching soundtrack of Black Magic Woman by Santana. Overall, the fights in The Gallant are intense and well-choreographed, and Wang portrays each character and their fighting skills with dexterous prowess and violent acumen. In The Stranger , a trapped woman flees from an abusive Triad into the arms of a man Wang that's part James Bond and knight in shining armor.
He doesn't use a gun or sword instead he's armed with flaming fists and combustible kicks, and fights with tiger intensity soaked in an avalanche of bowling balls that uses up to 25 technique per shot to destroy the kingpin. The somber Stranger Attending the Tomb features Wang as a heavy-hearted prodigal son who while guarding his father's grave laments on his own sinful past, while his sister believes her brother is the last bastion of goodness in the world.
When she's threatened by a gang of grave-robbing rebels that want to loot the father's grave, with snapping dragon fists, and a pitchfork and shovel, Wang goes more berserk than Billy Jack at an OK Corral spree that is filled with wretched revenge and insane disdain.
In The Avenger , a man Wang returns home from prison after taking the rap for a treasure heist to protect two accomplices, his father-in-law, and the double-crossing Li San. While the man was away, San killed the father-in-law and heinously coveted the man's wife. With two daggers in hand, it's time to unleash a whirlwind of steel-slashing bewitchment upon San and his clan.
Never say, "Cut it out," to a former inmate with blades. However, when Ben and father use arnis to thrash two cowardly sons of the Philippines' first colonial governor Legazpi, and stop them from raping his mum, Legazpi retaliates by killing Ben's father, raping then killing his mum, and shipping Ben to Los Mananos to be executed.
Desperate to escape the storm-ravaged sinking ship, when forced to kill the captain and conquistadors blocking his way, Ben is mortally wounded. Washing up on an unchartered island he stumbles upon the old, now blind master who teaches Ben and how to make arnis sticks that can withstand sword strikes, which he needs as he prepares to battle Legazpi, his two sons and Mori, their hired deadly samurai bodyguard.
Though the muscle bound Dantes could have mimicked Lee's Enter the Dragon eskrima fights to become a Filipino Bruce Lee, he chose to using effective traditional stick fighting, applying simple disarming techniques, heaven-six double-stick maneuvers, and kali knife skills.
The impressive aspect of the arnis, Spanish fencing and samurai sword action is that each fighter stuck to their respective arts. After Chief LapuLapu killed Magellan with a Filipino kampilan dagger in , natives were forbidden to carry swords.
These historical homage moments are subliminally intertwined into the film. It's a brutal yarn about two Taiwanese undercover agents Roc and Tian Hao sent to Hong Kong to stop powerful Triads and Yakuza bosses peddling opium and other vices.
It's also one of the most outstanding kung fu films I've ever seen, not because of the bizarrely effective and entertaining fight scenes, but because of two things that no other Taiwanese-made kung fu film has ever done. One, the film's most powerful scene is when Chinese boss Chen Hung-lieh proves his loyalty to the Yakuza boss by calmly breaking his own leg while chatting with him.
When the Yakuza boss offer to see him home, the Triad boss, with hypnotic calm replies, "I'll manage it alone, thank you. It's as gripping as a pair of rock-climbing shoes on flypaper. And if that that wasn't enough, it takes a minute to realize the English dubbing is excellent. It's the beauty of shooting without sound. The Chinese actors were saying their lines in English, thus having true lip movement and then dubbing the lines later with English speakers.
I did several scenes like this in Battle for the Republic of China Roc delivers his lines with a Humphrey Bogart-esque grunting lisp and glare and displays fighting savvy with the cool of Napoleon Solo. His strait-laced posture and swanky placement of look-away kicks looks in the opposite direction a split second before making contact are alive with voodoo magic. Cheryl Harai, me. Log in or Sign up.
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