It won't let me post this anywhere sans mobile phone number so I'm posting it here...I love the music from this movie. The song that was sung in the brothel was called 'zai zai'. It's an ensemble song and the lead singer from the song is Yan Jixuan. Contributing are I believe Pan Shuai, Liu Aotian, Liu Shengtian and Feng Xu. Copyright belonging to Beijing Jingwen Record Co. The ending credits song is called 'eaten yet' and is sung by Wang Xiadou. Both through CMCB. Both arranged by Wang Yuanzhao.Sorry for posting this here in the review section, but it is a review of the music. For anyone who loved the music as much as I did and is seeking the ost, I hope this helps!

Well it has been a really long time since i really felt the urge so strong from inside to actually write a review for a movie. but after viewing this last night i must say i am so excited that i want to share my verdict of this movie with you guys!well it is a venture of Fox international with a Chinese studio and i must say despite the commercial aspect of the movie overall i liked the movie & perhaps i may again watch it very soon just to enjoy some really entertaining dark humor moments in any Chinese movies so far i have seen.Well i won't go very far with the plot which every one has read so far on the info page of IMDb but what i want to direct your attention towards is the screenplay narrated is very fluent & keeps the attention & pace intact. once i started with the movie i didn't stopped.the storyline is mix of humor, sadness, love & above all the Chinese philosophy of wisdom. which not only entertains you but also educates you about how greed & vengeance can be reason of your own pain & demise.the performance of characters are OK due to the restrictions of the plot as the story is based on Chinese folklore so it doesn't give enough description of characters except their motives so not a really easy job to perform when story itself doesn't provide much about the a character's psychological state except following the mood of the storyline. but even after this The Butcher (Liu Xiaoye) was the main center pillar of the movie who along with his beggar friend every now & then made me laugh even in the serious situations by his silly demeanor or dialogues. and also every now & then appears many enjoyable dark humor moments which made this movie so enjoyable. The plot is really tight & ending is concluded very smartly. every character has played their parts perfectly.i also would like to add that at the beginning i was not getting the feel of this movie but after 10-14 minutes i started enjoying the movie.. please don't expect any hardcore action stuff from this movie because it is not about the action alone it has a hidden meaning who will force you to think..!! a very out of league Chinese cinema which i have never imagined existed!! certainly a decent effort from director Wuershan. MY RATING 8/10SIMPLY BECAUSE IT IS DIFFERENT & FUNNY!!

Form over content film about what happens when the title characters all gain possession of a magical blade that was forged from several other legendary blades and their destinies are all intertwined.Your tolerance for this film will depend upon how you take form over content---and whether you can take a film that looks like an 30 second commercial expanded to 90 minutes. Its all clever images and rapid cutting.I lost patience very fast and had I not been watching this on DVD where fast forward is a possibility I would have walked out. Don't get me wrong it looks great, but outside of the look there didn't seem to be very much here.Your mileage will vary.

The first few minutes of THE BUTCHER, THE CHEF AND THE SWORDSMAN gave me pause: the hip-hop-rock scoring, the one- and two-second cutting rhythms, the alternating between color, black & white, and artificially colored black and white, the use of kooky on-screen graphics. Everything just screamed that this would be a 90 minute assault on the senses from a director who probably had a lot of experience with music videos. And that's basically what it is, but where Hong Kong director Andrew Lau tried this fast-cutting bullshiht with THE RETURN OF CHEN ZHEN, more or less ruining a story and trivializing characters that didn't deserve it, Wuershan's THE BUTCHER, THE CHEF AND THE SWORDSMAN is a gonzo story stocked to capacity with a grimy grotesquerie of characters that all but demand an addled directorial style to give them life.Expanded from a fiction piece from a magazine (according to the director), the movie is a story within a story within another story in which three cursed owners of a near-mythical blade (forged from a ball of iron originally melted down from the weapons of many powerful swordsman) relate in flashback the stories of the how they came to possess the knife. Reaching the third tale, the film then boomerangs back through the climaxes of each story to bring us back to the present. Sounds a bit like INCEPTION, right? Only with flashbacks instead of dreams. The two films were shot independently of one another, making the similarity in structure a pure coincidence.Everything but the kitchen sink is in here: a brothel madam and her charges berate "The Butcher" with a catchy modern-style hip-hop rap number (so yes, this is partly a musical!); crudely but cleverly animated children's sketches illustrate "The Chef's" flashing back to his father being killed by a corpulent eunuch for not satisfying his finicky culinary demands. Duped by his beloved, "The Butcher" skirmishes with her true beau in a Streetfighter-like video game scenario, complete with life-meters and flashing scores. This is truly unlike any other film made in mainland China to date, and while I wouldn't want to see an abundance of punked-out period pieces like this from the country, it is a long-overdue antidote to the seemingly inexhaustible supply of self-important, tiresomely nationalistic, cast-of-millions costumers that have flowed out of the country for nearly a decade now. This is like a breath of fresh air, even if much of it was previously exhaled by the likes of Takashi Miike in Japan. The fact remains, nobody was doing anything this over-the-top in China, and one wonders if this picture won't mark a turning point away from action pictures that do nothing but thump their celluloid chests. Executive produced by BOURNE IDENTITY director Doug Liman, though I suspect he attached his name after the project was in the can, as the version screened at TIFF also had the full 20th Century Fox (Asia) logo attached.