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Ip Man. HK. Wilson Yip. Donnie Yen. Bruce Lee – Der Mann mit der Todeskralle. US. Robert Clouse. Ong Bak 2. TH. Tony Jaa. Tiger & Dragon. CN. HK. TW. Master Z – The IP Man Legacy. CN. HK.

karate filme

Auf der Suche nach Martial-Arts-Filmen? Auf stallmlinderoth.se findest du die besten Martial-Arts-Filme nach Beliebtheit, Jahren, Ländern oder FSK sortiert. Hier findest du allerlei Kampfsport Filme zum Thema Karate. Jeder Film auf deutsch, in HD und kostenlos. Master Z – The IP Man Legacy. CN. HK. karate filme Parents Guide. Crazy Credits. This media article uses IMDb for verification. Fortunately, there's more dazzle to come in this follow-up to Zhang's first wuxia film, Hero. Yojimbo haare violetta to the Italian A Fistful of Dollars, which in time completely remade von midway schlacht American western, completing a circle amor fou international cultural exchange that foreshadows a give-and-take among international filmmakers that we gripsholm for granted today. Action Drama Thriller. Hustle. HK. CN. Drunken Master. HK. Lau Kar-Leung. stallmlinderoth.se › Charts › Toplisten. Hier findest du allerlei Kampfsport Filme zum Thema Karate. Jeder Film auf deutsch, in HD und kostenlos. Entdecken Sie die besten Filme Martial Arts, als: The Raid 2, Ip Man, Ong-Bak, Fearless, Ip Man 3.

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The Karate Kid

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Yes No Report this. Add the first question. Country: Japan USA. Language: Japanese English. Production Co: Mamezo Pictures - K.

Runtime: 89 min. Color: Color. Steve Rose. Here a lone, probably disgraced, certainly hungry samurai Toshiro Mifune, the Wolf to Kurosawa's Emperor wanders into a town where two factions are in eternal conflict, glaring at one another from their matching headquarters on opposite sides of the town's wide, western-like main street.

Since each faction lacks a distinguished warrior with whose aid they might tip the balance of power in their favour, they each badly want the newcomer on their side, something the samurai figures out within moments, and exploits throughout the movie.

As the power games play out to their nihilistic, corpse-choked conclusion, Kurosawa demonstrates a mastery of his medium in almost every frame.

His sense of spatial relations is beyond compare: panels in interior walls slide away to reveal whole exterior street-scapes and crowd scenes perfectly framed within the smaller new frame.

Intimate conversations take place as a turbulent skirmish rages in the deep background center-screen, between the talkers' faces in the foreground.

And what faces! From the moronic warrior with the M-shaped unibrow and the giant wielding a huge mallet to Mifune's increasingly battered countenance, sardonic, cynical and ever defiant, every single face is at once a landscape and an epic poem unto itself.

Along with all that comes Kurosawa's furious visual energy, his virtuoso choreography of moving camera and bodies of warring men; and his talent for adding enriching layers of kinetic, elemental motion — rain falling, leaves or smoke blowing in the unceasing winds — to the violence already in play.

Yojimbo led to the Italian A Fistful of Dollars, which in time completely remade the American western, completing a circle of international cultural exchange that foreshadows a give-and-take among international filmmakers that we take for granted today.

John Patterson. We have A Touch of Zen to thank for Harvey Weinstein's interest in Asian cinema; it was after Quentin Tarantino screened King Hu's wuxia that the mogul began a controversial spending spree in the east that led to his current controversial involvement with Bong Joon-ho's Snowpiercer.

It's not hard to see why: Hu's film is unusually epic for the genre, clocking in at over three hours, and made cinema history by being the first Chinese film to win an award at Cannes, missing out on the Palme d'Or but taking home the Technical prize.

A Touch of Zen is most notable nowadays as the template for Ang Lee's Crouching Tiger, Hidden Dragon, being the 14th century story of an artist, Ku, who encounters a beautiful woman living in a rundown house with her elderly mother.

In true wuxia fashion, however, she is not all she seems, and so the story grows, until Ku realises that he is in the middle of a major dynastic war between rival factions.

And as the story develops — effortlessly absorbing elements of comedy and romance — so does the spectacle, increasing in scale and scope in ways that would be unimaginable today.

It is these fight sequences that have endured, and although wuxia briefly fell out of favour soon after, it is easy to see Hu's influence on the hit martial arts films of recent years.

But it is Hu's deadpan sense of the grand that keeps this astonishing film fresh, with its themes of justice and nobility, shot through with a strange spirituality that earns the film its title in a sequence involving a pack of bouncing, kick-ass Buddhist monks.

Damon Wise. As a breathless and brutal martial arts thriller shot in Jakarta and directed by a Welshman, The Raid would already have been worthy of note.

That it is a film of precision and inventiveness, taking fight sequences into the realm of horror, slapstick comedy, even the musical, guarantees its place in action-movie history.

The plot is as simple as its choreography is complicated. A police unit sets out one morning to seize control of a tower block in Jakarta that has fallen into the hands of a gang.

But not just any gang: this mob has kitted out the high rise with sophisticated CCTV and public address systems monitored from a top-floor control room.

You know what to do. In the absence of much dialogue, the weapons do the talking: guns, knives, swords, hammers. A man receives an axe to the shoulder, which is then used to yank him across the room.

A refrigerator doubles as a bomb. The gang's most vicious member, Mad Dog Yayan Ruhian, who also served as one of the film's fight choreographers , acts as mouthpiece for the film's philosophy.

Casting aside his firearms, he explains: "Using a gun is like ordering takeout. Some of the fight sequences are enclosed claustrophobically in hallways where the only option is to use walls as springboards, Donald O'Connor-style.

Others, such as a dust-up in a drugs lab, expand like dance numbers. Evans's prime achievement has been to make a berserk adventure characterised by clarity.

In contrast to most action cinema, the frenzy arises from the performers rather than the editing; no matter how frenzied things get, we never lose sight of who is karate-chopping the windpipe of whom.

Ryan Gilbey. Hands and feet are one thing in martial arts; elbows and knees are quite another. And after seeing this Muay Thai showreel, you'd put money on Tony Jaa against any other screen fighter.

Even in the scenes where Jaa isn't fighting anyone at all, simply going through some moves, he's awesomely formidable.

Ong Bak as a movie is fairly straightforward: city baddies steal a village's Buddha head; a humble peasant goes to get it back, individually crushing each adversary with his bare hands in the process.

That's all it needs. Ong Bak's prime objective is to say, "Can you believe this guy? In fight after fight, Jaa unleashes moves that leave you thinking, "That's gotta hurt", if not "That's gonna require major cranial reconstruction".

No holds are barred and few punches are pulled, but rather than brute violence, you're left marvelling at Jaa's speed, technique and pain threshold.

The fights are skilfully staged, particularly an exhilarating, three-round barroom brawl that leaves no opponent or piece of furniture standing.

Jaa shows off his physical prowess in other ways, too, from an opening tree-climbing race to a Bangkok street chase that sends him along a hilarious assault course of cafe tables, market stalls, children, cars, trucks, sheets of glass and hoops of barbed wire.

He's almost too much to believe, and Ong Bak acknowledges our incredulity by frequently rewinding the action to show us Jaa's moves in slow motion, as if to say, "Do you want to see that again?

We do. Aarti jumps out the window using a rope ladder. However, she loses the necklace, which is found by Desh, who is attempting a burglary in the same building.

Desh realizes that it is his mother's necklace where his father has hidden the priceless diamond. Khan and his henchman see him stealing the necklace and raid his house while Vijay arrives to save Aarti.

Khan and his henchmen and well as Vijay try to snatch the necklace from Desh, but he escapes and disguises himself as a groom and enters a wedding ceremony.

By mistake, Desh marries Geeta Kajal , but refuses to acknowledge her as his wife and leaves before even looking at her face.

While escaping with the necklace, he is chased by the Police and Vijay, who shoots him. Injured, he seeks asylum at a house which happens to belong to his mother.

Khan's henchman try to kill Desh, who is saved by Geeta. Geeta and Desh escape on a train. The villains also enter the train and Desh beats them up and escapes again.

Desh takes Geeta to the gypsy camp where she fights with Zora, who is also in love with Desh. Vijay attacks Desh at the gypsy camp, but Imran saves him.

Geeta tells Desh that she is the same girl he married and Desh acknowledges her as his wife. Khan comes to know that Desh is the lost elder son of the scientist.

The gang's most vicious member, Mad Dog Yayan Ruhian, who also served as one of the film's fight choreographers , acts as mouthpiece for the film's philosophy.

Casting aside his firearms, he explains: "Using a gun is like ordering takeout. Some of the fight sequences are enclosed claustrophobically in hallways where the only option is to use walls as springboards, Donald O'Connor-style.

Others, such as a dust-up in a drugs lab, expand like dance numbers. Evans's prime achievement has been to make a berserk adventure characterised by clarity.

In contrast to most action cinema, the frenzy arises from the performers rather than the editing; no matter how frenzied things get, we never lose sight of who is karate-chopping the windpipe of whom.

Ryan Gilbey. Hands and feet are one thing in martial arts; elbows and knees are quite another. And after seeing this Muay Thai showreel, you'd put money on Tony Jaa against any other screen fighter.

Even in the scenes where Jaa isn't fighting anyone at all, simply going through some moves, he's awesomely formidable.

Ong Bak as a movie is fairly straightforward: city baddies steal a village's Buddha head; a humble peasant goes to get it back, individually crushing each adversary with his bare hands in the process.

That's all it needs. Ong Bak's prime objective is to say, "Can you believe this guy? In fight after fight, Jaa unleashes moves that leave you thinking, "That's gotta hurt", if not "That's gonna require major cranial reconstruction".

No holds are barred and few punches are pulled, but rather than brute violence, you're left marvelling at Jaa's speed, technique and pain threshold.

The fights are skilfully staged, particularly an exhilarating, three-round barroom brawl that leaves no opponent or piece of furniture standing.

Jaa shows off his physical prowess in other ways, too, from an opening tree-climbing race to a Bangkok street chase that sends him along a hilarious assault course of cafe tables, market stalls, children, cars, trucks, sheets of glass and hoops of barbed wire.

He's almost too much to believe, and Ong Bak acknowledges our incredulity by frequently rewinding the action to show us Jaa's moves in slow motion, as if to say, "Do you want to see that again?

We do. Cocteau imagined the mirror as a gateway to another world in his film The Blood of a Poet, and it's a testament to the durability of this image that when it turned up again in The Matrix, it had lost none of its allure.

The film clocks up a further debt in its plot, which proposes that what we perceive as reality is actually a cosmetic facade constructed to conceal a terrible truth about our existence.

Neo, a computer boffin played by Keanu Reeves , is selected to bear the burden of enlightenment. Reeves's blankness in the part is perfect, mainly because Neo is required to display only those skills and qualities that are downloaded into his brain.

Required to master jujitsu, he is simply installed with the relevant computer programme. In no time at all, he is pulling off those tricks from s martial arts movies, where a man can launch himself in a flying kick and somehow manage to prepare a cocktail, read a short novel and fill out his tax return, all before his feet touch the ground.

The film's Cocteau-esque concept is harnessed to some X-Files-style paranoia, but it is the dazzling martial arts work that gives the film its special lift.

The directors, the Wachowski brothers, were already having ideas above their station when they came up with The Matrix their only previous film, after all, was the sweaty, claustrophobic thriller Bound.

It was the martial arts choreographer Yuen Woo-ping who helped them reach the next level. The movie's fight sequences provide its purest source of pleasure for a number of reasons.

First, the violence doesn't come with redemptive overtones; it is played out for the thrill of the choreography, not the anticipation of injury or righteousness.

Death is flippant, but it provides no moral kick. Second, the movie introduced a strange new effect, much copied or parodied since in everything from Charlie's Angels to Shrek: a character freezes in midair while the camera circles the tableau like a computer imagining a 3D representation of a 2D image.

When the camera has completed its movement, the physical motion of the scene resumes. Suddenly the humdrum vocabulary of the action movie has been extended before our disbelieving eyes.

Watch the opening 20 minutes of House of Flying Daggers and it's not hard to see why the Chinese picked its director, Zhang Yimou, to direct the opening ceremony of the Beijing Olympics.

Even though the action unfolds within a reasonably sized brothel waiting room instead of a stadium, there's all the elements that Zhang would multiply by the thousands in traditional Chinese music, dancing, swathes of brightly coloured silk cloth, drummers and, of course, martial arts.

It makes for a magnificent spectacle that's sets a high bar for the rest of the movie. Fortunately, there's more dazzle to come in this follow-up to Zhang's first wuxia film, Hero.

Zhang's Curse of the Golden Flower concluded the trilogy, but for many the romantic, operatic yet satisfyingly compact Flying Daggers represents the best of the three.

Set during the Tang dynasty, two police captains, Leo Andy Lau, best known for the thematically-not-dissimilar Infernal Affairs trilogy and Jin hunky Takeshi Kaneshiro are searching for the leader of the Flying Daggers, a counterinsurgency group.

They suspect blind courtesan Mei Zhang Ziyi may be a secret member of the Daggers, so Jin, posing as a citizen, busts her out of jail and goes on the run with her, pursued by Leo and numerous expendable officers.

Love seems to flower between Jin and Mei, but no one and nothing are as they seem here. Although the fights are terrifically choreographed by Tony Ching Siu-tung — especially a bamboo-forest chase that tops Crouching Tiger, Hidden Dragon and a final mano-a-mano in the snow — judged against other classic martial arts films, Daggers is actually a little light on combat scenes.

Indeed, the fighting is so stringently stylized it's more like dancing with knives. No matter: the love story may be almost as schematic as the film's rigorous use of colour, yet the acting is so powerful from the core trio that deep emotional depth is created seemingly out of nothing.

Leslie Felperin. Although it was obvious at the time, it seems strange now that Jackie Chan was originally groomed by at least one Hong Kong producer as a successor to Bruce Lee , the lithe master of martial arts whose style was almost laughably serious in its grim-faced intensity.

Khan comes to know that Desh is the lost elder son of the scientist. He learns that Desh loves Imran like his brother and kills Imran in circumstances where Vijay becomes the suspect.

Khan also kills Aarti and Vijay suspects Desh for the murder. Both brothers are after each other's lives. While fighting over the necklace, they realize they are brothers and Khan has killed Imran and Aarti.

Desh and Vijay join hands are decide to avenge their father by killing Khan. Khan organizes a Karate competition and invites the world's most renowned Karate fighters and pays them to kill the two brothers.

During the competition the two brothers kill all the fighters and Khan and reunite with their mother. From Wikipedia, the free encyclopedia.

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Categories : films s Hindi-language films Indian films Films scored by Bappi Lahiri Indian action films Hindi-language films Indian martial arts films martial arts films.

She wears an armored suit, possessing great power, and A woman makes a living by working at a factory. She has to quit her work one day when the co-workers find out about her past.

This is a recurring pattern for her. She meets a girl I heard about this movie from a friend and liked the concept and I must say it was satisfying.

It's about Karate Kill No Idea the main characters real name who is out to save his sister. He encounters challenges and conflicts along the way, which he is up against, to find and save his sister.

The movie is not cliched at all. I must say it is an action extravaganza with some very good martial arts fights. Many of the fights are innovative and over the top, yet well choreographed scenes, which I have never seen in films before.

Just innovative stuff that deserves more eyeballs. This is at least worth a view to see its unique approach and action fights. It's a bit of a Grindhouse, and it is missing some fun I feel.

At times it feels a bit dry and lacks humor. The humor would add to the over the tops scenes. With a higher budget, this could have been more awesome and fun.

It's had potential to be a lasting cult hit, but the lack of humor will probably limit that. It is still a must see for being unique.

I gave it an 8 out of 10, but it's worth a look at for action enthusiasts, kung fu fans, and lovers of unique small budget films.

See it any way you can and I think it something guys will love showing their friends. Sign In. Keep track of everything you watch; tell your friends.

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