It’s tough to review something you’ve been waiting for that doesn’t meet your expectations, especially a sequel to a great, original story. Unfortunately that’s the case with Fistful of Vengeance, Netflix’s newest action movie that forms a sequel to its 2019 streaming wuxia TV series Wu Assassins, one of the Top 10 fantasy television series of the past decade. As with Firefly, another property that went from series to movie, the movie just doesn’t capture the magic that made the series so well received. Fistful of Vengeance isn’t horrible if you really liked the relationship of the three male leads of the series. But in the series they were secondary to the fresh, new world of magic users it created. And aside from international martial arts headliner Iko Uwais and his supporting actor, Mortal Kombat star Lewis Tan, the best parts of the series were left behind.
One of the Top 10 fantasy television series of the past decade is getting a sequel. As with Firefly, that sequel is coming in the form of a major motion picture. The series was Netflix’s 2019 wuxia series Wu Assassins, and the sequel is Fistful of Vengeance. International world martial arts champ Iko Uwais returns as the chef tapped with the supernatural powers of 1,000 monks, along with series co-star Lewis Tan (Mortal Kombat). Wu Assassins made other action franchises pale in comparison, mixing the best choreographed fight sequences with visual effects, humor, actors we want to see more of. That Chuck Norris-esque movie title doesn’t hurt either. Check out the trailer for Netflix’s Fistful of Vengeancebelow.
We got our first peek at Shang-Chi and the Legend of the Ten Ringshere at borg this past April. The new, full-length trailer reveals a plot that has the feel of Wu Assassins, and only a few days since the Snake Eyes trailers, with Raya and the Last Dragon in theaters and on video, and a new Kung Fu series airing on TV, audiences are getting new opportunities to watch AAPI actors shine. While you’re in the vibe, don’t miss the live-action Mulan, the historical horror zombie seriesKingdom, the action movie The Night Comes for Us, the fantasy wuxia seriesLegend of the Condor Heroes, the animated movie Over the Moon, the supernatural graphic novelGhost Treeand Stan Sakai’sUsagi Yojimbo, the overview of martial arts in the movies in Iron Fists and King Fu Kicks, and the Bruce Lee documentary Be Water. Long-time comics readers will know Shang-Chi as the Master of Kung Fu from the pages of 1970s Marvel Comics by Steve Englehart and Jim Starlin. Originally the son of Fu Manchu, the character was an attempt by Marvel to create a monthly like the Kung Fu TV series after they failed in their bid to get the adaptation rights.
Check out the new trailer below for Shang-Chi and the Legend of the Ten Rings:
Ten years! That’s ten years reviewing TV series in the decade that streaming services began to dominate TV viewing– and binge-watching was born as Netflix began releasing entire seasons at once in 2013. How do you pick the best series? As with yesterday’s list of movie recommendations, our theory from the very first day of publishing borg has been reviewing only those things we like, things we think are fun, imaginative, or just plain cool—because if we think they’re cool, maybe you will, too. What makes a great TV series? Great writing—great storytelling. Also we looked to difficulty level and technology innovation—TV productions tend to get a fraction of the budget of big-screen features, so what they do with their time and money is critical, and some television series in the past decade were all-out feats. The third factor we looked to is re-watchability—we’ll be watching the best series for years to come. The big difference between ranking movies and TV is the change between seasons, that force that inevitably causes most shows to decline with each season. So consistency is a factor. Finally, as with movies the most important factor is the fun—why would you devote so many hours of your valuable time if you’re not going to have a great time?
One more thing: Ten years is a long time so we narrowed the series we’re including to those recommendations that fall primarily within the ten-year window. We covered several fantastic, re-watchable series that cemented their status in reruns or syndication, many beginning before borg began publishing and finishing in the years after, including Burn Notice, White Collar, Warehouse 13, Leverage, House, MD, In Plain Sight, and three landmarks among the best pop culture-packed series of all time, Chuck, Psych, and Community. We were disappointed that some of the best series were canceled and left to only a single season, otherwise they may have gone on to fare better against our top recommendations, shows like Jason Isaacs’ psychological police procedural Awake, Sarah Shahi’s all-for-fun Fairly Legal, Lauren Cohan’s action/spy series Whiskey Cavalier, the Doctor Who spin-off Class, the adaptation of Max Allan Collins’ popular noir novel series Quarry, the slick animated series Tron: Uprising, and the cyborg future-world Almost Human starring Karl Urban, to name a few.
So here are the Top 40 series we recommend, spanning 2011 to 2021. These are our favorites. How should you use lists like this? If you like what we talk about at borg, you’re probably going to like these shows. If you’ve missed any, odds are you have some new series to take a look at. Let’s start at #40 and move our way to #1. As with everything borg, we’re stressing genre series. Title links are to one of our previous borg reviews.
Put away what you remember (if anything) about the 1970s Kung Fu television series. You didn’t really watch the series for David Carradine, did you? If you were like most of the viewers, you probably showed up for the martial arts. CW Network’s new reboot of Kung Fu is for that same audience, but it also casts a wider net. Wednesday night Olivia Liang showed up to take the new series, CW’s Kung Fu, by storm. You can compare it to the similar-vibed, live-action Mulan, some of your favorite recent martial arts series that have the same dramatic beats likeWu Assassins, or you can compare it to series like Charmed, Smallville, Stargirl, or Riverdale. Fans of all these shows will get a kick out of the ease at which the CW has brought a young Chinese-American hero into our must-watch DVR queue with college student-turned-Shaolin warrior Nicky Shen. She’s a completely modern, updated Buffy the Vampire Slayer, and she brings with her an interesting supporting cast while pulling some intrigue into the story via elements of classic Chinese mythology and history. It’s fantasy, and its supernatural, and there’s swinging kicks and swordplay you’re not going to want to miss.
When you can take the affidavit from my hand, you are ready.
Not everything gets done right the first time. Take the 1970s television series Kung Fu. Based at least in part on an idea from martial arts legend Bruce Lee, the series was the #1 show in the U.S. in 1973. But casting David Carradine over Lee seems nothing short of lunacy in hindsight. While Lee’s heirs later continued his vision in Cinemax’sThe Warrior, the series that became Kung Fu is getting a reboot, a re-imagining, or a redo next month as Olivia Liang takes the lead role as Nicky Shen in CW’s Kung Fu. Well-timed to follow the success of the similar-vibed live-action Mulan and some of our favorite recent martial arts series likeWu Assassins, the series follows a Chinese American college student who travels to China and is taken under the wing of a Shaolin master. She returns to San Francisco with a new purpose. Nicky looks like a superheroine in the first trailers for the series, which makes the CW network of Arrowverse fame a good place to air the series. The new series also seems to have the slow-motion martial arts effects the original Kung Fu was known for (the same later used in the Six Million Dollar Man).
Check out some great first trailers for the series below. Continue reading →
It’s a question that goes back to Doom, if not before: Why make movie adaptations of video games? Easy answer: “Why not?” Or “easy money.” So why are so many so lackluster, in story, and often in production values? The triumphs mark the exceptions, from Tron and Tron: Legacy to the Resident Evil series, and a fine enough effort by Angelina Jolie and Alicia Vikander in two efforts to get a Tomb Raider film series to take hold, for starters. Then there’s Assassin’s Creed, Warcraft, Street Fighter, Wing Commander, and worse (at least Prince of Persia: Sands of Time had some fun in it). Often listed among the worst of them all is 1995’s Mortal Kombat, a film that couldn’t be saved even by casting Cary Hiroyuki-Tagawa as the charismatic villain or casting an ex-Bond girl (Talisa Soto). It’s those same characters and apparently plot that will get a retry this spring with the big-screen reboot Mortal Kombat. However this movie features leads of the stellar martial arts marvels The Night Comes for Us andWu Assassins, and the special effects are light years ahead of the prior films. Check out the first trailer for the movie below.
Audiences have seen some great animated films in recent years, with movies upping the ante on technology and visual magic, whether in Ferdinand or Spider-Man: Into the Spider-verse or Spies in Disguise or Klaus. Netflix’s new anime movie, a sequel to its live-action, futuristic, sci-fi hit Altered Carbon, takes animation and visual effects even further. Altered Carbon: Resleeved is part Blade Runner 2049, part Marvel’s The Punisher (season two), and part Wu Assassins. Live-action action sequences are rarely as thrilling as those choreographed in this film.
As with the live-action Altered Carbon, the inspiration from Syd Mead’s trademark futurism is all over this film, and that world looks just as stunning in anime form. The storyboarding and layouts, the surprise screen angles, wipes, and character movements are like nothing you’ve seen before, and the details are at times life-like and three dimensional. The story and execution is a vast improvement on the second season of the live-action show, which was a really good season of episodes to begin with.
Two years after the end of season two we catch up with Takeshi Kovacs, resleeved and working a job for Mr. Tanaseda, who has him pursuing a girl named Holly, a tattoo artist with cybernetic eyes and pawn of the yakuza, who carries some critical secrets. Working for CTAC is Gena, a badass agent carrying secrets, who clashes with Kovacs early on. It’s two days from an ascension ceremony–the anointing of a new mob boss–and in that time Kovacs must figure out why Mr. Tanaseda has set him on this job. The anime film, available with English subtitles or dubbed, has a new hotel and a new concierge named Ogai (voiced in the dubbed version by Chris Conner, who plays the concierge, Poe, and hotel manager in the live-action series). Ogai is a holographic Japanese man loyal to the new boss, but fond of Holly. Fans of the series will find his hotel to have equally exciting defensive feature’s as Poe’s hotel, The Raven.
With the much anticipated ninth episode Star Wars: The Rise of Skywalker here at last, writer/director J.J. Abrams has succeeded again at managing a major film franchise challenge and making the best of it. With Star Trek in 2009, he took a waning property and shot new life into it, but came up short four years later when he tried again and delivered Star Trek Into Darkness, heavily milking the nostalgia of the fan base with its retread of Star Trek: The Wrath of Khan. In 2015 Abrams was handed the keys to the other big space franchise, where he revitalized a left-for-dead movie saga and delivered Star Wars: The Force Awakens, notable for the introduction of Daisy Ridley’s curious and mysterious desert scavenger Rey, arguably one of the most fleshed out characters in the entire franchise with this final installment. Fortunately Abrams’s return to Star Wars will likely net better results for its fanbase with a movie that rises to become the best in the final trilogy, or at least as good as his The Force Awakens. Is this still George Lucas’s Star Wars? No, but that just shows the power and unique status of the original trilogy–even Lucas couldn’t capture the magic again with his prequels. The Rise of Skywalker is the kind of movie that could be judged on its merits as a J.J. Abrams movie and separately as a Star Wars sequel. Whether you as a viewer like this installment or not will depend on your own expectations.
Abrams may be at his best, with his unique style, lens flares and all, when he gives fans what they want. Abram’s success this holiday season is a bit of a salvage effort, bringing Rey back as the focal hero/heroine of the story, incorporating some of the saga’s best “Jedi being Jedi” sequences, and tapping into the nostalgia for the 1977 original in bite-sized bits instead of leaning on it like he did so unapologetically with Star Trek Into Darkness. If only Abrams had made all three Star Wars films, this third chapter could have been much tighter, and the whole trilogy would likely be better received by most of the fanbase. As a viewer if you don’t (or can’t) just sit back and enjoy the cameo performances, throwbacks, and Easter eggs, you’ll get the feeling that using two directors instead of one over the three films is the crux of any problems in The Rise of Skywalker. Upon its release, the previous installment The Last Jedi felt like it belonged to an entirely different story than The Force Awakens. Plot threads created by Abrams were summarily abandoned. Key characters were eliminated without explanation. New plot threads came from out of nowhere. In short, the director-flipping was the big mistake from a storytelling perspective. Abrams has the extensive portfolio behind him to demonstrate he would have been the right choice to direct all three films. So this time Abrams had a greater task than ever before, because he was stuck making major course corrections, all to get this tale back on track, re-focused again on Rey. The necessary patchwork aside, The Rise of Skywalker will go down as one of Abrams’ best works.
Will Star Wars, or more specifically, the Skywalker saga with this three-part conclusion, endure the test of time? If audiences continue to believe in its value as entertainment, there is no reason why studios can’t keep going back to this material repeatedly–think Shakespeare’s plays, Doyle’s Sherlock Holmes, Shelley’s Frankenstein, Dickens’s Ebenezer Scrooge. Recall how even more recent stories like the Terminator, Predator, and Halloween (and Star Trek) film series have continued to make sequels and wholesale reboots, disregarding a film that doesn’t do as well and continuing like it was never made. There’s no reason that can’t happen someday with Star Wars. So those fans who still want to see the Expanded Universe on the big screen–the complexities and triumphs of both Timothy Zahn’s sequel trilogy and Dark Horse Comics’ many stories like Dark Empire that did so much more with heroes Luke and Leia–just wait. Someday the right new visionary will step in and make it happen, but fans will need to accept new actors as their heroes, just like we saw with the latest Star Trek trilogy.
This year we found one series that could easily sweep most of the categories–a single television series that had everything: compelling story, a full range of emotions, great characters, tremendous action, a sharp use of humor, all kinds of genre elements that were satisfying and left viewers feeling inspired. Richly detailed sets and costumes. An impossible feat to replicate. No drama came close. No other visual effects spectacle could touch it. And its audience is everyone. A truly epic addition to television viewing, that series is The Dark Crystal: Age of Resistance, the greatest television series to come along in years. If you love genre like we do, this was as good as it gets. And like icing on the cake, along came The Mandalorian at year end.
But we’re not going to ignore the other good things that happened on the small screen this year.
Our borgBest of 2019 list continues today with the best in television. If you missed it, check out our review of the Best Movies of 2019here and the best Kick-Ass Heroines of 2019 here.
Without further ado, this year’s Best in Television:
Best Borg Series – Doom Patrol(DC Universe). With this year’s series Doom Patrol we got a look at two borgs, DC Comics’ Cyborg, an update to Martin Caidin’s original Bionic Man from the 1970s, and an older borg created before the word was even coined in the 1960s, Robotman. Both characters revealed a glimpse at what life might be like with significant cybernetic enhancements (when brought together by a modern Dr. Frankenstein). For 2019, it was the way to get your borg fix on the small screen.
Best TV Series, Best New Limited TV Series, Best TV Fantasy, Best Writing for TV, Best TV Costumes/Makeup, Best TV Soundtrack – The Dark Crystal: Age of Resistance (Netflix). It was worth the wait. Jim Henson’s seemingly impossible to replicate artistic vision was successfully achieved thanks to his daughters and the company he founded. The kindest heroes, the darkest evil, a truly epic, legendary story for the ages. Everybody is cranking out CGI extravaganzas, but how many are creating artistry so fundamentally real, with so many individual artists and artisans contributing and achieving so much? Even that wouldn’t be enough if not for the layered mythology and epic adventure story. Add great humor, high stakes, emotional impact, an all-star voice cast, Daniel Pemberton and Samuel Sim’s imaginative musical score, and those puppets and all that go into them–it adds up to a rare thing–a Henson masterpiece.
Best TV Sci-fi Series, Best TV Drama – The Man in the High Castle (Amazon). Amazon Studios could not have adapted a series more faithfully, making changes for the medium and the times, than its take on Philip K. Dick’s most celebrated novel. The use of science fiction to tell a deep and twisty level of subplots and unique setting all came to a perfect conclusion in the series finale. Exciting, intelligent, frightening, and the most thought-provoking series this year, it was also different from its sci-fi competition. Honorable mention: The Mandalorian (Disney+)–but only if we allow space fantasy since the series is not true science fiction, The Orville (Fox)–for its two-part epic movie-worthy space story, “Identity.”
Best New Ongoing TV Series, Runner-up: Best TV Soundtrack, Runner-up: Best TV Costumes/Makeup – The Mandalorian (Disney+). Not a lot needs explaining with this series, which in only its first two hours we rated it closer to the original Star Wars and The Empire Strikes Back than anything with the Star Wars label on it since. The Western motif is still alive, not all that hidden here in space fantasy garb. And we won’t get started on the impact of The Child (aka Baby Yoda) on the genre-loving world and beyond. Credit Jon Favreau’s visible enthusiasm and love for the original movies for the success of this surprisingly awesome arrival–the series is proof Star Wars is far from over.
