A WRITER’S ODYSSEY (2021) review

The third most successful film of Chinese New Year 2021, albeit a wide margin behind the first two, Lu Yang’s A Writer’s Odyssey (also known as Assassins in Red) follows Guan Ning (Lei Jiayin) a shell of a man desperately looking for his daughter, who was kidnapped six years before. One day, he’s approached by Tu Ling (Yang Mi), the mysterious right-hand woman of tech magnate Li Mu (Yu Hewei). Tu knows everything about Guan: not only his life’s tragedy, but also his almost paranormal abilities – to throw very precisely at impossible angles, to not feel pain… She tells him she has found the trace of his now teenage daughter, and can help him be reunited with her, if and only if he assassinates Lu Kongwen (Dong Zijian), the author of Godslayer, a fantasy novel being serialized on the net, and whose plot turns seem to have a direct effect on Li Mu’s health. In parallel, we follow the adventures of Kongwen (also Dong Zijian), Godslayer’s lead character, as he journeys through the war-torn kingdom of Ranliang to avenge his sister (a too briefly-seen Tong Liya) by killing the land’s evil despot Lord Redmane, protected by an army of red-armored assassins.

(more…)

Advertisement

THE WHISTLEBLOWER (2019) review

p2572746113

After finding success in intimate dramas (Ocean Heaven) and romantic comedies (Finding Mr Right, Book of Love), director Xue Xiaolu tries her hand at the thriller with The Whistleblower, a Chinese-Australian co-production. It follows Ma Ke (Lei Jiayin), a Chinese expatriate working for an energy company in Melbourne that is on the verge of closing a lucrative deal with a Chinese conglomerate. Working for that conglomerate, and married to its CEO, is Zhou Siliang, Ma’s old flame. During a luxurious celebration of the upcoming deal, they briefly rekindle their romance even though they are both married – he happily to Judy (Qi Xi) and her on the verge of divorce. Soon after, Zhou Siliang is declared dead in a plane crash with several members of her team, only to reappear days later, reaching out to him: she knows too much about her husband’s illegal dealings and is on the run from him: furthermore, a recent earthquake near the company’s mines in Africa may not be what what it seems…

(more…)

CRAZY ALIEN (2019) short review

p2541901817

Ning Hao’s Crazy Alien caps off his ‘Crazy’ trilogy of Huang Bo-led dark comedies (after Crazy Stone and Crazy Racer) with a box-office bang. After The Wandering Earth, it was the second most successful release of Chinese New Year 2019, and like that blockbuster, it is based – albeit loosely – on a novella by Liu Cixin, A Village Teacher (Ning Hao also cameos in The Wandering Earth, while Lei Jiayin cameos in both). It follows down-on-his-luck monkey trainer Geng Hao (Huang Bo), whose small circus will soon have to close if he doesn’t prove its commercial viability to the manager of the amusement park that houses it. One day, after an aborted inter-species exchange in outer-space, an alien comes crashing into Geng’s circus. Believing him to be a rare monkey, Geng decides to train it, while his friend Da Fei (Shen Teng) tries to convince him to sell it. Meanwhile, the American government (re-named Amanikan government) is sending its special forces to track down the alien. Beyond the A-list but oddly chemistry-free pairing of Huang Bo and Shen Teng, and the passable CGI rendering of the alien creature, it’s difficult to understand the success of Crazy Alien. It’s consistently mean-spirited, but never in a good way: the darkness of its comedy entails mostly caricaturing Americans and their government – as if their perceived arrogance wasn’t mirrored in China – and more uncomfortably, the ill-treatment of animals. It’s not just the alien that’s mistreated by the leads, but also the trained monkey: while it never gets too grievous, it’s still impressively unfunny, and coupled with a video that surfaced of a dog being abused on set, it leaves a bitter aftertaste. There’s also amusing but tired references to Steven Spielberg’s E.T, and to the Monkey King. But with no trace of humanity, no perceivable depth, and a dull stop-and-go pace, Crazy Alien is an oddly inert film. **

HOW LONG WILL I LOVE U (2018) review

170813.44734414_1000X1000

Gu Xiaojiao (Tong Liya), a broke thirty-something luxury sales assistant, wakes up one morning next to a complete stranger, Lu Ming (Lei Jiayin), an equally broke real estate salesman. The thing is, they’ve both been living in the same flat, but she occupies it in 2018, and he occupied it in 1999. And through a freak space-time disruption, the flat has become a crossroads between both years: the entrance door now has a handle on the left and a handle on the right: if they open one they’re in 1999, and if they open the other they’re in 2018. After some initial hostility and adjustments, Xiaojiao and Ming decide to use this anomaly to their advantage.

(more…)

BROTHERHOOD OF BLADES II: THE INFERNAL BATTLEFIELD (2017) review

100412.51221273_1000X1000

Lu Yang’s Brotherhood of Blades was one of 2014’s best surprises, a tightly-scripted, hard-hitting little wu xia pian made on a relatively small budget, and whose muted box-office was compensated by an almost unanimously positive critical response, and a following that has grown in the three years since its release. Now, director Lu Yang is back with a bigger budget, for a prequel – which will be followed by a sequel, following the Infernal Affairs trilogy template – focusing on Chang Chen’s character (with Wang Qianyuan and Ethan Li noticeably absent), and which he again-co-wrote with Chen Shu, while none other than Ning Hao stepped in as a producer.

(more…)