The Flowers of War review

 Number 647 on the top 1000 films of all time is Zhang Yimou's 2011 Chinese historical drama-war film - 'The Flowers of War.'

Set during the rape of Nanking, we see a group of Chinese school girls led by Shu (Zhang Xinyi) taking cover in a church led by Father Ingleman. But with this priest's recent death, the responsibility falls to his young apprentice George Chen (Huang Tianyuan.) They are soon joined by a group of high-class prostitutes led by Mi Yo (Ni Ni) and American mortician John Miller (Christian Bale).

I've said it before and I'll say it again: more people need to know about the atrocities that Japan committed against China in the run-up to the Second World War. In the West, this has always been over-shadowed in favour of the Western Front, but the rape of Nanking is one of Japan's most heinous crimes. An entire city was decimated with its men shot and women raped.

Zhang Yimou quite rightly did not shy away from showcasing the sadism of the Japanese. We saw their brutality in unflinching detail. It was upsetting to watch, but it was only being honest to what happened in real life. I thought the acting from all the child actors was very good.

The actresses playing the schoolgirls were excellent, displaying a maturity beyond their years. Despite the terrible things done to them, they never cry and complain. This was especially true of Zhang Xinyi who excelled as their leader Shu. But it also applied to Huang Tinyuan who portrayed George Chen. Despite not being much older than them, he tries his best to protect the school girls. Yet it is obvious that he is quickly out of his depth. It was difficult not to feel sorry for him as he tackled his insurmountable task. The characterisation and the acting all round was good.

The Flowers of War received a mixed reception from critics with most criticism centring on John Miller being an unnecessary distraction who was playing a white saviour. Initially, I was tempted to agree with this. John Miller was a cliched, predictable character who added so little to the first half of the film that it could have survived without him. Up until the forty-five minute mark, much of the Flowers of War focussed on the school girls with Shu taking centre-stage. She also narrates the film.

However, I did enjoy watching John Miller fulfil his reluctant hero character arc. Yes, it is predictable, but it is still enjoyable to watch. I also don't agree with him being a white saviour. How much saving does he actually do? Despite his best efforts, he does little to stop a rogue squad of Japanese soldiers attacking the church; instead it is the lone Chinese Major Li who saves everybody.

And when the Japanese demand that the girls sing at a special play it isn't Miller who suggests a solution, but Mi Yo. And when two of the prostitutes sneak out of the church, needlessly putting themselves into danger, Miller does not bring them back safe and sound. If anything he is a white failure - trying to save everybody but mostly failing. Not to mention, he was based on the real-life American missionary Minnie Vautrin.

There was also some who argue that the film was style over substance. Yes, while there was a lot of spectacle with plenty of slow-motion and vivid colours, it never detracted from the plot. This is in comparison to most Wuxia films which place spectacle front-and-centre. While the Flowers of War did focus on myth and legend, it was always tied to the plot. Even the sequence of the prostitutes singing to the schoolgirls enhanced rather than detracted from the film.

Zhang Yimou wanted to separate the Flowers of War from other similar films by highlighting and celebrating the efforts of women in the war. He certainly achieved that goal. Despite their best efforts, George and John are largely useless - yes they show remarkable bravery and self-sacrifice at the film's conclusion, but this is after four of their number have been killed.

Instead, we see the incredible strength and resourcefulness of the female characters. I've already spoken about the schoolgirls, but the prostitutes were equally intelligent and tough. Yes, the two groups quarrel on occasion - you get tiffs, arguments and fights, but, in the end they work together for the greater good.

Ultimately, I think the Flowers of War was a triumph. It looked gorgeous while also having strong writing, acting and characters. It's just way too traumatic to watch for a second time.  

In The Mood for Love review

 Number 216 on the top 1000 films of all time is the Chinese romance-drama 'In the Mood for Love.'

Mr Chow (Tony Leung) and Mrs Chan (Maggie Cheung) are two neighbours who have just moved into a Hong Kong apartment block. Suspecting their respective spouses of cheating on them, the two start becoming attracted to each other. Will they be like their spouses and have an affair too?

Never mind love, I'm in the mood for an entertaining film, because this was film was dull. Insufferably dull. Boring. Tedious. Monotonous. Insert any other synonym for boring. It's a drama. Where was the drama? The tension?

It's quickly established that Mr Chow and Mrs Chan are lonely; their spouses work long hours and are inattentive. Although we never see this on-screen. Plus it isn't like the two would-be lovers are social pariahs. Mrs Chan's neighbours are constantly inviting her in for dinner, but she always refuses. If you actually had dinner with your neighbours, you wouldn't be so lonely. At a certain point, you're just being a victim.

And there's nothing stopping Mr Chow and Mrs Chan from having an affair if they really wanted. Their neglectful spouses are nowhere to be seen. They have no rivals for each other's interests. We, the audience, can see how lonely they are, so we're willing for them to get together. Where's the tension? It's virtually non-existent. In fact, the first moment of tension doesn't occur until the hour mark, where the would-be lovers realise they can't be together.

The film isn't particularly long; only one hundred minutes, but that's ten minutes too long. The film ends with Mr Chan in Angkor Wat whispering into the hole of a temple wall before stuffing it with moss. This references an earlier section where he says that in the olden times people would go up a mountain, whisper their secrets into a hole of a tree before filling it with moss. I get the visual metaphor, but why have it in Angkor Wat and not a tree on a mountain? And why we did then pan around Angkor Wat for five minutes?

One positive was that the original score was very good - it was mysterious and compelling, but it was only used sparingly. Much of the rest of the film had no incidental music, which only made it all the more boring.

And boring is the perfect way of summarising this film. Not enough tension. Annoying characters doing annoying things and too many lingering shots of characters sitting in empty rooms deep in thought.

House of Flying Daggers review

 Number 748 on the top 1000 films of all time is the Wuxia romance film 'House of Flying Daggers.'

At the end of China's Tang Dynasty, there is a power vacuum. Within that vacuum, multiple groups are vying for power. One of these is the House of Flying Daggers who are battling against the corrupt Fengtian government. Leo (Andy Lau) and Jin (Takeshi Kaneshiro) are tasked with finding and killing the mysterious leader of this group. To aid him, Jin pretends to befriend Mei (Zhang Ziyi,) the blind daughter of the leader, to gain her trust, all while being pursued by government forces. But then the two fall in love and everything changes.

There is no denying that House of Flying Daggers is a technically beautiful film. From the cinematography to the choreography to the colour palate to the gorgeous original score, it was a sensory feast. Yes, the martial art sequences do push your suspension of disbelief, but that's all part of the fun. Considering it was directed by Zhang Yimou who also directed Hero, this should come as no surprise. Hero was also a visually stunning film. 

Of course it helped when you have an actress as talented as Zhang Ziyi. As well as acting she is an accomplished singer and dancer which helped her execute a brilliant dance sequence at the film's beginning.

It's just a shame that the actual storyline couldn't match the technical heights. House of Flying Daggers was intended to be more of a romance than a wuxia film, but it failed in both regards. It doesn't count as a romance and it shouldn't have been marketed as such. By convention, romances should end with the love interests having a happy ever after or a happy for now. *Spoiler alert* That doesn't happen at all. 

And as it was a romance, you would expect it to be interesting, but the love story was so dull. Rather than solely being between Mei and Jin, Leo is also involved. He was previously engaged with Leo and has loved her for years. But when she falls in love with Jin after only three days, Leo becomes dangerously jealous. Cue a rather tepid love-triangle that culminates in a cheesy, unsatisfying conclusion. 

*More spoilers* 

It is later revealed that Mei was only pretending to be blind. But this also subplot confused me, as it was frustratingly inconsistent. At times Mei seemed to have perfect eyesight, but at others she was stumbling and fumbling around. It's implied that she has extra-sharp, super-human senses, hence why she can survive elaborate fight scenes without drawing blood. Having said that, most of the characters had some very strong plot-armour. And that added to the dullness. There was no tension or stakes as these characters seemed virtually indestructible. 

I would have much preferred to have watched a film about the different factions warring for power in the Tsang dynasty. Hell, I would have enjoyed watching the House of Flying Daggers battling against the corrupt government. Instead, I got a boring, tepid love story set against a visually stunning backdrop.

Infernal Affairs review

 Number 196 on the top 1000 films of all time is the Hong Kong action-thriller 'Infernal Affairs.'

Set in Hong Kong, Infernal Affairs follows undercover cop Chan Wing-Yan (Tony Leung) as he infiltrates the triads to discover the mole that ruthless boss Sam (Eric Tsang) has implanted within the police. Meanwhile, Sam's mole Lau Kin-Ming (Andy Lau) is trying to discover the identity of the under cover cop in the triads. Both men are in a race against time to discover each other's identities.

If this plot sounds familiar, it's because Martin Scorsese remade this film as The Departed. But I definitely preferred Infernal Affairs. There's no doubt that the Departed is a brilliant film, but it's also very American. It's loud, brash and with very little subtlety. 

Infernal Affairs is far more nuanced. Instead of being a grandiose affair with gratuitous explosions and gunfire, it is a stripped-back story of two morally-grey characters who are born questioning their directions in life. Having said that, there was enough unnecessary cheesy slow-motion and grandiose music to make up for the endless gunfights. But I feel that is typical of most Cantonese films I've seen. Always prioritising spectacle over story.

Dicaprio was great as Wing-Yan's counterpart, but Tony Leung really keyed into the anguish that Wing must have been feeling. He was undercover for almost ten years and can slowly feel his old life slipping away.

Similarly, Andy Lau is starting to question his role in the police force, as he starts to identify as more of a cop than a robber. His boss, Sam, continuously piles on the pressure. Sam was the true villain of the film, and he was a scary villain indeed.

Whereas the Departed ends in an over-dramatic fireball explosion, Infernal Affairs is far more understated. *Spoilers* After a drug deal gone wrong, Sam runs like the coward he is, before he is betrayed and killed by his would-be protege Kin-Ming allowing him to have one last confrontation with Wing-yan before one final twist - Sam has more than one mole in the police force, and we see a flashback confirming this. A similar twist occurs in the Departed, but it was better seeded here. It was a lovely, quiet ending to a very good film.

In terms of remake vs original, while the Departed was good, it wasn't nearly as good or as nuanced as Infernal Affairs.

Lust Caution review

 Number 699 on the top 1000 films of all time is Ang Lee's erotic, period-war drama 'Lust Caution.'

During the second Sino-Japanese war, Wong Chia Chi (Tang Wei) is a naive Shanghainese student going to study in Hong Kong which is currently being occupied by Japan in 1938. There she joins the patriotic drama club led by Kuang Yumin (Wang Leehorn,) but soon they decide to make a more meaningful contribution to the war by proposing to assassinate collaborator and puppet leader Mr Yee. Wang (Tony Leung Chiu-Wai) is drawn into a world of lies and conspiracies, as she is at the centre of a honey trap to catch and kill Mr Yee.

Lust, Caution begins in 1938 during the Second Sino-Japanese war before continuing to 1942 Shanghai where part of China were under Japanese occupation. It was very interesting seeing another side of the Second World War. Naturally, many WW2 films in the West focus on WW2 in the West. But there was a whole other war going on in the east. And that isn't something that is really talked about enough. It made a refreshing change to all the Nazi Germany/holocaust films I've watched.

In some ways, this film reminded me of the Dutch film Black Book. Lust, Caution also had morally grey characters conflicted by their own emotions. This created a great dramatic tension that progressed the film nicely. You are wondering when Kuang's plan is going to go wrong. But guessing where and how is what kept me hooked. The production was brilliant as well. From the costume to the set design, I really felt like I was in 1930's Hong Kong/1940's Shanghai.

But, of course, we have to talk about what the film is famous for and that's the sex scenes. It is an erotica after all. Unlike virtually all other sex scenes in films, these actually served the plot and weren't there for pure titillation. To get close enough to the ultra-careful Mr Yee to actually kill him, wang agrees to become his mistress. Initially, she is a virgin, but one of her comrades takes her virginity in an awkward encounter, very befitting of the context. It is the later scenes with Mr Yee that become passionate and steamy. So steamy that the actors themselves were asked if the sex was unsimulated.

The initial sex scene demonstrated Wang's nervousness, but she grows in confidence, as she becomes more committed to her cause. In may ways, it's a theme of female empowerment. In the initial scene, she has her power taken from her, as was China's when Japan invaded, but she slowly takes it back in the later scenes.

This was a very good film. It focussed on a lesser-known part of history with a great parody element. It's probably just best not to watch this with your parents.

Everything Everywhere all at Once review

 I'm taking a little break from the top 1000 films of all time to review the winner of the 2023 Best Film: Everything Everywhere All At Once (EEAAO)

Evelyn Wang (Michelle Yeoh) is a Chinese-American immigrant running a laundromat that is being audited by IRS agent Ms Deirdre (Jamie Lee Curtis.) Evelyn runs the laundry with hr meek husband Waymond (Ke Huy Quan) rebellious, gay daughter Joy (Stephanie Hsu) and ageing father 'Gong Gong' (James Hong.) But Evelyn's life is turned upside down when she is introduced to the multiverse and told that she is the only hope in defeating the evil being Jobu Tupaki.

If I could describe EEAAO in one word, it would be surreal. It is weird, absurdist but endlessly creative. Although that is very much the point of the film. And, despite this, it never lost sight of its heartfelt message of the importance of family. Things start innocently enough with the establishment of Evelyn as our overworked, stressed out laundry over en route to an audit. But things take a turn for the insane when Waymond says that he is actually a Waymond from another universe. And he is Evelyn's guide to the multiverse. cue craziness as we're introduced to universe after universe with each one more random than the next.

EEAAO not only swept up at the Oscars, but many of the other award ceremonies too. Directors Daniel Kwan and Daniel Scheinert won Best Director, Best Original Screenplay and Best Film Editing, and it is easy to see why. This film has its share of fantastical fight scenes which are choregraphed brilliantly. We see the Alphaverse Waymond beating up a group of security guards with his bumbag. Ridiculous, yes, but great to watch. Maybe you could argue that EEAAO indulges a little too much in its absurdism, but it was no less entertaining for it.

But it is also very heartfelt with powerful performances. Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis all picked up Acting Oscars. Curtis won for Best Supporting Actress, beating out Stephanie Hsu, who I was equally deserving of the win. But I think Ke Huy Quan was the best. He effortlessly went to meek, brow-beaten husband to badass action star. It's difficult to believe that this is the same actor who starred opposite Harrison Ford in Indiana Jones before taking an extended break from acting.

Despite the wackiness of the narrative, EEAAO still had a lot of heart. It is the story of a divided family coming together. At the beginning, Waymond wants to divorce Evelyn, while Evelyn is cracking under the pressure of running her laundry. Meanwhile, she is finding it difficult to accept Joy's lesbianism, creating a deep divide between her and her daughter. Lastly, Gong Gong has always disapproved of Waymond, even vowing to disown Evelyn if she marries him. Yet by the film's end, the family learns to love each other again; Evelyn and Joy have a tearful reunion where both actresses show off their acting talent.

EEAAO is certainly not for everyone. Its absurdism and surrealism might put off a lot of viewer, but if you look past the seemingly random weirdness, you'll be treated to one of the most creative and heartfelt films of the year. 

Kung Fu Hustle review

 Number 512 on the top 1000 films of all time is the Chinese martial art, comedy-drama Kung Fu Hustle.

Sing (Stephen Chow) and Bone (Lam Chi-Chung) are two hapless, small-time crooks. To break into the big time, they decide to join the Two-Axe gang which terrorises the local neighbourhood run by Landlord (Yuen Wah) and Landlady (Yuen Qiu.) To gain initiation, Sing and Bone must kill somebody - a task easier said than done when the neighbourhood is populated by no less than five kung fu masters.

Would it be fair to say that Kung-Fu Hustle was more style than substance? I know it's a comedy and it's not meant to be taken seriously, but I've never been a fan of films that are overly-reliant on special effects. I know they're supposed to be integral to the film's humour especially the slapstick nature and they weren't meant to be used gratuitously, but I did find them tedious after a while. From the weird banshee shockwave that the Landlady performed to the Sing's sonic punch that destroyed an entire building, it all became repetitive after a while.

Another reason I didn't get on with this film is that I'm not keen on martial art movies. Similarly to boxing films, while the fights maybe well choregraphed, they drag on too long and don't hold my interest. I'm not invested in the fighting so I naturally don't care about who wins or loses. I am also puzzled as to why the film was marketed as a comedy. It didn't make me laugh very much. But that's not because the jokes fell flat, but rather they didn't seem to be making many jokes at all.

A lot of the film is dedicated to Sing's childhood and a particular flashback of him standing up to some bullies going horrifically wrong. He is trying to stop them from beating up a girl, but is beaten up instead. We see the two re-unite and kindle a romance as adults. This was a cute subplot, but not very funny. In fact, other than bizarre special effects, the only joke I remember is a rather predictable one.

Bone, to gain initiation into the Two axes, decides to kill Landlady by throwing knives at her. But due to his terrible aim and hapless nature, the knives all end up in Sing instead. And Sing is behind him. Yet as we know that these two are hapless, this joke was far too obvious to be funny.

Unfortunately, this film didn't appeal to me. I am not a fan of martial art films, not am I fan of films that prioritise style over substance, but I am sure this film has a dedicated fanbase. I'm just not one of those fans.