Zijing's arrival is where Tai Chi Zero really sets itself apart from any other kung fu movie I've ever seen. It's not just that his English gentleman attire distinguishes him so sharply from the rest of the characters, it's the commentary on Western expansionism that he brings with him. Troy No. 1 stands as the incredible symbol to imperialism, and he as China's Judas. It's a corny premise, but it allows there to be this unforgettable setting in which Lu Chan and Yu Niang can wage battle against the loss of tradition and the juggernaut of progress.

Overall, Tai Chi Zero is the sort of thing that could have come off very badly, but manages to find itself firmly in the moment when the past is challenged by the future. The inherent flamboyance and unbelievable nature of steampunk itself manages to easily interweave with the superhuman abilities of the Chen practitioners. Whereas steampunk is generally all about style, it is interesting to watch that elegance become brutish against a more rural sensibility.

This shows the most when Lu Chan takes on a Troy No. 1 mechanic, a hulking, pale hairy man that looks especially inhuman and monstrous next to the lithe Yuan Xiaochao. It's not one of the great Big White Guy vs. Little Asia Guy cinematic battles. Certainly not the masterpiece that was Jet Li fighting Nathan Jones in Fearless, but as they batter each other through the engine room it just seems to sum up the entirety of the film.

Change does come, Lu Chan is proof of that. He as an outsider attempting to be accepted into Chen style is the avatar of self-determination and a symbol of changing times. Ultimately, the secluded village is forced to embrace him, as the will certainly be forced to progress with the rest of China in the wake of the Industrial Revolution. The question is on whose terms will the change be realized?

Tai Chi Zero is playing at Edwards Grand Palace and AMC Studio 30