Critic Reviews

So really, what's great about "Master Z" isn't the way that its creators transcend their chosen formula, but rather how they perfect it.

The lush production design by Raymond Chan, Joyce Chan’s swanky ’60s costuming and some astoundingly clever set pieces — a duel between Tin-chi and one of Kit’s thugs atop of a strip of neon signs, a brilliantly old-school four-way fight at Cheung Kok’s offices, a whiskey glass tango with Yeoh — more than make up for any plot flaws, with the exception of the shameful underuse of Tony Jaa as a mysterious assassin.

A lively, fun one.

Master Z: The Ip Man Legacy is a big story with big action along the lines of Carlito’s Way. You can easily jump in on this story without needing to see the previous Ip Man films.

It’s unlikely to make new converts, but it’s filled with vibrant, graceful ass-kickery, and sometimes that’s all one wants, and needs.

Yeoh’s fantastic as usual, making an impressive series of moves while not disturbing a single hair on her period Joey Heatherton hairdo.

The studio set recreation of Hong Kong’s famous Bar Street, along with the gaudily delectable costumes throughout, give Master Z a dreamy heightened artifice. More than once, the film seems on the verge of breaking into a vintage Hollywood musical.

Frankly, big chunks of Master Z: The Legacy of Ip Man are so broad they’re almost goofy. The fights make up for it, and the great ensemble makes this broad world semi-believable. It’s a step down for the “Ip Man” series, but it’s still within punching distance, so don’t take your eyes off it. It’ll get you.

Top-class fighting and fabulous production design overcome the stale plot.

Master Z: Ip Man Legacy, like any old-school popular entertainment, contains sentimental moments and broad comedy as well as all that action. If you don’t already have the Ip Man habit, it’s a fine place to start.