silly is the name, entertainment is the game, (young) children skipping this is not lame

this is a live action adaptation of a manga and/or anime, set in a Japan reality that has been taken over by aliens that obsoleted the samurai class. the story is about a team of unusual characters investigating a serial murder which leads to a more sinister plot. depending on the parents and the society you live in, this film might be deemed unsuitable for younger children because there are crude jokes, violent actions, gun shooting, killing, cigarette smoking, etc. if you are or you are occasionally into silly, exaggerations (the bombastic), corny stuffs, and you are also a fan of anime and manga, do check this film out for its antics. it's a, you like it, or you don't.

humor sometimes pops out in moments least expected. the humor is plain silly. sometimes crude, often (over-)exaggerated. it is sometimes accompanied with corny dialogues and parody that reference a variety of other works. although this is an action comedy, there is an element of fantasy in it, and also a mild serious mood that weaves in and out throughout the film.

i am not sure if there is dubbing (voice over) in this film, but the spoken dialogues match with the lips' movements. i really appreciate that. part of what makes the film enjoyable is the actors' performances. the actors are deep into role-playing their characters, so much so that i imagine they are all hardcore manga/anime fans.

i come into this film feeling handicapped as i am ignorant of the Gintama universe, characters, stories and plots. but, the film is persuasive enough to make me want to check out other Gintama live action film and animated film. it is enjoyable, and would have been even more so if i am younger and/or familiar with the Gintama universe. there are definite aspects in the film that could have been made better, and hopefully the subsequent sequels do not disappoint.

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beautiful and imaginative storytelling, augmented by the performances, et al

this is an imaginative and beautiful drama with comedy that is sentimentally warm and touching. the story is based on the director's relationship with her mother, and is about a personal reconciliation with regret/grief, love, redemption, and filial piety. the director also plays the role of the daughter in this film. the humor tends to be light, silly humor through the play of words, and sometimes infused with exaggerated/corny dialogues and nonverbals.

the mother and daughter share a very close relationship. as the daughter grows up to young adult, the mother has certain expectation for her daughter as she does not want her daughter to be looked down by their relatives.. however, before the daughter could realize the expectation, an accident occurs that somehow transports the daughter back in time. in this new reality, the daughter gets to acquaint herself with the younger version of her mother. the daughter decides to reconciles with her regret/grief, and to redeem herself by trying to make her mother's more pleasant. but, the whole experience has a surprising twist.

overall, i feel that there are several aspects about this film that feel mature/ripe, well planned, controlled and executed. it's a 2-hour long show, and some audience might find a few segments that feel a bit draggy in this film, other than that i find the overall experience watching this film to be enjoyable. it's by far one the better film i've watched since the start of 2021.


//spoilers//
for me, there are several highlights to the film,
i) the actors are mostly unknown outside of China, yet their performances are enjoyable. i recognize only the actor who plays "Guangyin". there are the obvious observable exaggerations in certain performances. what is noteworthy is that this exemplifies that decent actors and decent performances have no direct correlation with popularity, having beautiful/handsome faces, and sexy/muscular bodies.

ii) the efforts and details to replicate early 80s China, even down to the hairstyles and army-like caps. also, if you missed it, right at the beginning, there is actually a green army cap present worn by a kid, and then later in the show there is another version of an army-like cap that common folks wear which is popular during that period.

iii) if there is dubbing (voice over), it's synchronized very well and feel natural. and, if you are familiar with the regional accents, the beginning part of the film is automatically obvious.

iv) i can actually sense/feel an undercurrent of emotion stirring under the surface, as i watch from beginning to end.

v) there are moments in the film that i am actually reminded of my Mom when i was younger. for example a) picking up different skills; b) often come to my elementary school to deal with the teachers and/or principal; c) my Mother used to play volleyball on a regular basis between late 70s and early 80s.

vi) it starts to get more humorous right from the 'failed movie dating' scene

vii) the entire final quarter is the climax

viii) the film is released in 2021. the setting of the 'present' in the film is 2001, which is observable from the report card early in the film. the majority of film takes place in 1981, just a few years after Deng Xiaoping announced China's open door policy.

ix) mid way through the film, there is an self-introspective moment. there is that moment of realization, if you change the past, the present will be affected. this is more of a modern concept. and if you consider the traditional Chinese belief that if something is fated/destined (aka meant to be), no matter what you do, the outcome will still be the same. compare and contrast that with Marvel film's concept, whereby changing your past doesn't actually change your present, it merely creates a new future based on that changed past. your present thus becomes your past, and there might be no you or a different you in the new future. however that self-introspection segment midway through the film has a continuity twist at the final quarter of the film.

ps. not related with this film, i just found out there is another older film with the same title, "Hi, Mom," a 1970 film starring Robert de Niro.

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a (soap opera) period dramas

i have to drop this on episode 5. it's just not my cup of coffee. the pace is just unbearable, and i thought this is an action period drama because of the English word "Sword" in the title. but it feels a lot like a soap opera. by the 2nd episode, it triggered me to recall Taiwanese soap opera. this series might be suitable for certain audience and market segment, but not others.

on the objective aspect, from the 5 episodes i watched, this film has a generous blend of indoor and outdoor scenes. there are often natural sceneries used as the background. the building architectural designs look authentic and real.

the costumes are presentable and believable. they look clean and neat (looks new), and you can actually observe the sewing quality. there are beautiful wearable trinkets/jewelries that are not over the top. the makeups are also not exaggerated or over-exaggerated. i noticed that a few of the female's inner or outer collar has a flip-twist at the top end corner and i don't know if it is supposed to signify something or nothing.

it seems that the director and the cinematographer painstakingly want to ensure this series is filmed with as much realism as possible. you can observe this from the lighting effects, the set decorations, the cinematography, etc. this is further enhanced by the actors' performances and dialogues. i also felt the pacing, the performances, the lighting, the cinematography, and the dialogue are of a reasonably consistent quality/rhythm/flow.

one of the drawback of this series is that the dubbing (voice over) is not synchronized well., but this seems to be a pervasive issue affecting a whole lot of CDramas and Chinese films.

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kudos to the stunts in this Hong Kong style action comedy

an action comedy film laced with a bit of romance, and humorous dialogues and non-verbal actions. the story tells of a cop who experiences a challenging period in his life and career. this film is suitable for late teen age group to above as there are drugs, violence and murder scenes. this film feels through and through like a Hong Kong production. there are a few parody of older movies present in this film, but because the screen time on these segments are very short, some audience might miss them.

for me, there are five highlights to the film, i) the stunt choreographies; ii) the quality of stunt works perform by the stunt folks; iii) Donnie Yen performing a mix bag of comedy, drama/romance, and action; iv) Teresa Mo's performance; and, v) the stark evidence of Hong Kong style production.

it is a delight for me to watch Yen performs a comedy role, and it is even more of a delight to see Teresa Mo. the last time i watch Mo in a film/series was 15+ years ago. i didn't realize she is still active in the entertainment industry until this film and until i checked Wikipedia.

although, i feel that the quality of entertainment in different segments of the film vary, overall, it is still an entertaining piece.

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five unique short stories about ordinary folks and their hometowns

this is an enjoyable film that is comprised of five unique stories about common folks' hopes/dreams/aspirations and their affinities with their hometowns (or place where they were born/grown up in). each story is unique and independent of each other and presented by a distinct set of team of directors/screenwriters/cinematographer/editors/actors/sets/etc.

there are the occasional mild, exaggerated twists in each story, and there are elements of realism that audience can relate to. although each story is unique and independent from the other, there are shared links that bridge them together.

i don't think this film is a comedy. there are certain segments in certain story that has more comic acts and the occasional funny dialogues. not everyone is going to find all five stories equally enjoyable. some might like a certain story more than the other, etc.

a couple of keywords that come to mind regarding this show include: diaspora; collage.

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watch this if you really have nothing better to do and you are super curious

this is a humor-laced, action-adventure, fantasy. it feels a bit like xianxia genre, but it is not. it is bicultural, as it attempts to feature a mix aspects of Japanese with that of Chinese. this show and the story feel more like a loose adaptation from an online novel, and/or from an online game.

it's a low production show that, if it were released theatrically, i would cry out laughing. it is CGI-dependent, but the CGI quality leans on the mediocre. most, if not all of the casts are relatively new and/or unknown actors (or non-mainstream actors).

there are comic elements throughout the show, but tend to be lame-o-moe or corny/dumb. there are not a lot of martial arts choreography. the actions depend more on CGIs, background sound effects, wire-fu, and editing. actually, i do feel there are occasional moments when the actors' performances are enjoyable.

i feel it's kind of messed-up because the producer/director/screenwriter tries to blend folktale with pop culture, Japanese and Chinese cultures, human actors with animated characters, xianxia with wuxia with JPRG/MMORPG elements, etc.

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a show that is guaranteed not to stir pleasant dreams nor terrible nightmares

i am rating 5 as overall mainly for efforts, money pumped into paying all the teams involved in this film, and for lessons i observe analyzing this film.

highlights of the film, i) immortal fart; ii) the caption typo, "i sot it!"; and, iii) a few of the concepts/imaginations are creative and interesting.

this is a shallow, CGI heavy, action fantasy show. just grab a popcorn or your favorite snack, or binge watch this. don't mind me though, this films is still relatively enjoyable. i guarantee you won't have pleasant dreams or terrible nightmares after watching this show. it's good that they attempt to make this film, but unfortunately, i feel that this is an (overly) ambitious project lacking in preparation maturity and depth. it has over-the-top costumes and trinkets/wearables that are intricately designed, and often act as a distraction/annoyance. some of the makeups and costumes can at times be a distraction/annoyance, too. it has has too many characters, but lacking in character depth and development, and lacking strong story/plot.

it could have been broken up into 2 or 3 parts to enhance the quality of the show.

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a talent wasted on a characterless show

this is a fantasy mystery show with a bit of actions that is not of the wuxia genre. it just looks wuxia, but it's not. imagine watching a 70s-80s Chinese zombie shows but with better cameras, background sound arrangements, sets, and costumes. and in the middle of it all, throw a decently promising/talented actor. to make it worse, imagine the director and/or the screenwriter are kind of clueless on the kind of show they want to create.

the only redeemable part of this film is Zhao Yuanyuan performing the role as Ye Celeng. this is the 2nd time i've watched her acting. i find her portrayal of Ye Celeng is mesmerizing, especially with the makeup, her facial expressions, postures, non-verbal gestures, the gazes shot from her eyes, and the wuxia costumes she wore. if she was born earlier, and acted alongside the likes of Jet Li in a film similar to the Swordsman (Xiao Ao Jiang Hu / Smiling Proud Wanderer), probably it would have captivated a lot of audience's heart and imagination. i kind of feel bad she has to be involved in this film. but maybe her contract prohibits her from rejecting the offer/role.

plus, i tend to dislike films/series with zombies (jiangshi), living dead (huoshiren), puppets (kuilei), and ridiculous CGIs.

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Stephen Chow's style of exaggerated satiric comedy of the common people

found this films by Stephen Chow by accident, and i was pleasantly surprised to see Wang Baoqiang in the film.
this film is a relatively enjoyable film, but can at times be a bit too plain, and predictable.

this film has a satire comedic style infused with Chow's trademark comic style. A mix of over-dramatic/exaggerated bullshits, dialogues and non-verbals that are often filled with ticklishly funny dumbness. audience who gets it, gets it.

Stephen Chow has a knack of telling a story that has exaggerated/amplified ordeals of the common folk in a seemingly ordinary setting and turn it into something extraordinary that engages the audience's sympathy for the character, the story and the plot. often, the main protagonist is characterized as this innocent/naive and ordinary character who faces various kinds of crunching ordeals. at its core, it is saying that ordinary people can become extraordinary, and achieve extraordinary feats.

i think there are four main supporting characters in this film,
a father whose action sometimes contradicts his words in the way he expresses his love for his daughter
a deceitful man who preys on the innocent and gullible (and probably prey on the desperate)
a has-been actor who earns his second shot on fame/popularity by chance
a colleague who is too shy to profess his feelings until a turn of event in his life forces him to

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a CGI heavy wuxia film with traditional storyline and plot

this is a CGI-heavy, wuxia film in the traditional sense with a slight twist. it has actions, drama, jianghu intrigue, and romance. the cinematography leans more on artistic aesthetic. there are some beautiful martial arts choreography, acrobatics, string-fu, but enhanced with lots of CGIs. this film is not about hero vs villain, or about heroic achievements, but more about the fragility, dichotomy and complexity of a human being.

i would recommend watching this film on a large screen to better appreciate the CGIs and aesthetic appeal. it is actually uncommon in traditional wuxia stories to have a major character filled with facial tattos.

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an enjoyable sci-fi doomsday film that is energetic, not original, and a bit long

this film is entertaining and worth watching if you haven't watch it already, but be prepared for a 2-hour long experience. some of the enjoyable aspects of this film include, the pace, the CGIs, sound effects, background sound/music, dialogues, various visual treats, and the presence of multiple languages/races. if you are a critical or analytical person, this film also offers various venues for you to critically analyze the logic and facts. this film feels similar to a big budget Hollywood film., but the storyline and plot feel more like an amalgamation of several doomsday sci-fi predecessors.

if you have to rely on the subtitle/caption to understand a Chinese language shows, be forewarned that it might be a bit too fast to read. this can be a bit of juggle and a distraction, in-between watching the film, enjoying the visual presentation, observing, and reading the captions.

also, this film kind of reminds me how Japan's car industry borrow heavily from U.S./Europe, and how Korean's pop culture industry borrow heavily from Japan/U.S., etc. i want to see more of this in the near future, but most of all, i want to see a growing trend of borrowing that either dissipates or turns more into unique/original/fresh creations.

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yet another (multiverse) Mulan bites the dust

this is a wuxia-style action adventure that re-imagines the life of Mulan of folklore as a military general instead of a soldier. it takes a setting in the year 424 A.D. during the third emperor of Northern Wei's reign, and the story is about the mission to rescue a princess. the show is suitable for late teens to above. the show incorporates elements of traditional wuxia storytelling. there are also elements of tragedy, brutality, and violence in this show which some may enjoy more than others. another strength of this show is the generous use of natural environments as background sceneries, both indoor and outdoor.

this show feels more like a pay-per-view or a cable tv production instead of a big screen film. it starts off at a relatively fast pace in the first quarter. then it slows down in the second quarter that can feel draggy. the pace picks up in the third and fourth quarter. it is yet another one of those bandwagon production that tries to capitalize on the Mulan folklore. the show doesn't actually need to be based off the Mulan folktale character into the storyline at all. the main female character can be any name and any background and she doesn't have to be based off Mulan folktale to be relatable, presentable, and endearing.

others may might feel find this show rough around the edges. the overall presentations of these elements, the story flow, and the editing can at times be insubstantial.

you name it. idk. bandwagon. domino effect. the blind leading the blind. yet another (multiverse) Mulan bites the dust.

//enjoyable//
+ outdoor and indoor natural environments as background sceneries or setting
+ background sounds/music arrangements and selections
+ traditional wuxia storytelling elements

//can be improved further//
o casting
o presentable performances but contextually inconsistent. there are multiple detectable issues. part of it might be casting, part of it the guidance/mentoring/directing, part of it editing, part of it the actors'.
o camera shooting techniques like closeups and slow motions, but sometimes inconsistent. occasionally it feels like big screen camera techniques, often it feels like tv drama camera techniques.
o martial arts choreography and string-fu with some flaws;
o detailed and colorful costumes, but there are a few ridiculous and unconvincing costumes
o storyline flow and the length proportion of certain segments
o interior props
o mediocre CGIs
o with inconsistent editing
o the You Ming territory segment starting from the second quarter of the film. better directing and editing, better planning and preparations, better plot writing, and stronger performances would improve this segment.
o the rescue-the-princess segment in the third quarter of the film
o brief incorporation of comic illustrations
o the director and/or screenwriter/s attempt to present the main antagonist more as a human being so that the audience can empathize with the main antagonist. but i feel the attempt is futile
o generous amount of blood splattering effects which can sometimes feel superfluous
o interior design, setups and props are not a distraction, some are more detailed than others
o dialogues are enjoyable but not always consistently enjoyable

//turnoffs//
- inconsistent translations and dubbing (voice over)
- error in the first opening translation. 公元 (gōngyuán) is A.D. not B.C.
- inconsistent directing, editing and editing control/management
- some logical flaws with the raiding scene at the beginning. for examples: i) how can pushing a person cause the vomitting of blood? the only explanation in a wuxia series is injury from being hit by an inner force; ii) how can a strengthened rattan shield be so easily leaved in half like styrofoam from a top-down forceful slash? again, the only explanation is if inner force is used; iii) how can someone die or fall flat on their back immediately after a mere push? same thing, only through inner force; iv) how can 2 arrows (one on top of another) hit 2 men who are about a meter away from one another? the arrows must have target guidance technology; etc.
- why is the princess riding a camel instead of a carriage?
- did the Northern Wei dynasty ever form any sort of alliance with the Northern Lian dynasty?
- the compass is way too intricately designed for 424 A.D.
- there are dialogues/segments for dramatic effect that can feel goosebump-corny
- starting from the second quarter of the film, Mulan looks like someone with sleep deprivation or a drug addict. i don't understand why they put that darkened makeup under her eyes.
- there are several draggy segments
- what is the purpose of giving a couple of seconds of screen time to a walking mouse to the storyline/plot?
- the fake princess stabbing Mulan scene. there is no way the dagger/knife could penetrate Mulan's armor and body if you observe the physical space of the fake princess, the distance between the fake princess's left arm with the actor standing besides her, and the physical movement of the fake princess's left arm in stabbing Mulan. the only convincing way to explain it is that the fake princess uses inner energy on the stab, which is also impossible as she fell down so easily to the ground
- the scene where the fake princess is killed with an axe is unconvincing
- editing issue of CGI or special effect at the scene when the guards congregate around the princess and a soldier is struck by an arrow on his back. you can see blood splatter when the arrow struck the soldier's back, but a few frames later you can see there is no blood marking on the soldier's armor
- etc.

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another multiverse Mulan bites the dust

this is an action adventure film adaptation of a female heroine from ancient traditional folklore. this film re-imagines the character, re-imagines her ordeals, and re-imagines the universe/arc she lives in (like amultiverse of sort). this film is suitable from teenagers segment and above. it has decent quality filmatography, lighting effects, and film quality shooting techniques accompanied with generally enjoyable background sound/music arrangements and selections.

there is nothing fresh/original and outstanding about the storyline and the plot. this film offers a generous employment of natural environment, but there are a few goofs (for example, the same scene from 2 different angles show the moon differently, one with a full moon while another with 3/4 of a moon). some of the actors' performances are decent, but not enough to make them endearing. martial arts choreographies are accompanied with string-fu and they are arguably enjoyable. the casting, actors, and performances are decent, but nothing outstanding. there are minor inconsistencies with the dubbing (voice over) but overall it's passable.

from the ending, it looks like the producer and/or the director planned for a sequel.

the film starts to go downhill fast for me starting from the battle scene midway through the film. the chronological order of the decelerating enjoyment goes like this = observable issues with the battle scene -> dancing-singing Mulan -> drunken Mulan revealing she is a woman -> the shaman/witch segment -> etc.

//turnoffs//
- translation is mediocre. for example, come on, (Thai) baht? we are talking about Northern Wei dynasty in the 4th century AD here.
- the realism aspect of the fighting scenes can at times be lacking and inconsistent. it's the same issue with the battle scenes, the design/setup and choreography are nice, but the realism aspect is inhibited. i am not fully certain if this is entirely the director's fault, the editing's fault, or both. a few examples, i) the killing of captured prisoners segment. there is no way anybody will get hurt by the way the sword is moved to cut the throats; ii) the battle scene midway through the film. there is a segment of 2 soldiers thrusting their spears towards an enemy. thing is, the enemy vomits out blood when the tips of the spears barely touched the surface of his armor; iii) at the battle scene midway through the film, when the two opposing armies rushed towards each other, you can actually observe a few of the extras halting and waiting (for something). it's battle, doing that will get you hacked and killed instantly; iv) the actor playing Mulan fumbles with the sword grip; iv) sometimes the actor playing Mulan's sword swing looks low-energy and slow, and there are a few instances that the way she holds the sword could easily injure her wrist; etc.
- sometimes there are editing effects that can get distracting and annoying, like the flashes of light, blurring effect, etc.

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a bowlful of energetic, multi-cultural, comedic and investigative entertainment

after experiencing 1+ year pandemic situation, this film is a huge refreshing welcome!

a highly energetic and entertaining, multi-cultural investigative film. it is paced contextually, vibrant, colorful, and packed with consistently satisfying performances. this film has many manga-esque and/or comic book elements. there are also number of unpredictable moments, actions, and wacky dialogues, especially in the first half of the film. the film is also rich with slapstick humor. there are several jokes that might be more familiar amongst Asians in Asia. i don't think this film is suitable for all age group, some/many parents might deem this film not suitable for children because of the death scene with blood splattering in the air.

i like the way this film incorporates Japanese setting, language, culture, custom, and actors. i also like the involvement of Tony Jaa, but unfortunately most of the time he is speaking in English instead of Thai. the storyline and the plot are not complicated

it is amazing how well the extras blend in this film blend. i also enjoy the good to very good performances by many actors. Nagasawa Masami's performance at the court scene when she reveals her motive is enjoyable. this is also enhanced by the English music selection and the short flashbacks.

the cameras used for filming are of excellent quality. the lighting and lighting techniques are nicely done. there is a blend of outdoor and indoor background sets. the selections and arrangement of background sounds and music enhanced the film. there are unpredictable interjections with background music from old and popular Chinese, Cantonese and English songs in this film.

i feel that right after the main plot is revealed, the storyline digresses in much of the middle part of the film. part of the digression makes sense when audiences arrive at the ending scene which opens up for or gives a hint of a fourth sequel.

i am impressed with the first several minutes of this film for the super wacky airport scene, followed by the short chase scene, and the the Japanese bath house scene. just imagine the preparations, number of shots, casts prep, story board designs, directing, editing works, etc. that are involved. the best highlight of the show for me was the Sumo mini-scene (copycat Hulk bash Thor scene) and the Kendo mini-scene. it was pure laughing with tears moment for me.

the final scene with Michael Jackson's Heal The World is fitting, but an irony. this film is made before Covid-19 pandemic, aired during Covid-19 pandemic, has the word "Chinatown" in the title, while in USA there is an ongoing increase of cases of verbal/physical/ violence against Asians Americans in USA, some incidents occurring right in "Chinatown"

//additional//
- wished Tony Jaa had more Thai dialogues instead of English
- the director and/or screenwriter/s try to (mis)lead the audience into the line of thought that Qin Feng somehow pushed Akira down to his death. however, in a split second when that segment shifts, it is automatically obvious that there is a flawed logic of thinking or being led to think somehow Qin Feng might have actually pushed Akira.
- how did Qin Feng communicate with Akira Murata as he doesn't have that instant real-time translator earpiece? the only way this is possible is if we assume that, like Anne Kobayashi, Akira Murata also has a certain degree of comprehension of the spoken chinese.
- how did Akira bring AnneKobayashi's body down? how did Akira chain Kobayashi to the pipe? How did he get out after chaining Kobayashi to the pipe?
- is the universal earpiece translator worn by Tang Ren water proof? the CCTV footage early in the film shows the year as 2019. i would have to assume there is already a water proof universal earpiece translator available in the market in the film's reality.
- the logic presented by Hiroshi Noda to prove Qin Feng's innocence is redundant. a simple forensic investigation on the timer would reveal if Qin Feng's palm leaves a marking on the surface.
- logical flaw in Qin Feng's argument that Su Chaiwit grabs a broken glass to lightly stab himself and then use the broken glass to cut Watanabe's palm. why didn't the police run a forensic analysis on the broken piece of glass? it's obvious Su Chaiwit wasn't wearing a glove, neither was the piece of broken glass envelops by any material. Su Chaiwit's fingerprint/s would likely be on that piece of broken glass.
- logical flaw in Qin Feng's argument that Kobayashi hid the piece of broken arrow into Su Chaiwit's trouser pocket. the piece of broke glass is probaly longer than a palm's length and more than 5cm in width. if Kobayashi stealthily slide the broken glass, Su Chaiwit would have noticed it immediately. Su Chaiwit would also be able to feel the broke glass when he is moved from the crime scene and into the car. Su Chaiwit would also be able to feel the broken glass being removed out of his pocket trouser when he and Kobayashi are in the car.
- the court scene is big joke
- i might have missed something along the line, but what triggered Watanabe to suspect Kobayashi Anne is his daughter?

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an uninspiring political intrigue blended with martial arts elements

note: The Four III might also be have other English titles, such as Kingdom of Blood, The Four: Final Battle

the 1st installment is more of wuxia elements blended with court intrigues, while this 3rd installment is more of court intrigues blended with wuxia elements. this film unveils the conspiracy plot and offers more character developments with a few short light comedic elements. it is recommended that you watch the 1st and 2nd installments before watching this 3rd installment. there is nothing surprising about the storyline and plot which are uninspiring and linear. this final installment is slightly more enjoyable than the 2nd.

generally, the acting/performances of some of the returning casts are slightly better in this film compared to the 2nd installment. for example, Liu Yifei's performances improve in this 3rd installment, though i still feel that she is not the most
suitable actor to play this role/character. there are segments where her performances standout, there are also segments where her performances are unconvincing. in this installment, the chemistry between the two lead characters has improved a bit than the 2nd installment.

in comparison, veteran actor Anthony Wong as Zhuge Zhengwo performs arguably consistently in all 3 installments. Zhuge Zhengwo is easily my favorite character in all 3 installments.

the martial arts choreography is average in most of the fighting scenes. what truly stands out in all of the fight scenes is the string-fu and props. the use of CGIs and special effects are evident in all of the fight scenes. the quality of the martial arts choreography stands out only during the second last fight scene. this film also offers more frequency of projectiles and explosions

i think this film might be for you if,
+ you have nothing better to do, or you want to space out
+ you are a big fan of Deng Chao and Liu Yifei
+ you have already watched 1st and 2nd installments, so might as well, right? :-)

//turnoffs//
- the voice actor for Wu Qing (Liu Yifei) is not the most suitable choice
- although Liu Yifei performs better here compared to prior installment, i still think that there are better actors who can perform this character more convincingly
- storyline and plot are uninspiring and predictable
- dialogues are average
- segments editing and segments flow can sometimes be a bit rough
- minimum usage of natural environments. natural environment as background scenery is more evident in the 2nd half of the film.
- parts of the minor grievances i have with this film and the first and second installments have to do with the director's judgment/decision/vision/approach, and then the director's guidance/direction for/to the actors
- the ending and the ending logic of the main antagonist is lame-o-mo.

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