DESIRE GAME (2019) review

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Ambitiously, Guo Tao has made science-fiction the genre of his directing debut, Desire Game. In it, he plays Guo Shi, the brilliant creator of the Butterfly, a still-in-development, revolutionary virtual reality system. But when his daughter falls to her death while entranced in the immersive effect of the Butterfly, he withdraws from public life and scientific research, becoming estranged from his wife (Mei Ting) and leaving his partner (Fan Wei) in charge of their company. One day, a young woman (Gai Yuexi) whose car broke down takes shelter at his villa; she then seduces him, only to be found dead in his car a few hours later. Guo Shi understands he’s being framed for murder, and can only rely on the help of his former disciple (Jiang Chao) and a homeless girl (Zhang Zifeng).

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THE BIG SHOT (2019) review

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After headlining the 2017 Chinese remake of the 2014 Korean thriller A Hard Day, and before headlining the 2019 Chinese remake of the 2013 Korean thriller Montage, Wang Qianyuan headlines the 2019 Chinese remake of the 2015 Korean thriller Veteran. And so we follow Sun Dasheng (Wang), a headstrong cop who despite – or because of – unconventional methods and a loose relationship to hierarchy, gets the job done and has acquired a reputation as a star detective, along with his team (including Wang Yanhui and Qu Jingjing). Under pressure from his wife (Mei Ting) to enter a lottery for housing in a school-friendly area for their son, Sun is introduced by a friend to Zhao Tai (Bao Bei’er), a property developer, heir to the powerful Zhao Shi conglomerate. Brutal, arrogant and entitled to the point of psychosis, Zhao thinks himself above the law, objectifying and humiliating everyone around him with no fear of repercussion. But when a friend of Sun’s, who went to Zhao to complain about having his home destroyed by his company with no compensation, is is left in a coma by an apparent suicide attempt, Sun Dasheng decides to get to the bottom of things, in the process starting a war with Zhao Tai.

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THE HOUSE THAT NEVER DIES II (2017) review

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Three years after Raymond Yip’s The House that never dies became the highest-grossing Chinese horror film, comes this Gordon Chan-produced sequel, featuring a different cast and a new set of characters, but still taking place at N°81 Chanoei in Beijing, a famous mansion believed to be haunted. This time, engineer Song Teng (Julian Cheung) is working on restoring the old mansion, while neglecting his wife He (Mei Ting), a doctor. The couple has grown estranged following the stillbirth of their child five years before, and Song’s apparent reciprocal fondness for his assistant (Gillian Chung) isn’t helping matters. In an attempt to solidify their marriage, He moves in with her husband in the old house, but soon she is plagued by visions and nightmares, that appear to be memories of a past life: at the beginning of the 20th century, a general (Julian Cheung) who lived in this mansion had to marry the daughter (Gillian Chung) of a warlord, to solidify an alliance and to ensure he would have an heir, after his first wife (Mei Ting) failed to beget him one. But the general’s affections were still for his first wife, and his new bride proved barren as well. And deadly jealous.

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