“This is Jack Burton in the Pork-Chop Express, and I’m talkin’ to whoever’s listenin’ out there…”
Sometimes a movie doesn’t just entertain — it rewires your sense of what genre movies could be. Big Trouble in Little China (1986), directed by John Carpenter, is one of those films. It’s a glorious genre smoothie, mixing kung fu, supernatural horror, comedy, and action with zero concern for logic and 100% commitment to style, attitude, and fun.
Flopping hard on release but now considered one of the crown jewels in Carpenter’s filmography, Big Trouble in Little China stands as a testament to creative freedom, fearless genre-blending, and the magic that can happen when a filmmaker and his muse — in this case, Kurt Russell — are firing on all cylinders.
The Great Jack Burton: Anti-Hero, Sidekick, or Both?
Jack Burton (Kurt Russell) is many things — a truck driver, a braggart, a man in over his head, and, hilariously, perhaps the least effective “hero” in a movie full of mysticism, martial arts, and ancient evil. What makes Jack so endlessly watchable is that he talks a big game — full of gruff, macho one-liners and pseudo-philosophical ramblings — but he spends a good portion of the movie fumbling, confused, or knocked out cold.
And yet… we love him.
Russell, channeling a mix of John Wayne and Clint Eastwood with a healthy dash of Bugs Bunny, delivers one of the most effortlessly charismatic performances of the ’80s. Jack Burton isn’t the hero we need — hell, he’s not even the one we asked for — but he’s the loud-mouthed cowboy who somehow survives it all, armed with boots, bravado, and an overinflated ego.
David Lo Pan: Villainy on an Operatic Scale
Every great hero needs a great villain, and Big Trouble delivers in the form of the ancient sorcerer David Lo Pan, played by the incomparable James Hong. Lo Pan is equal parts terrifying and hilarious — a cursed ghost, cursed to live without a flesh-and-blood body, until he can marry and sacrifice a woman with green eyes to break the spell.
Lo Pan is ancient Chinese mythology wrapped in neon lighting, and Hong devours every scene he’s in. He’s theatrical, sinister, and weirdly sympathetic in his immortality-induced frustration. This is not a one-note villain — he’s a legend reborn, and Carpenter gives him the cinematic stage he deserves.
The Delectable Kim Cattrall as Gracie Law
Before she became a household name with Sex and the City, Kim Cattrall was making waves as Gracie Law, a fast-talking, self-assured lawyer who’s as entangled in the supernatural underworld of Chinatown as anyone. Cattrall brings energy, sharp wit, and undeniable screen presence to the role — part screwball comedy lead, part damsel with a dagger, and all-around scene-stealer.
Her chemistry with Kurt Russell is electric — they bicker like an old married couple, flirt with sideways glances, and never fully “fall in love” in the traditional Hollywood sense. That’s another strength of Big Trouble — it subverts tropes while still playing in the same sandbox.
A Genre-Free-for-All
You can’t pin Big Trouble in Little China down. One minute it’s a kung fu epic. The next, it’s a supernatural ghost story. Then it veers into slapstick comedy or action-adventure. There’s martial arts, magic, monster fights, and ancient curses. Carpenter mashes up influences from Chinese folklore, Shaw Brothers cinema, pulp serials, and American action movies, and somehow — it works.
This genre chaos is part of its charm. It doesn’t slow down to explain the rules of the world it’s building. It just throws you into it — a sewer-dwelling monster here, a floating eyeball spirit there — and expects you to keep up. The disorientation is deliberate, echoing Jack Burton’s own confusion. If he doesn’t understand what’s going on, why should you?
The Action: Lo-Fi Magic with Hi-Fi Energy
While it’s not packed with wall-to-wall explosions or massive set pieces, Big Trouble‘s action is clever, energetic, and surprisingly inventive. The fight scenes, choreographed with clear homage to Hong Kong cinema, blend humor and choreography with Carpenter’s signature editing rhythm.
There’s something honest about the film’s special effects. Created during the twilight of the practical FX era, they possess that rubber-and-smoke charm modern CGI can’t replicate. The lightning-wielding sorcerers known as The Three Stormsfeel like bosses from an ’80s arcade game — complete with giant hats, flowing robes, and deadly powers. They’re not subtle, but they’re unforgettable.
The Soundtrack: Carpenter’s Synth Swagger
John Carpenter’s synth work is legendary, and Big Trouble might feature one of his most underappreciated scores. Co-written with Alan Howarth, the soundtrack is propulsive, funky, and wholly unique. It doesn’t feel like traditional Chinese music, nor does it resemble the suspense-driven scores of Halloween or The Fog. Instead, it exists in its own tonal universe — part rock concert, part arcade game, part fever dream.
And don’t forget the movie’s end credits song, performed by The Coupe De Villes, a rock band composed of Carpenter, Nick Castle, and Tommy Lee Wallace. It’s the kind of ridiculous, glorious final touch that defines Big Trouble in Little China.
Subverting the Hero’s Journey
On the surface, Big Trouble follows the classic hero’s journey structure — outsider stumbles into hidden world, teams up with allies, fights evil, saves the day. But Carpenter takes that mold and twists it. Jack isn’t the chosen one. In fact, he’s not even that useful in most fights. It’s Wang Chi (Dennis Dun), Jack’s friend, who performs the most impressive martial arts, drives the emotional arc, and lands the final blow. Jack is just along for the ride — and he doesn’t even get the girl in the end.
This inversion is deliberate. Carpenter has always been a contrarian, a filmmaker who enjoys undermining expectations. In Jack Burton, he gives us a character who thinks he’s Indiana Jones, but is really more like Indiana’s loud, sweaty cousin who talks too much and misses the big picture. And yet, we root for him.
The Supporting Cast: Packed with Gold
From Victor Wong’s Egg Shen — part bus driver, part wizard — to the aforementioned Wang Chi, the supporting cast brings gravitas and charisma to the chaos. These aren’t just side characters; they are deeply embedded in the story’s emotional core and mythological stakes.
Victor Wong, in particular, is a treasure. His Egg Shen is mysterious, cryptic, and deeply fun to watch. The quiet war between him and Lo Pan is one of wisdom versus power, and it plays out in spells, flying swords, and literal light shows.
Legacy: From Flop to Favorite
It’s hard to believe now, but Big Trouble in Little China was a box office disappointment. Released just two weeks before Aliens in the summer of 1986, it was buried. Critics didn’t know what to make of it. Audiences were confused. Carpenter, frustrated by studio interference and the lack of support, would retreat from studio filmmaking soon after.
But Big Trouble had the last laugh. Through VHS, midnight screenings, and cable reruns, it grew a devoted cult following. Today, it’s not just a beloved oddity — it’s a touchstone. Filmmakers like the Daniels (Everything Everywhere All at Once) and James Gunn have cited it as a key influence. Its fingerprints are everywhere — in movies, games, comics, and memes.
And in Jack Burton, we got a hero for the rest of us. The guy who never really knew what was going on, but jumped in anyway.
Final Thoughts: A Love Letter to Chaos
Big Trouble in Little China is the cinematic equivalent of a garage band with too many influences — but somehow, it rocks. It’s messy, ridiculous, often nonsensical — and completely unforgettable. It’s what happens when a brilliant director is given a big toy box and just plays his heart out.
In an era of overly polished blockbusters and formulaic reboots, watching Big Trouble feels like a breath of weird, neon-tinged air. It’s not perfect. It’s not trying to be. It just wants to entertain you — and maybe make you laugh along the way.
And really, isn’t that what Jack Burton would do?
🔗 Further Viewing: John Carpenter Essentials
💀 Halloween (1978)
The classic that started it all.
👉 Explore the horror of Halloween
🧊 The Thing (1982)
A masterclass in tension, paranoia, and practical effects. Carpenter’s sci-fi horror masterpiece remains unmatched in atmosphere and execution.
👉 Read our breakdown of The Thing
👓 They Live (1988)
Before The Matrix, there was this sunglasses-wielding, capitalist-smashing cult classic. Roddy Piper sees the truth — and it isn’t pretty.
👉 Check out our full feature on They Live
🚛 Big Trouble in Little China (1986)
Jack Burton drives straight into supernatural chaos in this kung-fu western fantasy. It’s wild, weird, and all in the reflexes.
👉 Revisit Big Trouble in Little China
🚀 Escape from New York (1981)
Snake Plissken sneers, fights, and grumbles his way through dystopian Manhattan in one of the coolest genre mashups of the ’80s.
👉 Our full review of Escape from New York
💔 Starman (1984)
Proof that Carpenter could do more than horror. A heartfelt road movie with a cosmic twist and an unforgettable synth score.
👉 Dive into Starman with us
🚬 Christine (1983)
High school. First love. Murderous muscle cars. Carpenter’s adaptation of King’s novel mixes chrome and carnage.
👉 Read our full take on Christine
💀 Prince of Darkness (1987)
A sinister blend of science, religion, and apocalypse — and one of Carpenter’s most underrated creepers.
👉 Explore the depths of Prince of Darkness
🧛 John Carpenter’s Vampires (1998)
Western grit meets bloodsucking evil. It’s dusty, gory, and one of his last real flashes of style.
👉 Ride into Vampires with us
🌫️ The Fog (1980)
Ghosts, guilt, and a killer radio DJ. Carpenter’s seaside nightmare is all about mood and mist.
👉 Step into The Fog
🎥 Elvis (1979)
Kurt Russell channels the King in this surprisingly emotional biopic. Carpenter’s first team-up with his future muse.
👉 Read our look at Elvis
📡 Someone’s Watching Me! (1978)
A proto-feminist thriller from the master of suspense. Not quite Hitchcock, but there’s charm and early promise.
👉 Our full thoughts on Someone’s Watching Me!
🚀 Dark Side Picks & Misfires
📺 Memoirs of an Invisible Man (1992) – Cheesy and disjointed
🔥 Ghosts of Mars (2001) – Needed Kurt Russell to save the day
🩸 Cigarette Burns (2005) – Meta-horror gone murky
🚨 Pro-Life (2006) – Heavy-handed and unbalanced
🧠 In the Mouth of Madness (1994) – Brilliant in theory, muddled in practice
👻 The Ward (2010) – Stylish but hollow
☎️ Phone Stalker (2023) – When even Carpenter can’t scare us
Final Score: 10/10
A kung-fu fantasy comedy that could only exist in the glorious chaos of the 1980s. All hail Jack Burton, Lo Pan, and the greatest B-movie ever made.
