the paper tigers

Late one evening, a venerated martial arts master Sifu Cheng (Roger Yuan) is quickly dispatched by a superior opponent cloaked in shadow, who respectfully bows and fades into darkness as the master succumbs to his injuries. Though jarring, it quickly sets a shocking tone for ‘THE PAPER TIGERS’ (TPT) before quickly doing a flashback into the past with three young pupils being mentored by the aforementioned fallen master. The young children are friends Danny, Hing and Jim (played by child actors Kieran Tamondong, Bryan Kinder and Malakai James). Through the literal lens of VHS, these memories show how this trio develop into talented and lethal martial arts fighters, winning challenge matches in high school, at rival dojos and even on the street. Teens Danny (Yoshi Sudarso), Hing (Peter Adrian Sudarso) and Jim (Gui DaSilva-Greene) quickly gain notoriety for their prowess and are dubbed as ‘The Three Tigers’, growing their reputation thus prompting overseas fight opportunities. They afford their opponents little mercy, boasting equal parts swagger and skill as they quickly dispatch opponents with a single kick or punch. As soon as the nostalgia goggles refocus, TPT ushers us back into the present day. Danny (Alain Uy) is a middle aged corporate type balancing life a single father in conflict with his ex-wife Caryn (Jae Suh Park) as they share joint custody of their young son Ed (Joziah Lagonoy). Hing (Ron Yuan) is a now a portly herbal medicine expert on workers compensation due to a leg injury; whilst Jim (Mykel Shannon Jenkins) has diversified his fighting skills and operates as an MMA instructor. Though living separate lives, the three are brought together with news that their master, Sifu Cheng has died from a heart attack. United by suspicion as much as solidarity, the three Tigers unite once again to determine the real cause of Sifu Cheng’s demise. On their quest for answers , the Three Tigers encounter a ‘friendly’ adversary in Carter (Matt Page) from their teen years, a trio of talented but obnoxious young kung fu exponents (Andy Le, Brian Le and Phillip Dang) and the memories of the past as their martial arts training resurfaces out of necessity more than nostalgia. At a cursory glance one may be forgiven for assuming that TPT is a simple revenge story, yet this would be an inaccurate assessment. More uniquely, TPT uses this call back to the classic 1970s martial arts films where revenge was primary motivator for fighting. However, rather than subscribe to a trope or appear derivative, the focus of TPT centres on its characters. Each of them has to accept that the iconic status they established in their youth, has been eroded by the rigors of adult life. Danny, once known as ‘Danny Eight Hands’, is now a middle aged father struggling to be the ideal parent, often putting his work as an insurance consultant before his son. The promising herbal doctor in Hing suffers from a constant leg injury making him less nimble than he was before, though his mastery of Traditional Chinese Medicine is now more pronounced. And though seemingly the most adept of the three, the now middle aged Jim has traded the graceful high kicks of Sifu Cheng’s Kung Fu instead embracing the grappling style of MMA.There are a few sub plots such as Danny’s co-parenting and the ever present element of bullying, yet TPT doesn’t allow itself to be bogged down by side stories. In fact, the film weaves these efficiently into the DNA of the story thus retaining the audience enthusiasm throughout. Director Bao Tran delivers with a deeply engaging sincerity, demonstrating not just a passion for action films but also a masterful discussion of character dynamic. Tran’s style is an effective fusion somewhat reminiscent of the smart comedy of Tina Fey or Judd Apatow, with the added bonus of 80s Hong Kong martial arts cinema. The world that Tran has created deserves the utmost attention, as you become so immersed in the characters that are relatable and yet the laughs-per-minute quotient is also remarkably frequent. There is a real freshness to this movie with Tran devising something so original, thereby making his vision profoundly potent. Herein is an earnest quality to Tran’s direction, with a vibrancy in each shot whether it be the inviting setting of a lounge room with friends to the more unsettling night time scenario of a moonlit pier. None of his characters become trivial filler, as the combination of a strong script and very effective directing foster a palatable connection to the protagonists. There is such powerful chemistry between the three, that one could easily believe these are indeed childhood friends.

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