Ip Man 2 (2010) - 6/10
After quickly going back to read my review for the first Ip Man film, I feel like I could honestly just copy and paste large portions of it. That’s not to say that Ip Man 2 is merely a retread of the first, but many of my gripes and disconnects carry over into the sequel. Again, many of these issues are probably cultural, but I will review it nonetheless.
As for Ip Man 2 specifically, I actually like the significant change in genre and direction because it felt quite unexpected. This may end up being a shorter review, but I’d rather be concise than redundant.
1. Acting
In comparison to the first film, I think the acting here is a bit stronger. Donnie Yen returns as the titular hero, bringing a quiet humor and restrained emotionality that feels poignant. Matching—if not exceeding—him is Sammo Hung as Master Hung. Pulling double duty as both stunt coordinator and actor, Hung not only nails the physical aspects of the role but also the emotional ones.
The rest of the cast is largely fine, though much of the disconnect here again comes down to differences in acting styles. Many scenes come off as soapy from a Western perspective, and that’s okay—it’s just not a style I personally connect with very deeply.
2. Cinematography
A slightly larger budget and a more focused story help elevate this film above its predecessor. The photography looks sharper, and the lighting makes the visuals more compelling. However, much like the first film, the action sequences feel somewhat hampered by their own design. The frequent cutting and frenetic camera movement could have benefited from more breathing room.
One thing I did note was a fairly claustrophobic approach to the action scenes in the third act. This seems intentional, as the close-up shots add extra stress and visceral intensity.
3. Production / Costume Design
There feels like a greater level of specificity in the production design this time around. With a more trimmed-down story, the filmmakers seem to have been able to dedicate more time and effort to the sets, and it shows. The boxing match set in particular stands out, offering a higher level of quality and identity than the series has achieved before.
4. Writing
Similar to the first film, I find much of the dialogue soapy and cheesy. Nevertheless, the streamlined narrative makes for a decent story. We meet Ip Man during a time of financial distress—a feeling gripping many of the colonized inhabitants of Hong Kong. As Ip rebuilds his martial arts school, he comes into conflict with the city’s various masters. After earning their acceptance, the story shifts toward an examination of Western colonialism and perceptions of martial arts. The primary antagonist ultimately becomes a hyperbolized embodiment of colonization that Ip must defeat.
It’s a mostly straightforward tale that resembles a Rocky-like structure. My main issue is that it feels like a two-part story. The first half focuses on Ip Man’s financial struggles and his contention with other martial arts schools. Then, around the midpoint, the film makes an abrupt 90-degree turn toward the colonialism angle. Master Hung serves as the main throughline between the two halves, but outside of that, there isn’t much cohesion. It’s not as if these two storylines couldn’t have been interwoven. With some restructuring—or additional scenes in the first half that pay off later—the film could have felt more unified.
As for the eventual finale, the shift from historical drama in the first film to an almost sports-movie boxing narrative here was a choice I definitely didn’t see coming. Much like the original, Ip Man becomes more of a mythological hero. His conflict with the boxing champion, who represents colonialism, is an unsubtle “good versus evil” showdown—reminiscent of Rocky IV and its Cold War allegory. It’s a compelling interpretation of the film’s context, though one that may not resonate as strongly outside certain regions.
Lastly, I didn’t take much issue with Ip’s plot armor in the first film. In fact, his near-superhuman ability to defeat any opponent—or group of opponents—worked well to establish his character. In this film, however, the fish market showdown, where he takes on around 50 people at once, feels much sillier. It seems like the filmmakers may have overshot how far they could push his abilities without losing the audience. This also contrasts sharply with the finale: if Ip can effortlessly dispatch dozens of attackers, why does he struggle so much against a single opponent with no martial arts background?
5. Sound Design
Competent, but nothing particularly noteworthy.
6. Editing
Not to beat a dead horse, but the rapid cutting in the action scenes has both strengths and weaknesses. It increases intensity, but the resulting visual chaos sometimes flirts with incoherence. The choreography is often impressive, and I can’t help but wonder if fewer cuts would have allowed it to shine more. The fish market fight, in particular, features some of the most excessive cutting, often jumping from one punch to the next.
Additionally, the abrupt shift in story direction around the midpoint could have been smoothed out in the editing process. More effort could have been made to better blend the two halves of the narrative.
As a random note: this may have been specific to my version, but there was a particularly odd and jarring cut after the press conference in the third act.
7. Visual Effects
The Ip Man series doesn’t always aim for realism. Physics-defying moves are common, and the VFX team generally does a solid job of integrating them in a way that looks convincing.
8. Originality or Strength of Adaptation
Whether intentional or not, the film borrows heavily from mythological sports narratives like Rocky IV. As a result, Ip Man 2 can feel a bit too familiar and predictable.
9. Stunt Coordination
This is where the film truly shines. The fight choreography is entertaining and blends multiple styles in compelling ways. While I’m not especially fond of the fish market sequence, there are several standout moments, including Ip’s trial at the club meeting and the boxing-inspired fights in the third act. The final clash is particularly effective, as the contrasting styles of Ip and Miller give the fight a distinct identity and make it feel fresher than previous entries.
10. Direction
Wilson Yip returns to the director’s chair for this installment. While the story is reasonably compelling, I can’t say the film unfolds in a way that makes it feel like a truly worthy sequel. Both Yip and returning writer Edmond Wong seem content to tread water rather than expand the series in meaningful ways. This may partially stem from Wong’s original intention to explore Ip Man’s relationship with Bruce Lee—an idea that was ultimately scrapped due to negotiations with Lee’s estate, resulting in only a cameo appearance at the film’s conclusion.
Legacy / Final Thoughts
Ip Man 2 feels more like an installment than a proper sequel. Many events from the first film are largely ignored, and the character progression amounts to more of the same. The themes are serviceable, and the mythological elements can be entertaining, but ultimately I don’t think the film will resonate as strongly with Western audiences as it does in the East. I remain impressed by the physicality on display, but emotionally, I still can’t fully connect. Perhaps that will change as the series continues.
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