ROMANTIC WARRIOR (2017) review

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In an age when amateurs have the tools to make professional-looking films, it beggars beliefs that professionals managed to produce something as amateur as Liu Xiatong’s Romantic Warrior. And we are not using the term “amateur” in the same childishly hyperbolic way as countless so-called film critics for whom competently-assembled films can be called “awful” or “shit”. No, Romantic Warrior truly boggles the mind with its utter lack of anything resembling filmmaking skill. The story unfolds in the thirties and concerns a cowardly Peking Opera actor (Chan Kwok Kwan) who meets a young woman (Xu Dongmei) claiming their marriage was arranged years ago by their now-defunct respective parents. He first tries to sell her to a brothel. Then, seeing she will not leave him in peace, and freshly humiliated by his nemesis (Wang Mei Ying) at an backflipping contest, he accepts her tutorship in martial arts and singing, to make him a better Opera performer. But she may have a hidden agenda.

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TASTE OF LOVE (2015) review

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The enormous success of Stephen Chow’s Journey To The West: Conquering the Demons, Soi Cheang’s The Monkey King and Tian Xiaopeng’s animated Monkey King: Hero is Back has sparked a literal avalanche of  films based on Wu Cheng’en’s seminal 16th century novel. Expected in the coming years are Tsui Hark’s Journey To The West 2, Soi Cheang’s The Monkey King 3, Derek Kwok’s Wu Kong, Wang Baoqiang’s contemporary transposition Buddies in India, Jeff Lau’s A Chinese Odyssey 3, Tian Xiaopeng’s Monkey King: Havoc in Heaven, and probably a few more that haven’t yet been announced. They’ll leverage medium to massive budgets and feature some of the most popular actors of today, including Kris Wu, Yao Chen, Aaron Kwok, Gong Li, William Feng, Eddie Peng, Shawn Yue, Ni Ni, Wu Jing, Karen Mok, and a lot of others we won’t mention for brevity’s sake. And kind of like the Asylum productions that pick up the crumbs left by big Hollywood Summer tentpoles (think Transmorphers, Atlantic Rim or The Almighty Thor), Miao Shu’s Taste of Love got a head start on all the aforementioned A-list productions with a December release where it didn’t register in the least at the box office.

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HE-MAN (aka THE UNDERDOG KNIGHT 2) (2011) review

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He-Man was a surprising project from director Ding Sheng : a direct sequel to his 2007 action-comedy The Underdog Knight, which was an interesting but flawed little film that barely registered at the box-office. To follow up on this film more than four years later, and with a far less prestigious cast (Liu Ye returns, but Anthony Wong, Sun Honglei, Yu Rongguang and Yong You don’t, and there’s no one on their level here), was an unexpected move. But the thing is, sequels at best can be a way to fine tune a formula while returning to a compelling character or set of characters, and that is exactly what He-Man does. The Underdog Knight had the awkwardness of a directing debut, but He-Man shows the sure hand of a director who’s found his style and cut his teeth, namely with the funny and soulful Little Big Soldier.

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