Writer-producer-director Tsui Hark’s sprawling vision of a changing nineteenth-century China begins with this riotously entertaining epic, a blockbuster hit that cemented Jet Li’s status as the greatest martial-arts superstar of his generation. Li displays his stunning, fast-and-fluid fighting style as the legendary martial-arts teacher and doctor Wong Fei-hung, who, with a band of disciples, battles a host of nefarious forces—foreign and local—who are threatening Chinese sovereignty as British and American imperialists encroach upon the Mainland. Once Upon a Time in China’s breathtaking blend of kung fu, comedy, romance, and melodrama climaxes in a whirlwind guns-vs.-fists finale that is also a thrilling affirmation of Chinese cultural identity.

Having chronicled the social upheaval wrought by Western influence in the opening chapter of the Once Upon a Time in China series, Tsui Hark turned his attention to the perils of unchecked nationalism in his sensational follow-up, the rare sequel to equal the dizzying highs of its predecessor. Jet Li returns to the role of Wong Fei-hung, who here takes on the diabolical White Lotus Sect, a virulently xenophobic cult whose antiforeigner sentiments unleash a wave of destructive violence. Fellow martial-arts icon Donnie Yen dazzles in a star-making turn as Wong’s nemesis, who faces off with the hero in a battle royal that showcases the kinetic brilliance of revered Hong Kong action choreographer Yuen Wo-ping.

Jet Li’s third outing as the storied martial-arts hero Wong Fei-hung is an exhilarating celebration of Chinese culture peppered with a dash of international espionage. This time around, Wong travels to Beijing, where he finds himself drawn into the intrigue surrounding an epic lion-dance competition, spars with a Russian rival for the affections of his beloved Thirteenth Aunt (Rosamund Kwan), and fights to foil a foreign plot to assassinate the real-life Chinese diplomat Li Hongzhang. The eye-popping lion-dance set pieces—which combine vibrantly colored, fire-breathing pageantry with martial-arts mayhem—rank among the most visually spectacular achievements of the Once Upon a Time in China series.

Though it picks up the narrative thread where the previous installment left off, Once Upon a Time in China IV introduces a new director, action choreographer Yuen Bun, and star, Vincent Zhao, who takes over the role of Wong Fei-hung from Jet Li. Once again, foreign skulduggery and a violent nationalist group—this time in the form of the fierce women warriors known as the Red Lantern Sect—swirl around a magnificent lion-dance competition, with Wong caught in the fray. Toning down the comedic and romantic elements of the first three films in favor of almost wall-to-wall kung-fu action, the fourth entry is the leanest and meanest of the series, highlighted by a gravity-defying fight atop a field of collapsing, domino-like planks.

Tsui Hark returned to the director’s chair for the rollicking comedic adventure Once Upon a Time in China V, in which the indomitable hero Wong Fei-hung (Vincent Zhao) tangles with a band of ruthless, finger-removing pirates who are exploiting the political chaos created by the invasion of foreigners in order to terrorize the Chinese coast. The fist-and-foot kung-fu set pieces—including a showstopping, gold-hued melee set in a warehouse full of pirate treasure—are plentiful, but Tsui ups the ante by introducing acrobatic gunplay to the proceedings, infusing this furiously entertaining crowd-pleaser with a bracing jolt of John Woo–style bullet-ballet mayhem.