Gifted Shijiazhuang, Hebei-born Qin Peng Fei was a Wushu athlete before entering the world of cinema. After transitioning into the industry, he worked as a stuntman and action choreographer on productions such as John Woo‘s “Red Cliff” and Gordon Chan’s “God of War.” Qin directed his first movie, “Run Amuck” (2019), but it was “Fight Against Evil” (2021) that truly established him as an action director to watch. Since then, he has been remarkably prolific, directing four action features in 2024 alone—each for local streaming platforms.
The wuxia action title “Blade of Fury” follows bounty hunter Pei Xing (Ashton Chen, also known as Shi Xiao Long), nicknamed the Jackal. He is an emotionless loner who travels the land wherever there’s a bounty to claim. However, a recent case involving a fugitive mother and her baby unexpectedly stirs his sense of justice. He decides to stand against the powerful and wicked forces who prey on the weak. Now, the bounty hunter with a heart has become the hunted, as rival swordsmen close in on him.
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What makes Qin’s work stand out from the many action titles flooding streaming platforms is the brilliantly executed and highly original fight choreography. In addition to being superbly staged, inventive, and refreshing, the performances by the cast lend the scenes a convincing physicality. At times, it almost appears as though the combatants are floating—sliding horizontally around one another in mesmerizing displays. Qin and his action team, Zhang He Jia and Zhang Wei, seem to blend parkour, wirework, and authentic kung fu to create visually stunning and surprisingly grounded sequences.
The supporting villains are equally colorful, though at times a bit exaggerated. Still, each brings a unique skillset and weaponry that adds flavor to the action. A particularly memorable pairing is that of a dwarf and a cross-dressing character who pose as mother and child—both amusing and original. There’s also a trio of assassins made up of a giant wielding a bamboo pole, a female archer, and a small man armed with razor-sharp claws. The main antagonist is especially menacing, not just in temperament but also in wielding a deadly, flaming blade that leaves a strong visual impression.
The story is fairly straightforward and occasionally plays like a tribute to classic wuxia works. It’s clearly aimed at audiences hungry for dynamic action, but Qin breathes life into the narrative with well-drawn characters. The protagonist’s struggle with his dark past and his eventual redemption, explored through flashbacks, adds emotional depth. The baby subplot even echoes the tone of the “Lone Wolf and Cub” series, revealing the softer, more human side of Pei Xing.
For a digital production, the cinematography is impressive, enhanced by real locations including rugged mountain ranges, deserts, and detailed interior and exterior sets. Costumes are carefully crafted to match the setting, and the climactic hillside battle, staged around a massive statue, is a visual standout. However, the overuse of slow motion in this sequence does slightly lessen its impact.
Chinese actor and martial artist Ashton Chen, a mainstay of streaming action titles, portrays Pei Xing with a fitting blend of grit and empathy. However, his transformation from cold mercenary to avenger of the weak happens a little too smoothly, making it feel somewhat unconvincing. Oddly, many of the male characters speak in a low, dry tone throughout. Michael Tong Wen Lung plays Han Lu, Pei Xing’s ruthless former boss who leads a private army. While his final showdown with Pei could have had more emotional weight, his flaming blade makes a strong impression.
“Blade of Fury” is a highly entertaining wuxia entry with imaginative and expertly staged fights that are rarely seen in modern Hong Kong cinema. Also keep an eye out for a surprise appearance by Xie Miao from the “Eye for an Eye” series, suggesting that a crossover between the two bounty hunters may be on the horizon.
