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Predecessor – I’m knocking it because it couldn’t even manage to be coherent on its own terms.Īng Lee didn’t return to direct in fact, Michelle Yeoh (reprising her role as Wudang swordswoman Yu Shu Lien) is the only familiar face, with Chow I won’t be one of those who condemn Sword of Destiny for not being as “brilliant” as its

Netflix-produced, American-Chinese follow up to Lee’s Oscar-winning original, was just the opposite: an undercooked knockoff with cheap CG effects,Ĭonnected to the first film seemingly in name only. Imagine the crushing sense of ennui that enveloped me, then, when it became clear that Crouching Tiger, Hidden Dragon: Sword of Destiny, the Like a microcosm of the whole picture: beautiful, but ephemeral and mostly empty. But compared to classicĮxamples like the Shaw Bros’ The 36th Chamber of Shaolin (1978) and more highly-evolved entries that would follow like Zhang Yimou’s House of Flying Daggers (2004), I found Lee’s film to be a laboured, overwrought affair whose action sequences (choreographed by Yuen Woo-Ping) were I appreciate it for introducing the majority of Western moviegoers to the wuxia genre, and doing so inĪ way that was palatable to our sense of aesthetics and storytelling while still remaining (mostly) true to the original form. Sciences, as well as the film’s director, Ang Lee). I was never as big a fan of Crouching Tiger, Hidden Dragon (2000) as everyone else was (and that includes the Academy of Motion Picture Arts & Michelle Yeoh (centre) in Crouching Tiger Hidden Dragon: Sword of Destiny.