Sister Street Fighter should be campy. With the constant horns in Kikuchi Shunsuke’s score, lead Shiomi Etsuko’s colorful outfit, villain Amatsu Bin doing an Elvis impersonation, the countless and intentionally weird martial arts villains… it ought to be campy. But it’s not, because somehow Sister Street Fighter manages to keep its melodrama sincere.
Lead Shiomi is a Hong Kong martial arts champion who goes to Japan to search for her missing brother. He too is a martial arts champion, but like many good martial arts champions, he’s also a secret drug agent. Shiomi isn’t just a concerned sister or martial arts champion, she’s got the assignment of finding him. It’s unclear if she regularly works as a secret agent or just this one time.
Shiomi’s a likable lead. Sister Street Fighter never goes out of its way to require anything like acting from its cast; likable’s about as high as you can get. Especially since Shiomi gets the more tedious half of the movie. The other half is all of Amatsu’s villainy, which gets pretty awful, or something with his goons. Even though the goons are sort of played for laughs and aren’t especially good at being eccentric martial arts villains, the film always takes them seriously. Somehow staying straightfaced through the absurdities does more for pacing than Shiomi’s dramatically inert search for her brother.
In Japan, Shiomi gets herself a bunch of friends and allies, including Sonny Chiba in an extended cameo. Chiba himself had a Street Fighter franchise, but playing a different character (with Shiomi appearing in the final entry, not as the same character as here). There’s no baton-passing to Shiomi, just the relatively effective too slight mentorship. Chiba’s a karate man, Shiomi’s a karate woman, they believe in the good karate schools. They’re pals and they’ve got the most star power in the picture.
Sadly, they barely get any time together.
Amatsu’s an okay villain. He’s an evil jackass, walking around with his sunglasses on all the time and his Elvis capes. Ishibashi Masashi is Amatsu’s overconfident henchman who can’t deal with Shiomi beating him up. Ishibashi’s all right too.
As for the eccentric villains, none of them stand out good or bad. Director Yamaguchi shoots all the fight scenes in long shot with very few cuts. It’s about seeing the fight progress. The fight choreography isn’t great, but what it does well, Yamaguchi knows how to showcase.
He also knows how to do the ultraviolence quite well. Sister Street Fighter is often bloodless, but only because they’re saving all the gore for the finale. It should’ve been peppered throughout, especially given Shiomi’s plot is so bland and it could use all the help.
Most of the film involves Shiomi at Amatsu’s estate, which is a mix of Bond villain, bikini bimbos, and dungeons. Lots and lots of dungeons, but with tech. Shiomi has to break in after the second or third time everyone thinks she’s dead. Sister Street Fighter is short but repetitive. Unfortunately it’s not to reinforce information gathering, but because the writers don’t have any other ideas. So why not just do this one thing again. And then again.
But the scenes with Shiomi on the estate take up a lot of runtime. It’s got a great pace. It doesn’t have the best direction in the film, but it definitely moves the best.
In the end, Sister Street Fighter doesn’t succeed, it just doesn’t fail. It’s like it isn’t even ambitious enough to fail.
Directed by Yamaguchi Kazuhiko; written by Kakefuda Masahiro and Suzuki Noribumi; director of photography, Nakajima Yoshio; edited by Tanaka Osamu; music by Kikuchi Shunsuke; production designer, Nakamura Shuichiro; produced by Takamura Kenji and Yoshimine Kineo; released by Toei Company.
Starring Etsuko Shiomi (Li Koryu), Emi Hayakawa (Emi), Sanae Ôhori (Shinobu Kojo), Xiu-Rong Xie (Fanshin), Hiroshi Kondô (Li Gyokudo), Tatsuya Nanjô (Jiro), Nami Tachibana (Reiko), Hiroshi Miyauchi (Li Mansei), Bin Amatsu (Shigetomi Kakuzaki), Masashi Ishibashi (Kazunao Inubashiri), and Sonny Chiba (Hibiki).