Though it’s too broadly silly to have much bite, this genial mockumentary about a kung-fu movie production relates race and the Hollywood shuffle in ways that are surprisingly smart. That’s the subtext. The main text involves a search for the “next Bruce Lee” – literally, an actor to double for Lee in new scenes surrounding 12 minutes of footage left for Lee’s last film, The Game of Death, at the time of his death in 1973. Wah pedal and power horns accompany the tryouts and faux interviews, which are pure farce. Smarmy frontrunner Breeze Loo (Fan), who’s already starred in fictitious Lee knock-offs like Fist of Führer, points out that because his jumpsuit is blue, he’s a “totally different actor.” Pretty-boy Cole Kim (Kang) is another likely choice; less so is slam poet Tarrick Tyler (Burnett), stridently anti-racist but altogether Caucasoid. Troy Poon (Nguyen, believably weary) used to have an action series – and even his own catchphrase, “I ain’t gonna do your laundry” – but now he sells vacuum cleaners door-to-door. Rounding out the hopefuls are a Vietnamese refugee, an Indian doctor, and some guy from New Zealand. Meanwhile the film’s novice director (Sandvig) struggles for control with its casting director (Lynn), and the movie struggles to keep up its 1970s appearances. (The obligatory cameo from Ron Jeremy doesn’t hurt.) Finishing the Game would be inaccurately described as a kung-fu spoof, as Lin saves the slapstick for his finale and maintains the deadpan detachment engendered by the mockumentary format. But it is pretty goofy – throwaway gags (Tarrick Tyler works as a costumed mascot for the space program), too much improv, lots of bad wigs – and goofy isn’t necessarily the same thing as funny. The movie digs in a little more when the topic is race; behind its fanboy façade there’s a critique of Lee’s iconic legacy falling into the hands of hack producers looking for “a hip Genghis Khan.” (Elsewhere in the film, Breeze Loo’s WASP parents relate that he “cost” $500; they adopted him after their cocker spaniel died.) The level of satire is the film’s distinguishing factor, and its clever moments buoy an otherwise pleasant but unremarkable light comedy.
This article appears in December 7 • 2007.