LOST IN RUSSIA (2020) review

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Lost in Russia, the latest installment in writer-producer-director-actor Xu Zheng’s franchise of box-office juggernauts (Lost in Thailand was for a while the highest-grossing Chinese title ever with 208 million dollars, with Lost in Hong Kong topping that impressive tally three years later with 254 million dollars) has known a drastically different fate upon its release. It was among the half-dozen high-profile Chinese New Year film releases cancelled due to the outbreak of the Coronavirus in China. Except while films like Dante Lam’s The Rescue, Chen Sicheng’s Detective Chinatown 3 or Stanley Tong’s Vanguard, among others, are for now biding their time, Lost in Russia was released online for free in the middle of the downcast festivities, as a result of a deal between the film’s studio Huanxi Media, and streaming giant ByteDance.

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SHANGHAI FORTRESS (2019) review

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Based on a 2009 novel by Jiang Nan, Teng Hua Tao’s Shanghai Fortress had been in the works for more than five years, and seemed to arrive at the perfect moment for a resounding success, being the first big-budget Chinese science-fiction film since the triumph of Frant Gwo’s The Wandering Earth. Instead, Teng’s film was released to a derisive reception from critics and the public, and quickly crashed at the box-office, grossing less than 3% of what Gwo’s film did at the beginning of the year. It is set in the year 2035: the great cities of the world are now powered by Xianteng, an super-energy alien material brought back to Earth by a Chinese spaceship. However, this has made our planet a target for a powerful alien race, dubbed “Annihilators” by those who fight them. Unleashing legions of deadly drones from a titanic mothership onto the major cities of the world, the Annihilators have reduced New York, Moscow, Tokyo and more to a pile of ashes; now, the last metropolis standing is Shanghai, where the leaders of 97 nations have culled their last remaining resources for the final fight. Trained and led by commander Lin (Shu Qi), the elite Grey Eagle Squad is being assigned to the AV-38, a new type of fighting jet; among them, the most promising is Jiang Yang (Lu Han), who’s secretly in love with Lin.

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LEGEND OF THE ANCIENT SWORD (2018) review

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It’s been a brutal year for Chinese fantasy on the big screen. Soi Cheang’s The Monkey King 3 underperformed compared to the previous installments in the franchise, Hasi Chaolu’s fantasy take on Genghis Khan went unnoticed despite a starry cast and Jean-Jacques Annaud’s artistic input, Zhang Peng’s Asura was retrieved from theaters a mere three days after opening to dismal box-office numbers, and now Renny Harlin’s Legend of the Ancient Sword has failed to even reach the 2 million-dollar mark, despite a prime launching date during Chinese national holidays. This puts extra pressure on Wuershan’s now-shooting fantasy trilogy Gods, a massive undertaking whose commercial potential isn’t being solidified at the moment.

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