THE BUTCHER’S BLADE is a martial arts flick from China that is set in ancient times – before guns. That makes the numerous fight scenes heavy on swordplay (No surprise. Blade is right there in the title), with a few novelty weapons for variety. The plot centers on Buyi (Fengchao Liu), an honest, but timid constable, who’s been cowed from using his considerable skills in the face of rampant oppression and corruption among the rich and powerful – including officials of the law above his rank. Why arrest those who will quickly buy their way out of consequences, and resume their evil deeds without skipping a beat?
When he’s framed for a major theft by his sleazy bosses and about to be executed, his former mentor intervenes and sends him and his old colleague, Li Zhen (Fufu Yuan), off to catch the real thieves and recover the large cache of silver they’d swiped. That would be the only way to prove his innocence to those higher in the ranks.
The plot is something of a bummer, as corruption is so pervasive at all levels of the culture. Local landowners gouge and physically abuse the poor, while co-opted authorities are paid to turn a blind eye. Buyi’s integrity has kept him at the lowest level of the constabulary, and just about as lonely as Jesse White’s Maytag repairman in those old TV commercials. By declining all the opportunities for graft, he’s made himself something of a pariah, and definitely not the honchos’ idea of a “team player”. This frame-up and reunion with Zhen give him the chance to grow a pair, and start nailing the bad guys, some of whom had bullied him before; others who were part of the frame-up. The two work their way up the food chain of responsibility for the robbery. But all the good guys may not be as good as they seem, giving the plot more twists.
All of that is fairly par for these courses. One watches such films mainly for the fight scenes, which are plentiful and expertly choreographed. One-on-ones and hero vs. hordes are generously presented throughout. The clashes are mostly gritty and realistic in scale, with only moderate amounts of wire work. No soaring to the rooftops; just longer hang-times in many of the moves. There are several displays of stunning acrobatics, and even a showy bit of parkour in one chase.
Those looking for plot and character development can do better elsewhere. Genre fans who groove on the action will be highly satisfied with the amount and quality of what they’ll find here. And stick around for the credits, which are accompanied by numerous clips of the fight choreography and practices.
THE BUTCHER’S BLADE, mostly in Mandarin with English subtitles, debuts on digital formats as of May 12, 2026 from Well Go USA.
As we reach the end of the big Summer cinema season of 2025, feature animation fans have had a variety of entries to savor. Though the biggest hits have been the “live action” adaptations of HOW TO TRAIN YOUR DRAGON and LILO & STITCH, mind you, the filmmakers utilized realistic computer techniques to render the latter’s title co-star and the winged beasties of the former, there have been a few fully “created from pencil and computer” flicks. Near the start of the year, we saw a hit family film based on the DOG MAN book series, while in the last few weeks, we’ve been treated to another visit from the SMURFS and those BAD GUYS. Perhaps the greatest work may be an extension of a long-running live-action series with PREDATOR: KILLER OF KILLERS. One segment of it was set in feudal Japan. Now, if that piqued your interest in more furious martial arts action, then that indie powerhouse A24 has just the movie for you. They’re releasing to theatres the dubbed-into-English box-office blockbuster (the biggest one in China ever) sequel NE ZHA II.
And it hits the ground running, and leaping, and punching. From that previous film, we see that the demon-like Ne Zha and angelic Ao Bing are without bodies. Luckily, Master Taiyi Zhenren is overseeing the villagers of Chentang Pass, who are mixing up a gelatinous goo that will form their new physical body “hosts”. Unfortunately, Bing’s forming body is destroyed while defending the town from an attack by three of the Dragon Kings. But his spirit is sent into the body of Zha. His parents, Lady Yin and Li Jing, send him with Taiyi aboard his flying pig on a quest to regain his immortality and split up the personalities. But they’ll have to face a series of trials and tests set up by Wuliang of the heavenly Chan set in order to acquire the needed magic potion for Bing. Ah. but things get complicated as his nefarious father, Ao Guang, actually the Dragon King of the East Sea, is preparing an attack, leading an army of undersea hybrids. Several decptions and double-crosses culminate in a battle for the planet with an advancing heavenly army and a fiery cauldron that creates elixers to confront the dragon forces and the increasingly more powerful Ne Zha.
To say that the film is visually stunning doesn’t really describe the amazing artistry that went into this. It’s told in now-traditional computer animation with incredible attention to detail along with some glorious effects (fire, oceans, etc.), and superb character design, especially the snake-like sea dragons. Unfortunately, that’s most of what stayed with me after the very lengthy 143-minute runtime. The story seems to be zipping in several directions all at once, making it jumbled and confusing. The only “big name” voice actor in this English “dub” is the always compelling Michelle Yeoh as the ethereal beauty Lady Yin. The other vocal talent often sounds as though they’re playing “catch up” with the exaggerated mouth movements. It’s especially the case with the motor-mouthed Taiyi (often a gluttenous bufoon) and the ill-tempered at times Ne Zha, who resembles so many anime tots. What really surprised me was the barrage of bodily fluid and functions gags (literally) that really try to elicit strained laughter or “gross-ou” groans. I did enjoy one comedy sequence in which Yin and Jing try to come up with the “perfect image” of Ne, going from muscle-bound behemoth to cuddily cute ragmuffin. This film is an interesting look at an action-adventure cartoon tale (well, the battle with the marmot tribe is pretty good) that may fascinate animation aficionados, but the average filmgoer may be baffled and a little dumfounded (maybe “brain-numb”) by the “eye candy” on display in NE ZHA II.
A scene from 100 YARDS. Courtesy of Well Go USA Entertainment
For many of us, the first thought the title 100 YARDS evokes is of a football field. But this is a period Chinese martial arts drama that’s long on action and short on plot coherence. An old wushu master dies and designates his top student (Andy On) as his successor, rather than his son (Jacky Hueng). Both are top-notch fighters, but the old boy thinks the future of their discipline is bleak in the early 20th century, and that his scion should embrace the region’s burgeoning international economy by becoming a banker. Jacky don’t like that none.
The tedious story involves periodic flareups between the two guys, plus threads involving a gang of slingshot-wielding dock workers, a council of martial arts elders, a handful of foreigners and probably others I’m forgetting. It covers China at a time of its opening up to economic and social influences from abroad, sexism, racism and fading traditions.
But it doesn’t cover any of them well. That’s primarily because there’s no emotional hook to be found. This is a genre that reliably plies the waters of good underdogs overcoming evil despite long odds. But this script never makes that distinction even remotely clear. Viewers won’t know who to root for, and may windup switching allegiances a few times as the story unfolds. The solution might be to just enjoy the first-rate sets and costumes, while waiting for the next fight.
The action is the only big asset here. Many sequences are superbly choreographed – several on a large scale. The gritty clashes are fast-paced without wire work, exotic weapons or prominent CGI enhancers. Those scenes are satisfyingly energetic, piling up a hefty body count without showing much blood and gore. The clashes are reminiscent of Hong Kong chopsocky flicks of the 1970s, when budget limitations generally kept the physical bits more within human capabilities for most of the productions.
One could derive the perks of this one by fast-forwarding through the talky parts, allowing the fine action portion to shine. Since the dialog won’t steer your loyalties, anyway, why not just cherry-pick the goodies?
100 YARDS, in Mandarin with English subtitles, is available on digital formats from WellGo USA starting Tuesday, Feb. 18.
Since we’re nearly into Spring Break season for students, the studios are gearing up to release some sequels (usually a Summer staple). I suppose you could consider last weekend’s DUNE: PART TWO a sequel, though it’s really the conclusion of the original story. Ah, but this weekend’s big studio release is the latest entry in a “tentpole”, a franchise that’s now a teenager (sweet sixteen). Plus it’s an “all-ages” series with a”PG” rating that parents are always searching for (he’s been MIA at the multiplex for eight years now). It’s not from the “Mouse House”, but rather their biggest animation rival for a time. And this was the character they created that truly worked for me (I’m not a fan of the look of the big green ogre’s exploits). Watch out, and hold on to your snacks, as Master Po is back, and hungry as always, in KUNG FU PANDA 4. Skadoosh!!
This new adventure begins with a “call back” of sorts when some hard-working mineral minors are menaced by an old foe who should be chilling in the afterlife. Cut from the prologue to the happy patrons of the noodle shop run by Mr. Ping (voice of James Hong) and Li Shan (Bryan Cranston) who are thrilled to meet the Dragon Warrior himself, Po (Jack Black). But the festivities are cut short by a surprise visit from Master Shifu (Dustin Hoffman). It seems that it’s time for Po to step up into the role of the spiritual leader of the valley creating the need for a new DW. Auditions are held, but Po isn’t quite ready to decide. Things get more complicated when he stops a skilled “sneak thief, a fox named Zhen (Awkwafina) from looting the Jade Museum. After she’s handed over to the jailer, those miners, from the opening scene, arrive to beg for help. Po is baffled that an old foe is back until Zhen mentions that this is the work of the shape-shifting master criminal The Chameleon (Viola Davis). Naturally, Zhen can lead Po right to her. The fox is put into his custody and soon the duo are on the way to her hometown, the bustling Juniper City. Along the way, they must hire a boat to take them across the vast sea. Unfortunately, the captain of such a vessel, is at a truly dangerous “dive bar”, the “Happy Rabbit”. But the danger really kicks (get it) in J.C. as they earn the wrath of the local police while trying to enlist the aid of Zhen’s old cohorts in the “Den of Thieves”. And with Ping and Li only a few hours behind him, can Po keep them all out of danger and defeat the devious, cunning Chameleon, or will his new temporary partner (the “Furious Five” are all battling evil elsewhere) pull a “fast one” on the lovable ursine?
So how can an actor be so energetic in a role he’s been “voicing” since 2008? Answer me that, Mr. Black! Perhaps that’s a big part of the near-universal appeal of the panda named Po. But it’s not all “hollerin’ and whoopin’ it up”, as Black shows us the sweet side of the bear, even giving us a touch of the caring teacher. That’s especially the case in his scenes with Zhen, whose streetwise, fast-talkin’ delivery comes from the very busy Awkwafina (this is her second Dreamworks character). Her wisecracks and “burns” keep pace with the fox’s manic slapstick, although we get some dramatic shading in the big finale. And the two are a terrific team, almost matched by Hong and Cranston as the two bickering but united “daddies”, an animalized “odd couple”. Well, there’s a third papa if you consider Hoffman’s Shifu who is still a perfect peeved straight man, er…red panda, to the exasperating Po. The story also benefits from a couple of inspired new voice actors. Ke Huy Quan is quite engaging as Zhen’s former “father figure” Han, the armadillo-like (a Sunda pangolin to be precise) who rolls about the underground lair of the underworld. It’s been said that a great villain reflects on the hero, and Davis is a treat as the regal, silky, sneering Chameleon who imbues venom into every command and taunt.
Making this sprawling action/fantasy yarn proved to be a task for two terrific directors, Stephanie Stine and Mike Mitchell, who deliver the comedy and the pathos with equal aplomb. The staging of the stunt setpieces is truly amazing, defying gravity and using it as another threat, as in the big brawl in the pub teetering on the edge of a cliff overlooking the sea (one character even asks, “Who thought this was a good location?”). The directing duo also guided an army of tremendous artisans in the look of the environments (Juniper City dazzles above and below ground) and the design of the new characters from shifty alligators to snarling wolves and even a trio of sadistic bunnies (shades of that white rabbit that bedeviled those Holy grail seekers). I was especially impressed by the constant flow of Juniper City foot (well paw and claw) traffic. The artistry is enhanced by a clever script that sports a few wild twists and a big finale that salutes the previous big-screen epics. Sure, some will be missing the “Furious Five”, but those returning characters and the new friends and enemies more than “take up the slack”. If desired this is a great send-off for the series, even as the end credits hint at a possible new direction(s). If we return to the Valley of Peace, audiences will be “pleased as Po” if they’re as well done (ala Ping’s noodles) as KUNG FU PANDA 4.
3 Out of 4
KUNG FU PANDA 4 is now playing in theatres everywhere
So, did you think we’d bid adieu to the Summer of 2021 without a second visit to the Marvel Cinematic Universe (MCU)? Happily, the answer to that is no, “true believers”. Though we usually get the first flick at the start of May, well, things have changed since the MCU’s beginning in 2008. And that’s why we finally got to learn of the backstory of the BLACK WIDOW this past July. Now, this was her eighth feature appearance, but this holiday weekend sees the very first screen outing for a character who wasn’t part of that 1960s creative explosion that birthed Spidey, the Hulk, and so many others. This hero was part of the big Marvel Comics expansion (a new distribution deal allowed for more titles) in the 1970s and reflected one of that decades’ big pop culture trends: the martial arts TV shows and movies (Bruce Lee on the big screen, ABC’s “Kung Fu” on the small). And so the MCU expands and becomes even more diverse (we’ve explored Africa, Russia, and, well, outer space) with SHANG-CHI AND THE LEGEND OF THE TEN RINGS.
This tale’s prologue gives us a back story on those title “rings”. In ancient Asia, a mighty warrior named Xu Wenwu (Tony Chiu-Wai Leung) possessed a set of ten magical mysterious (were they from another world) rings (worn on his forearms rather than his fingers) that made him near-unstoppable. He and his army (known as the “Ten Rings”) conquered much of the land, but one area eluded them: a strange wooded land that supposedly was the home of real creatures of myth, TaLo. After much effort, Wenwu makes it into the woods and is confronted by its protector, the beautiful maiden Li (Fala Chen). Their combat leads to ..a romance. After several return visits, Wenwu proposes to Li and returns with her to his castle home. They become parents of a boy and a girl. When the now teenage son leaves, Wenwu gifts him with a jade jewel that he wears about his neck. Cut to modern-day San Francisco as that lad, now a twenty-something named Shaun (Simu Liu) works a menial job alongside best pal Katy (Awkwafina). When brutal thugs try to grab the jewel, Shaun’s martial arts skills are revealed to Katy (and later she learns his real name: Shang-Chi). He now believes his sister (who he hasn’t seen in many years) is in danger from this gang. Getting an address from an odd postcard ( a dragon sketch) from her, he and Katy travel to Hong Kong for a family reunion that may lead to a spectacular battle, all part of Shang-Chi’s destiny as a skilled defender of the whole planet.
With a casting choice harkening back to the first THOR, the MCU masterminds have wisely chosen a largely unknown actor (although he’s had many supporting roles on TV and features) to play their “master of martial arts” (though “Iron Fist” preceded him on Netflix in 2017). Liu as Shang-Chi/Shaun has an easy-going average guy quality, especially in the early San Fran scenes, while balancing mush of the powerful action/acrobatic stances of (dare I say) young Bruce along with the comic slapstick reactions of Jackie Chan. But Liu still conveys a tender vulnerability as he tries to face the tragedies of his past while attempting to process the awesome responsibilities of his future path. . I look forward to seeing the actor and character mature in future film adventures (and as part of the “greater MCU”). Plus, he’s an endearingly sweet straight man to the warrior queen of comedy, Awkwafina. Yes, she’s very funny and steals scenes with what seems like little effort, but there’s more to Katy than the wisecracks and caustic “burns”. Katy’s truly adrift, just trying to coast through life before her BFF opens up new possibilities for her. Awkwafina subtly balances her amazement over her pal (“Dude, who are you?!!”) while his secret life fuels some sadness. After her somewhat abrasive voicework in RAYA AND THE LAST DRAGON (far too much use of modern slang), Awkwafina shines as a real “fish out of water”.
Hey Marvel-maniacs, here’s the cover to Shang-Chi’s first Marvel comic appearance!
As for the supporting players, kudos for giving the film a most complex and conflicted villain. Leung starts as your standard power-mad baddie, but we see how his quest opens his soul to new ideas, like truly caring about another person. It all adds to his devasting loss, as Leung shows us that the sparkle, the light of love has left his eyes. His final master plan is created out of love and despair (much as with Thanos and Loki), making us hope that he’ll come to his senses. Hard to think I’d be rooting for the Mandarin (One of the many names attached to Wenwu is also the great 1960s Iron Man arch nemesis). Meng’er Zhang is quite compelling as Shang-Chi’s estranged sister Xialing, letting us question her loyalties and outlook. Chen has an ethereal beauty and a quiet dignity as the princess that actually rescues a king. Much the same can be said about the always engaging Michelle Yeoh as her sister and current protector of the wonders of TaLo, a compassionate aunt and a stern taskmaster. And, since it’s already been revealed online, I can praise the great Ben Kingsley who is hysterical as he reprises his role of Trevor Slattery, the self-absorbed dimbulb actor who “played” the Mandarin in IRON MAN III. His “riff” on a classic sci-fi movie series will stick with me when another entry or reboot is made. Maybe Trevor and Katy can team up for a future flick.
Oh, and here’s another example of the MCU “thinking outside the box” (much like casting Liu in the lead). Rather than going for one of the name “big action” directors, they entrusted the launch of this new franchise with a director mainly known for indie-like dramas (SHORT TERM 12, THE GLASS CASTLE, and JUST MERCY), Destin Daniel Cretton. Smart move as he lets the emotions bubble up subtly in-between the astounding stunt showcases. We embrace Shang-Chi, Katy, and surprisingly Wenwu even as they appear to defy the laws of physics. Hey, about those stunts….truly astounding, perhaps surpassing the face-offs in BLACK WIDOW. The film has not one, but two of this year’s greatest action sequences (one had me smiling as it reminded me of a favorite iconic arcade video game). And somehow, during the mayhem, we’re gobsmacked by the beauty of the imagery, even rivaling CROUCHING TIGER, HIDDEN DRAGON. giving the story a fairytale-like feel. Much of that is due to the scenes in TaLo, which joins the MCU atlas of locales that we wish were real (Wakanda, Asgard, etc.). The script by Cretton, along with Dave Callaham and Andrew Lanham has almost the perfect mix of heart, action, and humor….almost. Hate to be a bit of a “wet blanket”, but the big CGI-overloaded final battle takes the focus off the folks we care up and tries to emulate the recent kaiju re-dos as pixels fight pixels in a choppily edited free-for-all. So, they don’t “stick the landing” darn it. Ah, but the journey there is so engrossing. And (need I say) the mid-credits bonus scene will leave you smiling. Maybe all the way until the anticipated (I’m there) and very warranted follow-up to SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Perhaps an even dozen next time?
3 Out of 4
SHANG-CHI AND THE LEGEND OF THE TEN RINGS opens in theatres everywhere on Friday, September 3, 2021
A scene from the documentary ONE CHILD NATION. Courtesy of Amazon Studios
Sundance’s grand jury prize winning documentary ONE CHILD NATION examines the impact of China’s brutally-enforced “One Child” policy, from the viewpoint of people who experienced it. This is an eye-opening documentary about a policy that shaped modern China in many ways, but told from a very personal and human perspective. Director Nanfu Wang was born under China’s One Child policy, which restricted families to one child only from 1979 to 2015, but has lived in the U.S. as an adult. Growing up, she thought little about the policy which seemed a part of ordinary everyday life – until she had a child of her own.
Returning with her infant son to visit
family in China, director Wang began to peel back the layers of this
pervasive policy by talking to people directly impacted by it –
doctors and local officials that enforced it, and family and
neighbors who experienced its devastating effects. What Wang
uncovers, through personal experiences, is something much darker and
deeper than we expect, far beyond an idea for family planning.
While any documentary might have taken
a straight-forward historical approach to the one-child policy,
Wang’s ONE CHILD NATION focuses on individual people, both those
impacted by the policy and those who carried it out. That choice
makes this documentary more harrowing and gut-wrenching than a
conventional documentary might have been.
As Wang notes, the policy was
instituted at a time when China’s large and growing population was
sparking fears of famine among Chinese Communist government
officials. The policy included a propaganda campaign promoting the
“One Child” policy, public social pressures to reinforce
that and a host of local government officials and doctors to see that
it was strictly enforced. Those enforcement efforts went much further
than many suspected, as Wang’s investigation reveals.
Wang takes a very warm and personal approach, starting off by noting that her family was a bit different that most Chinese ones under the One Child policy in that her parents were granted permission to have a second child, an exception sometimes given to rural families like hers. Wang talks about how as a child in China under the policy, it was a source of social embarrassment at school that she had a younger brother. The consequences for having a second child without permission were severe.
The director’s return home with her
baby sparks her curiosity about the One Child policy. Wang starts out
with just questions for her family about how the now-abandoned policy
might have impacted them directly. Her questions reveals a lingering
reluctance to discuss the topic, one tinged with fear perhaps, and
also lead her to discover a long-held family secret.
She interviews a retired local official
who reveals some of the harshness of the policy before her inquiry is
shut down with implied threats from the official’s wife. The official
describes talks with people and admits that families who violated the
policy by having another child often had their houses knocked down
but the interview sparks her journalistic curiosity about other
consequences. She tracks down a doctor who participated in enforcing
the policy, who now helps families with infertility as a form of
atonement, and finds that enforcing the ban extended far beyond talks
or the destruction of houses the official described.
This is shocking, bracing stuff that
makes clear the reason for the reluctance to talk about it. Wang
delves into what happened to pregnant women, to babies born in
violation of the policy, and the rise of the international adoption
industry, which has a darker side than one might expect.
Wang’s focus on person stories and
first-hand experience brings home the way this policy impacted
people, with more emotional impact than a drier documentary approach
would. Wang also expresses her opinion that this restrictive,
strictly-enforced government policy limiting families has parallels,
through the common theme of government dictating decisions on
child-bearing to women, to forces in the U.S. pushing to pass laws
restricting access to abortion. Some viewers may disagree but Wang
notes that in her opinion both are cases of outsiders intruding in
making family decisions.
This deep dive into the One Child
policy uncovers how it transformed Chinese society and impacted
individuals, an impressive piece of investigative journalism from a
personal, human perspective. This is an eye-opening revelatory
documentary n
The results of Wang’s inquiry are
startling. Her personal investigation takes us deep into this
strictly-enforced edict which had a profound impact on the lives of
all Chinese people, revealing heartbreaking, even horrifying details
about this how this family planning policy was carried out and its
consequences. Wang’s skillful, probing style makes us feel like we
are going down a deep rabbit hole of secrets long held, connecting
dots unsuspected between the one-child policy and its legacy in the
present. The searing documentary gives us insights on the people who
endured it and the Chinese government that enforced it. ONE CHILD
NATION is a revelatory documentary no one should miss.
ONE CHILD NATION opens Friday, Aug. 23,
at Landmark’s Plaza Frontenac Cinema.
Here’s something to remember next time you go to a big trivia fund-raising night. If there’s a movie or Oscar category, one of the questions may be: “What film maker (or producer) has won the most Academy Awards?”. The answer is (and will be for a long time to come) Walt Disney. Now, as you jot down that name, you may think that all that gold was netted by his animation work, the classic features and short subjects. Well, a lot of it, but not all. From 1948 to 1960 Disney dominated the Best Live-Action Short Subject category with his “True-Life Adventures” series. Lots of baby boomers may be familiar with them, not from theatrical showings (usually paired with the re-release of those animated features), but from that NBC Sunday night staple, “Walt Disney’s Wonderful World of Color”. Several shorts would be edited together for the hour-long shows. The gorgeous natural photography probably helped sell lots of big color TV’s back in the day. But shorts aren’t part of the theatrical experience (for the most part) now, so in 2008 Walt’s old company established a new division, Disneynature. Almost every year, usually close to Earth Day, the company has released a new full-length (close to 90 minutes) animal-themed documentary to theatres. Now, they’re expanding even further and showcasing that big new foreign market with an up-close, in-depth look at the wild life that is BORN IN CHINA.
The flight of the cranes usher in a new year for the animals of the uninhabited expanse of China, far from the bustling crowded cities. The film makers cut between several species during each season (Spring, Fall, etc.). Far above the ground, roaming the rocky terrain of the high country, we meet a mother snow leopard, Dauwa, along with her two female cubs. Dauwa easily leaps from precipice to cliff while hunting for her family’s food. She also defends her home from an unwanted interloper, standing her ground and intimidating another snow leopard. But what happens when she returns with back-up? Family turmoil is at the center of Tau-Tau’s tale. He’s a two year-old golden snub-nosed monkey who feels neglected by his family and friends after his mother gives birth to his sister. Tau-Tau falls in with a bad crowd, a group of outcast young “lost boys” lorded over by the hulking leader named Rooster. But when the temperatures drop, Tau-Tau tries to re-unite with his clan. But will they let him back in? Of course the most popular of Asian animals is represented in the story of a giant panda named Ya-Ya. Over the course of many months we witness her parental skills as she takes care of her infant My-My. The growing bear tries to assert her independence as Ya-Ya still yearns to treat her as a baby. Speaking of babies, we follow the migration of the antelope as the females make the long arduous trek to the river where they will give birth. Then it’s back on the trail with the children to return meet their daddies.
As with the other films in this series, it is narrated by a known actor. The last entry had Tina Fey guiding us through THE MONKEY KINGDOM. This time it’s John Krasinski (THE HOLLARS and NBC-TV’s “The Office”). He conveys all the technical info in a friendly, but serious tone while not resorting to jokey sentiment when the script tries to give emotional context to the footage. The soundtrack boasts a couple of original songs that aren’t heavy-handed or saccharine. But the main draw here is the photography which is spectacular. The use of time-lapse to convey the changing of the seasons is sparingly used, and heightens the drama. As for these stories, nothing is “sugar-coated” for the tots. Predators swoop in for the kill, and in one case they become the victim. To the producers’ credit they include the one segment that has no “happy ending”, defying the need for a “feel good” conclusion. There’s great suspense (the leopard stand-off) and tense action (the monkeys really go at it in one dust-up). And the pandas provide plenty of comedy in addition to “awww…so cute” moments. For those youngsters (and some “oldsters”) that are fascinated by zoology, BORN IN CHINA is an educational and entertaining trek to a land we in the west have barely explored.
Let’s get this out-of-the-way. This new film from China has nothing to do with the Oscar-winning 1970’s classic COMING HOME from director Hal Ashby. Mind you, there have been Asian remakes of English language films such as the BLOOD SIMPLE (the Coen brothers’ first flick) inspiring A WOMAN, A GUN, AND A NOODLE SHOP. This cinematic adaptation of a celebrated novel begins during the most repressive era of the Mao regime (perhaps when “Red China” was the most crimson), when the country had cut almost all ties with the West. It looks back at how the political climate was tearing families apart as the trio at this story’s center learns that all their problems do not end after the reunion in COMING HOME.
The film begins sometime during those turbulent 1960’s. Teenager Dan Dan (Huiwen Zhang) is focused on rehearsing for the upcoming auditions for the ballet celebrating the military, “The Red Detachment of Women”. She’s pulled out of the dance hall and told to report to the school administration office. There she is surprised to find her mother, “Yu” (Li Gong). They are told by law enforcement agents that the family patriarch Lu (Daoming Chen) has escaped from a re-education camp (a prison really) where he has been held for nearly a decade as a political dissident (a “rightist”). Yu and DanDan are told to contact the authorities if Lu approaches them. That night, in the hallway of her apartment building, DanDan encounters her father. The frightened girl tells him to leave, then rushes downstairs to see the agent stationed outside the building. Before he flees, Lu pushes a note under Yu’s door telling her to meet him at the train station the next morning. That next day, he is re-captured before they meet. Many years pass and the cultural revolution sweeps through the country. This prompts the release of all political prisoners including Lu. As he walks down the platform Lu is surprised to see DanDan waiting for him, but no sign of Yu. She takes him to her dormitory at the textile factory (she’s given up dance after her father’s past cost her the lead in the ballet). She tells him that they will go to see Yu after her shift is over, but Lu cannot wait. When he encounters his wife, she seems confused and distant. Later she thinks that Lu is a past tormentor named Fang. When DanDan arrives with some state officials they explains that Yu suffers from a form of trauma-induced amnesia. While he adjusts, they offer him a place to live in a vacant storefront across from there. A doctor tells him that something may trigger her old memories which inspires Lu to devote all his time and energies toward attempts (old photos, letter, food, music) to rekindle their love.
The three actors that form this family unit give strong, nuanced performances. The most famous of the trio, Gong takes on the far less showy, but very pivotal role as the mentally damaged mother. Her tightly withdrawn body language and soft eyes reflect how the cruelties of life that have almost worn her down while pushing her towards the confused fog that envelops her. But many times that fragile outer shell is used to protect her inner strengths as a survivor. The same may be said of Chen as the more proactive half of the couple. In the film’s more action-oriented first half, he’s trying to blend into those shadows, determined to be with his loved ones once more. Briefly Chen shows us Lu’s joy as he sees his love across the way at the station, however briefly. After his release he becomes a man on another mission with the mysteries of the mind rather than the law blocking him from Yu. Chen conveys those frustrations along with the delights of small victories that present a glimmer of hope. Zhang is pure razor-focused energy as the lead ballet role becomes her only goal, one that cost her dearly. In the film’s second act she shows us how time has smothered that inner fire. And there’s her despair over her damaged relationship with her mother who can only recall DanDan’s mistakes. The cast’s expert work completely draws us into this intimate story.
Director Yimou Zhang (HERO, HOUSE OF FLYING DAGGERS treats this script adaptation by Jingzhi Zou from Geling Yan’s novel with a strong steady, subtle hand, never going in for showy storytelling gimmicks. It unfolds at a natural, leisurely pace allowing us to drink in the period atmosphere and to appreciate the cast’s fine work. This is quite a balancing act, since the film’s first half almost plays as a thriller, capped off by a real nail-biting chase at the train station. Then it shifts gears into this slower quest into a deeply buried past with elements that may remind viewers of themes from STILL ALICE and THE NOTEBOOK. All this is shot with a soft brown glow that evokes a sense of nostalgia and regret. Lu is an unlikely hero who will not give up as he tries to rescue his wife from a mental monster that separates them. Despite the unfamiliar settings, COMING HOME is a quiet, intimate love story that will touch audiences around the globe.
3.5 Out of 5
COMING HOME opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas
Jackie Chan, the martial arts star who has been doing some kid-friendly flicks lately, is starring in a film that is apparently so violent, the film’s director won’t be releasing it in China.
Hong Kong director Derek Yee told the Associated Press today that he considered toning down the violence in the new film ‘Shinjuku Incident’ so that it could pass censors in China where there is not ratings system in effect. Yee then went on to say he decided against cutting his film for fear that it would hurt the integrity of the film.
Yee said the $25 million Chinese-language movie, in which Chan plays a refugee who escapes to Japan and becomes a killer for the mob, has scenes that show characters getting a hand chopped off and pierced with knives.
“We tried to cut the violent scenes to meet the requirements of the Chinese market, but producers I invited to watch that version thought it was incomplete,” he said.
Yee said Chan, who invested in the movie, agreed with his decision.
It’s awesome to see a filmmaker stand up for his film despite what the censors might think. It’s also good to see Chan getting back to his roots and star in an ultra-violent actioner. Can’t wait to see this one.
‘Shinjuku Incident’ will be released in Hong Kong and Southeast Asia on April 2 and in Japan on May 1.
