Reviews

"How did you end up here?"

Wen Shi Pei’s directorial debut, Are You Lonesome Tonight?, was an impressive first film. The sets and color scheme were heavily reminiscent of Wong Kar Wai. Shadows, rain, green, orange, and red lighting set the mood as much as the rundown sets. Eddie Peng and Sylvia Chang gave strong performances as the disparate main characters brought together by a husband’s death.

Wang Xue Ming is forced to take a detour late one night when a bull gets loose and refuses to move out of the road. One unassuming turn leads to cause and effect with Wang becoming entwined with the widow Liang and a group of unsavory businessmen.

The film began in the future with Wang in prison, lamenting his lack of memory of previous events. The story bounced back and forth repeatedly and you have to stay sharp to keep up with when the events were happening. Significant details unwound, revealing themselves in retelling the story from different angles. Even with those clues laid out, other secrets stayed buried.

Eddie Peng, in an unglamorous role with beaten face and unkempt hair, had the strongest performance I’ve seen him give until now. Enigmatic, and feeling guilty over the incident on a dark road, Wang kept his emotions tightly hidden. Sylvia Chang also shone as the widow who wasn’t particularly sad to lose her husband, yet also had no idea what to do with her life in an empty apartment. Wang Yan Hui as scruffy Detective Chen, had less to do, as he attempted to discover how Mr. Liang ended up dead. The stars were Peng and Chang in an unusual friendship.

AYLT dizzyingly overused the flashforward, flashback, and flashsideways for me, yet I still found the film’s style fascinating. The criminal mystery was largely left untouched, yet I wasn’t overly concerned so caught up was I in Wang and Liang’s strange give and take. At times slow, at times perplexing, and at times gorey, Are You Lonesome Tonight was an excellent first film for Wen Shi Pei.

“Do the chairs in your parlor seem empty and bare?
Do you gaze at your doorstep and picture me there?
Is your heart filled with pain, shall I come back again?
Tell me dear, are you lonesome tonight?”

4 February 2025

Read More

A Bigger, Bolder Leap for Chinese Sci-Fi

When The Wandering Earth (2019) burst onto the scene as one of China's first major sci-fi blockbusters, it established itself as a landmark moment for Chinese cinema. Adapted from Liu Cixin’s short story of the same name, it took creative liberties to expand the premise into a full-fledged disaster epic. Now, The Wandering Earth 2 (2023) takes things a step further—not just as a prequel that deepens the world-building but as a film that refines and elevates the themes that made the first movie so impactful.

There is no doubt that The Wandering Earth 2 was made for the cinematic experience. Watching it in a theater is a must to truly appreciate its scale - I think my opinion of the film would’ve been different had I not watched it on a big screen first. The jaw-dropping VFX and booming sound effects (especially with the space elevator scene) amplified its impact in a way that simply cannot be matched by a home viewing.

When I first watched The Wandering Earth in Australian cinemas, the entire theatre was empty aside from my cohort. This time around, the entire theatre was packed, even with COVID restrictions still in place, even during the midnight screening when most people would prefer to be asleep. This giant contrast speaks to the immense cultural and cinematic impact the sequel has had, drawing larger audiences and cementing itself as a must-watch experience.

Unlike the first film, which had a more straightforward “save the Earth” disaster-movie plot, The Wandering Earth 2 delves deeper into the political and philosophical dilemmas of humanity’s response to planetary catastrophe. It explores the decision-making behind the “Moving Earth Project,” showing the desperate struggle between factions advocating for different survival strategies—whether to escape Earth entirely or to embark on the long and arduous journey of pushing it out of the solar system. This level of depth adds significant weight to the story, making it feel grander in both scale and stakes.

One of the film’s strengths is its ability to balance spectacle with heartfelt human drama. It touches on loss, sacrifice, and the persistence of hope, making it more than just a visual extravaganza. Wu Jing’s performance as Liu Peiqiang—who would later become an important figure in the first film—adds emotional depth, showing the cost of duty and responsibility in the face of global calamity.

A key element that sets The Wandering Earth 2 apart from Hollywood sci-fi is its emphasis on collective unity over individual heroism. While Western sci-fi films often focus on lone protagonists defying authority, this film underscores the idea that survival is a communal effort. This deeply ingrained collectivist philosophy—one that resonates strongly in Chinese culture—might not be immediately familiar to Western audiences, but it is precisely this perspective that gives The Wandering Earth series its distinctive edge.

This theme is also reinforced through the portrayal of international collaboration. While there are geopolitical tensions in the story, the narrative ultimately leans towards cooperation, reflecting an idealized vision of global unity in the face of existential threats.

For those familiar with Liu Cixin’s works, The Wandering Earth 2 contains several nods to his broader literary universe. The concept of artificial intelligence playing a major role in decision-making recalls elements from The Three-Body Problem, where AI and virtual reality shape humanity’s response to existential crises. Additionally, the film references real-life space projects, drawing inspiration from China’s advancements in space technology, such as the Tiangong space station and the Long March rockets.

The space elevator, a concept long discussed in theoretical physics and sci-fi literature, is one of the film’s most visually striking elements. While similar concepts have appeared in Western media (such as Arthur C. Clarke’s The Fountains of Paradise), The Wandering Earth 2 brings it to life in a way that feels both realistic and grounded in near-future science. The sequence involving its catastrophic collapse serves as a metaphor for humanity’s fragile grasp on technological ambition.

Another historical parallel can be drawn between the film’s depiction of global-scale engineering projects and China’s own history of massive infrastructural undertakings, such as the Three Gorges Dam and the South-North Water Diversion Project. These real-world projects share the same spirit of large-scale planning and collective effort seen in the film’s planetary migration project.

Final Thoughts

The Wandering Earth 2 surpasses its predecessor by adding layers of complexity, political intrigue, and character-driven drama to its already spectacular visual presentation. The prequel format allows it to expand on the universe in meaningful ways, making it more than just a disaster film—it becomes an observation on the choices humanity makes when facing the abyss. While the first film succeeded in its high-stakes action and grand premise, the second film excels in its worldbuilding and thematic richness.

For those who haven’t seen it yet, watching it on the biggest screen possible is highly recommended. The impact of its visuals, especially the space elevator sequence, is something that home viewing simply cannot replicate. The film's uniquely Chinese perspective on unity and survival gives it a refreshing take in the sci-fi genre, making it a standout among its peers.

Overall, The Wandering Earth 2 is a triumph—not just for Chinese cinema but for global sci-fi storytelling as a whole.

Read More

Haunting, raw and unforgiving

Kekexili: Mountain Patrol (2004), directed by Lu Chuan, is a gripping and unflinching exploration of humanity’s struggle against the forces of nature and greed. Inspired by the true story of Sonam Dargye, a Tibetan ranger killed in 1994 while confronting poachers, the film follows a group of volunteer rangers—the Mountain Patrol—as they risk their lives to protect the endangered Tibetan antelope in one of the most inhospitable terrains on earth.

The documentary-style filmmaking is one of the film’s most prominent features, lending an unparalleled authenticity to the story. There is no elaborate camerawork, no smooth tracking shots, no aerial footage—just the unrefined, often shaky hand-held cinematography that immerses the audience in the grittiness of the experience. The film was made in the early 2000s, well before the widespread use of drones, high-end stabilization or ultra-HD imaging, and this lack of technical refinement only enhances its visceral impact. The erratic movements of the camera mirror the instability of the environment, making the viewer feel as though they are right there with the patrol, enduring the bitter cold, suffocating dust, and unforgiving terrain.

The pacing of the film is deliberately slow, reflecting the grueling nature of the patrol’s journey. There are no grand heroics or manufactured moments of triumph—only exhaustion, futility, and the ever-present specter of death. It’s this patience in storytelling that makes Kekexili so evocative. The quiet moments, whether a long stretch of road with no sign of life or the silent, knowing exchanges between characters, resonate just as deeply as the film’s most harrowing scenes.

Adding to its power are the sweeping landscapes of the Kekexili region, which serve not just as a backdrop but as an active force within the film. The vast, empty plains and towering, snow-covered peaks embody both the staggering beauty and mercilessness of this remote land. The cinematography captures the sheer scale of the environment, reinforcing the insignificance of human beings within it. Each frame tells a story of isolation, endurance, and an unspoken reverence for the land.

At its core, Kekexili: Mountain Patrol is a powerful plea for conservation. The struggle of the rangers against poachers is not just about saving a species but about maintaining the delicate balance between human survival and environmental stewardship. Kekexili is a land where survival is brutal, and the lines between right and wrong blur in the face of desperation.

The film’s authenticity is further bolstered by its cast, which primarily consists of local Tibetan actors. Their performances are understated yet deeply moving, conveying a quiet resilience and determination that feels genuine. The film’s sparse dialogue allows the actors’ expressions and body language to speak volumes, further emphasizing the weight of their mission.

The soundtrack complements the film’s stark visuals with a minimal yet evocative score. Its atmospheric melodies underscore the film’s somber tone and heightens the emotional weight of the story without ever feeling intrusive. The ambient sound design—howling winds, distant gunshots, the crunch of boots on frozen ground—adds another layer of immersion, pulling the audience deeper into the bleak yet beautiful world of Kekexili.

The film closes with a simple yet powerful on-screen tribute, ensuring that Sonam Dargye’s legacy is not forgotten—his sacrifice became a turning point for conservation efforts in the region, galvanizing the creation of the Kekexili National Nature Reserve in 1995. Today, a martyr’s monument stands at the foot of the Kunlun Mountains, a solemn reminder of the price paid to protect this land and its wildlife.

Kekexili: Mountain Patrol is not an easy film to watch, but it is an unforgettable one. Its raw and unfiltered approach strips away the romanticism often associated with survival stories, leaving behind something far more affecting: a stark and poetic introspection on sacrifice, loss, and the thin line between heroism and futility. It’s a film that lingers long after the credits roll, much like the desolate landscapes it so beautifully captures.

Footnote:
Western journalism often conflates the entire Tibetan Plateau with the Tibetan Autonomous Region (TAR), frequently framing any film set in Tibetan cultural areas within the broader geopolitical discourse of Tibet and China. Kekexili: Mountain Patrol is sometimes interpreted through this lens, with some commentators questioning whether the film carries a political subtext. However, Kekexili (Hoh Xil) is geographically located in Qinghai province, not TAR, and the film itself remains strictly focused on conservation and survival. Director Lu Chuan has emphasized that Kekexili is a non-political work, dramatizing real events concerning volunteer rangers combating poaching in the 1990s. Rather than serving as a political allegory, the film explores the harsh realities of environmental protection, the ethical dilemmas of law enforcement in remote areas, and the fragility of human existence against an unforgiving landscape.

In the end, Kekexili: Mountain Patrol transcends politics by addressing a far more urgent and universal issue—the survival of our planet’s ecosystems. It is a film that deserves to be seen and understood on its own terms, free from the weight of geopolitical speculation.

Read More

Bogota - the tale of Survival & Power, Elevated by Song Joong-ki's Performance

Filming was completed in 2021 and released in 2025. Many things have changed, with OTT platforms ruling the current entertainment trend. Viewers are watching different movies with different subjects from different countries. One of those countries is South Korea. It is a care of the address of new contents, and the Bogota movie came from it. It's a new attempt in SK movies taking the subject of immigrants lives.
It's a story about a person establishing his legacy in a place with no guarantees for his life.
The story follows how the main character is shaped into a fearless guy and what the events lead to that make him change his fate from an immigrant guy to the person who controls the smuggling business. The core story is routine: "The main character starts his life from the bottom and reaches the top in illegal business by taking down one by one those who are getting in his way".
But the highlights of the movie are the acting, 90's sets, and art. Coming to the acting, every actor is given their best. Song Joong-ki again delivered his best; his transformation from a 22-year-old guy to the mid-30s is a remarkable role in his filmography. Loved his raw character and realistic acting in Guk Hee's role.
The 90's art makes a good impression on the movie, like cars and costumes of 90's Colombia. The music [soundtrack] is okay.
Now see where the movie struggled to get into the hit mark. The story has full potential to make this movie a great movie. But it looks like the director and writer failed to utilize it for the best. Also, the story narration is great, but again, the failure part creates the depth of the characters, except for Song Joong-ki & Lee Hee Joon; other characters are far away from this. It would be the best movie if the director and writer put a little more focus on creating emotional development.

Overall a worthy movie to watch & Song Joong-ki will impress you.

Read More

A MISSED OPPORTUNITY

*Bogotá: City of the Lost* is a crime drama starring Song Joong-ki, but despite an interesting story, it doesn’t fully deliver. The film follows Kook-hee, a young Korean man who moves to Bogotá and gets involved in the city’s black market. It promises action and suspense but feels slow at times, with too much talking and not enough excitement.

One good thing about the movie is its setting - Bogotá looks gritty and realistic, making you feel like you’re really there. Song Joong-ki does a great job acting, but the story doesn’t give enough attention to other characters, making them feel unimportant. The action scenes are also not very thrilling, which is disappointing for a crime movie.

Overall, the movie has some good moments, but it doesn’t live up to expectations. If you’re a big fan of Song Joong-ki, you might enjoy it, but if you’re looking for an intense crime thriller, this one might not be for you.

Read More

"We're rich bums"

Lolo and the Kid might be a polarizing film due to its subject matter. An older man uses the orphan he raised to con childless couples. They live day to day, spending their ill-gotten gains at the amusement park and karaoke bars.

Whenever Lolo runs short of cash, he leaves Kid near an ice cream cart with some money and goes to Childless Couple Lane to scout out people who will empathize with the small waif and want to take him in. The two scam what they can out of the caring clueless couples before moving on. After they blow through their money, they find another sympathetic couple to rob. Lolo’s conscience begins to get the best of him, knowing that Kid wants to go to school.

Lolo’s words and actions were highly contradictory. He divided the world into those who cheat and those who get cheated. Portrayed as a kindly grandfather character, he taught Kid to be respectful of others and to not curse. All of which seemed preposterous when he had Kid literally steal from the couples they scammed. What troubled me the most were the couples the duo targeted. Emotionally vulnerable couples who could not conceive or have children of their own, were dangled a desired child to care for and then woke up the next day having been robbed. Lolo’s love for the abandoned boy could not make up for the harm they caused. And ultimately, that’s what the film focused on. Lolo was uneducated and poor and the childless couples, or in the one case, a single woman who had overcome a traumatic past, were rich and therefore their feelings did not matter. If they had been evil child dealers or abusive tyrants instead of people who sought to keep a child from sleeping on the streets, Lolo’s actions wouldn’t have been as reprehensible. Also, the repetitive scams began to make this 90 minute film feel much longer.

The two main actors actually did a fine job, especially little Euwenn Mikaell as Kid. While the con artist's sense of moral and parental responsibility finally ran him down like a Mack truck, I struggled to feel moved. And the director worked hard to emotionally manipulate me in nearly every scene. Lolo and the Kid had a few compelling moments, but for the most part, in trying to make everyone involved kind and caring, the film lost its edge and unintentionally made Lolo’s schemes sadistic.

3 February 2025

Trigger warning: Kenny Roger's "Through the Years" was sung badly and often throughout the film.

Read More

Are power and money really worth losing yourself?

I'm not a big fan of crime films, but I watched this one because of Song Joong Ki—and I don't regret it. At first, the plot seemed slow and dull, but Joong Ki's performance still managed to keep me engaged. He transformed into a charismatic yet cold-blooded character searching for his path in the ruthless world of crime. His character reminded me of Vincenzo—it’s as if everything started with this film, and then he moved on to the mafia haha.

Moral: The path to success can be so dark that there’s no turning back. The protagonist starts with the desire to survive but gradually gets trapped by his own choices. The film shows how circumstances can change a person and how thin the line is between fighting for a better life and losing one’s humanity.

I can’t say the film left me in awe. It lacked emotional intensity, and some scenes felt dry, failing to evoke the right emotions. The overall atmosphere didn’t stand out, and the supporting characters remained underdeveloped, making them hard to follow.
Despite everything, the film raises important questions: Can a crime be justified if it’s the only way to survive? And are power and money worth losing yourself?

Read More

Very disturbing ... Very Scary

It was pretty disturbing because it nailed the reality, but honestly, some details were overlooked. It felt real—her mind was a blur at first, and with every new detail, the tension kept building. But I gotta say, I have no clue how Korean police work, yet the detective gave off serious "I bribed my way into this job" vibes. Like, FL's friend uncovered more than he did—is that not concerning to anyone else? Still, despite all the criticism, it’s a 7-year-old mystery movie, and it does its job. The acting wasn’t bad, the characters definitely grew, and it had just the right amount of thrill and creepiness.

Read More