Lady Bloodfight (2016) - Film Review

This rattled around in pre-production for a while, originally being called Lady Bloodsport, and with the names linked to it being significantly higher in profile: Maggie Q, Shu Qi and Zhiyi Zhang (source IMDB). The end result here is obviously smaller and cheaper–the fights at its core all take place in the bastion of martial arts, a warehouse–and you can’t help but think, “What if…?” However, it’s still thoroughly enjoyable, despite or perhaps because of feeling like a throwback to straightforward movies such as the original Bloodsport, which helped launch the career of Jean-Claude Van Damme in 1988.

The basic approach seems entirely deliberate, and the simplicity works to the film’s benefit. You don’t watch a film with this title for intricate plot or subtle character study; you watch it to see asses being kicked, and there’s enough of that, you’d be hard-pushed to feel cheated. The excuse is the well-worn trope of a martial-arts tournament for women, the kumite, being held in Hong Kong. The last time it happened, it ended in a tie between deadly rivals, Shu (Hofmann) and Wai (Kathy Wu). They’re now both looking for someone who can fight on their behalf. Shu selects Jane Jones (Amy Johnston), in Hong Kong seeking a father who vanished under murky circumstances years earlier. Wai chooses and trains Ling (Jenny Wu), a cocky, streetwise fighter. But there are 14 other entrants, hailing from all over the world, including Russia, Australia and Brazil, who must be defeated before the inevitable Jones vs Ling showdown.

Yes, it’s utterly contrived, not least in not one, but two, master-student threads. If you can’t think of better ways to achieve the same end, you need to watch more films. Fortunately, it’s salvaged by a quarter of decent performances from the lead women, who take the clichés they’re given by the script, and round them out into at least an approximation of real characters, good enough for the film’s purposes. Bonus points due, for not inflicting any sappy romance (although Jones’s interactions with the spirit of her father are occasionally on perilously thin ice instead) and also largely avoiding potentially sleazy cheesecake, save for one locker-room pan.

As the tag-line above suggests, this feels very much like an adaptation of a non-existent video-game. As such, it would have helped if they’d mixed up the environments for the fights a bit, in the name of variety. This is a minor quibble, however, and what you get are some well-crafted slabs of action, showcasing various styles and approaches. Outside of Jones and Ling, the character which stuck in our mind most was likely Mayling Ng’s monstrous Svietta, freed from a Russian prison for the kumite. All tattoos and snarls, she might've made a better “final boss” for the heroine than Ling, who is perhaps a little too sympathetic. Despite any flaws, it’s a brisk tale, energetically told, and with plenty to commend its no-nonsense approach.