… which is, coincidentally, what I say every time I glance at my DVD collection. Presenting, in the center ring:
Following on from Teleport City’s review of the first movie of the series, here’s the movie that stopped the series in its tracks. It takes place in and around a circus — definitely not the kind of Ring these guys are used to — but the circus is a bastion of normalcy compared to the goings-on behind the scenes.
This time, the Champions of Justice meet some Little People who are more than a match for them, while joining forces with an exiled interplanetary genius… as well as the one Earthling of whom it may be said that he could truly tell Uranus from a hole in the sky. It’s a mess… but it’s also one of the few films of its kind to co-star Little People as full and equal participants in the story.
Story Of Wong Fei-Hong
The movie 
During the first half of the 1990s, Hong Kong was wire-fu crazy. It seems like all you had to do to get your movie made was show up at a studio waving around a napkin with “guys in robes fly around, then there’s a fart joke” scrawled on it. Even if the studio already had ten movies exactly like yours in production, producers saw no reason they couldn’t add one more to the pile. New Legend of Shaolin, starring Jet Li when he was the undisputed king of being hoisted around on wires, is the epitome of mediocre 1990s wuxia. It’s bad but not enragingly bad. It’s fight scenes are terrible but not “really terrible.” And as was almost always par for the course, the tone jumps wildly and without any transition from slapstick fart comedy to atrociously overwrought melodrama. It’s a textbook case of by-the-numbers, don’t-give-a-shit Hong Kong film making from Wong Jing, the master of by-the-numbers, don’t-give-a-shit Hong Kong film making.
Because I’m trying to be a more positive, less snarky human being, I shall here list all of the good points to 1993′s 
My guess is that if you don’t know who Weng Weng is by now, you’re probably not the kind of person who’s going to care who Weng Weng is anyway. And if that’s the case, you obviously came upon this site by mistake. Then again, I may be wrong about that. After all, those who keep abreast of internet memes and those with a taste for obscure cult movies are not necessarily one and the same — just as, conversely, it’s a rare type who will go from chuckling at the exploits of Weng Weng or Little Superstar in a two minute YouTube clip to actually seeking out and watching one of their movies in its entirety.
Does 
With the genre flagging, producer Rogelio Agrasanchez Jr. — (in)famous among fans as a man willing to squeeze every last possible penny of a cinematic concept so long as he could put midgets in it — decided that if one couldn’t (or, more likely, wasn’t willing to) provide audiences with quality, then one could make up for it with quantity. If people weren’t going to pay to see one wheezing old luchador punch a werewolf, then maybe they’d be more likely to pay to watch like seven or eight luchadors punch an army of werewolves (preferably midget werewolves). The resulting era of movies eschewed any attempts at the Gothic classiness or psychedelic weirdness that permeated the best of the earlier production and simply went for goofball comic book action. Think of it as the luchadors’ Jun Fukuda years, and if we accept that, then Champions of Justice is the Godzilla vs. Megalon of Mexican wrestler movies. Given the all-star line-up you might think that Destroy All Monsters is the more accurate comparison, but the problem there is that Destroy All Monsters still maintains some vestige of classiness.
