@Zed, sort of. Barring the obvious time period differences, and minus the comedy bits (golly, Stephen Chow’s brilliant with the comedy bits), Kungfu Hustle is very, very wuxia, especially at the part when various unseemly villagers reveal themselves to be martial arts masters. It’s a very popular element in wuxia stories to have plain-seeming, usually humble figures turn out as ex-martial arts masters who tired of jianghu life. There were so many trademark wuxia elements in that movie, like the unwilling hero, the unknowingly learning of awesome techniques, the gaudy tiny-group-versus-a-million fight scenes, the shifu (master/instructor) who’s harsh but ultimately meaning for the best, the learning of a Secret Technique to defeat the ultimate Powerful Enemy, and the forgiveness at the end. While none of them are exclusive to the wuxia genre, they are often trademarks.
And, well, textwall ahead: 
None of this is really important, but in case some of you are interested in Journey vs. wuxia.
Journey to the West was a more spiritual work, which is most easily seen from the characterization of Tang Seng and his disciples (well, that, and the entire point of the plot was to obtain scriptures from the titular West). Tang Seng is often hated on as a merit-less man-- he is too gullible (often times his gullibility leads the group into trouble), he is not a skilled a fighter, and he is “useless” as a character in a work with a lot of fighting action. He trusts the kindness of strangers over Wukong, his most faithful (and powerful) disciple, which often leads Wukong to abandoning the group and going back to his mountain and monkey pals. In the eyes of Wuking, the journey itself is kind of a meaningless thing-- he could make the entire journey himself in the blink of an eye, but is instead tasked with accompanying a “useless” man who never actually uses Wukong to the full extent of his abilities. There is only one external conflict throughout-- various demons and monsters want to eat Tang Seng to obtain immortality, and that’s it. The entire story is, if you take out all of the fighting and all of the demons, about the conflict between a man who only has faith and his disciple who only lacks faith (Many early chapters were spent detailing Wukong’s many exploits in all but literally defecating holy things in heaven and mocking spirituality and faith. He’s a pretty wild dude). Faith wins out in the end, the group makes it to the West okay, and everyone is immortalized. It’s /that/ kind of story.
Wuxia stories are generally more political. For one, they are more “realistic,” and the truth was that in China’s feudal ages everything was very political. Essentially the entire country was the personal property of the Emperor. One way or another, the Emperor or at least some of his workers are essential parts of the stories, usually as An Enemy, and the protagonist is usually actively avoiding (or forced to join) the government. There are usually at least half a ton different factions all vying for power, and the protagonist is caught (and has to choose) between them. Lots of morality/loyalty decisions. The protagonist has a certain skill he (let’s be honest here, 90% of wuxia stories have male protagonists. I don’t intend to follow this trend.) capitalizes on, usually his fighting skills or wit, although witty protagonists usually do end up unwittingly learning some long-lost, incredibly powerful techniques. With these skills, he’s forced to choose between various different concepts, like loyalty (to the country, to family, to friends, to people who have helped you before, etc. These usually do end up conflicting), fame, power, and leaving a good impression behind after you die. In the end, it’s a story about people, and the decisions they make.
