The most important and entertaining star of east Asian cinema, Jackie Chan survived a boyhood in a punishing Peking Opera school, and his early screen days as “the next Bruce Lee” to create his own genre of martial-arts comedies. In each, he blended his engaging personality with beautifully choreographed, literally death-defying stunts —which, famously, Jackie performed himself. In his 1978 breakthrough, Yuen Wo-ping’s Drunken Master, Chan played the real-life kung-fu hero Wong Fei-hung as an impish young man in need of a sifu (teacher) who could purify his technique and his spirit. In the sequel, 16 years later, Jackie is still a young Fei-hung (Anita Mui, eight years his junior, played his mother!), now up against malicious generals, spies and a hundred bad guys with superhuman fighting skills. The greatest of these is Ken Lo (Chan’s offscreen bodyguard), whose battle over hot coals is an exhibition of flying arms and feet that leaves the two actors exhausted and the viewer’s jaw on the floor. Jackie starred in, and directed, many wonderful action films in his pre-Hollywood days. This one can stand at the peak.
This was the closing-night attraction at the 1982 Cannes Film Festival, a venue not known for blubbering sentiment. At the end, as the little critter bade his farewells and the Jules Verne-like space ship left the ground, the audience similarly levitated. One heard the audience’s childlike applause; one felt their spirits lift. This was rapture made audible, palpable. And when E.T. played in commercial theaters, the effect was repeated around the world. Screenwriter Melissa Mathison lent a fairy-tale clarity to the director’s standard plot of a lost boy seeking his way back home. And Spielberg orchestrated the movements of the camera and the puppet spaceman with the feelings of—it has to be called love—expressed in young Henry Thomas’ yearning face. E.T. was the first film character to be a finalist in TIME’s Man of the Year sweepstakes. It would have been fine with me if the little creature, this lovely film, had won.
The Foo Fighters captured five Grammys and Adele won four, including the song of the year trophy for “Rolling in the Deep,” at a Grammy ceremony that had the difficult task of celebrating music’s best while mourning the loss of one of their greatest, Whitney Houston.
From Nicki Minaj’s Red Riding Hood getup to Katy Perry’s head-to-toe blue ensemble, TIME rounds up some of the best (and worst!) sartorial choices at the annual music awards show.