CRAZY ALIEN (2019) short review

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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. **

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HOW LONG WILL I LOVE U (2018) review

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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.

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

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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.

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