Viewer Rating
Combines user and critic ratings from four sources

The Legend of Drunken Master (1994)
Returning home with his father after a shopping expedition, Wong Fei-Hong is unwittingly caught up in the battle between foreigners who wish to export ancient Chinese artifacts and loyalists who don't want the pieces to leave the country. Fei-Hong must fight against the foreigners using his Drunken Boxing style, and overcome his father's antagonism as well.
Returning home with his father after a shopping expedition, Wong Fei-Hong is unwittingly caught up in the battle between foreigners who wish to export ancient Chinese artifacts and loyalists who don't want the pieces to leave the country. Fei-Hong must fight against the foreigners using his Drunken Boxing style, and overcome his father's antagonism as well.
The film's central conflict involves defending Chinese national heritage and resources from foreign imperialist exploitation, a theme aligning with anti-colonial and anti-exploitation narratives. The solution champions individual heroism rooted in traditional martial arts to combat this external threat.
This Hong Kong martial arts film features an East Asian cast, which is traditional for its cultural context. The narrative centers on male protagonists and includes a mild critique of foreign colonial exploitation, but it does not explicitly portray traditional identities negatively or make DEI themes central to its plot.
The Legend of Drunken Master does not feature any identifiable LGBTQ+ characters or themes. The story centers on traditional martial arts, family relationships, and patriotic struggles, with no elements related to queer identity present in the narrative or character arcs.
The film, a martial arts action-comedy, does not feature any identifiable transsexual characters or themes. The storyline is centered on Wong Fei-hung's drunken boxing style and his efforts to combat a foreign syndicate, leaving no room for such depictions within its narrative scope.
The film does not depict any female characters engaging in or winning direct physical combat against one or more male opponents. While female characters are present, their roles do not involve such combat victories.
The film features established characters like Wong Fei-hung, who are portrayed consistent with their historical and canonical genders. No characters originally established as one gender are depicted as another.
The film is a sequel featuring the historical Chinese folk hero Wong Fei-hung, who is portrayed by Jackie Chan, an East Asian actor. There is no evidence of any character, historical or canonical, being portrayed by an actor of a different race than their established background.
Combines user and critic ratings from four sources























