User Reviews

Words that keep flashing through my mind. Utilitarianism, the good of most people; individual hero: indifferent Creator, eternal history; the value of liberal arts students once again useless hahaha (archaeological pictures count?) The movie's been showing a problem: if you are a train conductor, two tracks, one above two people, one above ten people, where do you want to press. This is also the teacher repeatedly in that phrase "fair". From Liu Peiqiang shut his teammates out of the door to fight with the people who destroyed the space elevator, to Han Doduo to give his son's father a place in the dungeon, to his escape to give up his position to others, to over 50 years old to detonate the nuclear bomb. I can't help but wonder if someone is evil if he goes against the good of most people.

The red light that keeps flashing on 550W, that is the relentless monitor, like our Creator. It doesn't matter what humans think at this moment, our joys and sorrows, nor our hopes for the future. We are merely a part of history.

The final quote from Moss, "The optimal solution to save mankind is to destroy mankind," is a terrible thing to think about.

If destruction is the optimal solution for history, human beings will definitely try their best to avoid destruction, even if the end is the same.

This reminds me of another short story written by Daliu, Cretaceous Past, the story of the destruction of dinosaurs.

English subtitles by Coleen Chua

I barely remember The Wandering Earth. It was a poorly told complete mess of dated comedy and cheap overly dramatic drama. Good thing The Wandering Earth 2 is actually The Wandering Earth 0. I bet there is intertextuality and references to the original film, that i've missed. But this being a prequel means it's a new independent story that starts right here.

Watching this feels like reading Foundation a bunch of disparate anecdotes on the given topic.

It starts as an Emmerich disaster epic with tired comedy and a lot of CGI destruction. It's like Don't Look Up, where commie party of zhonghua has saved the world in a jackpot chain of last second lucky rolls. The digital life project, and its terrorist supporters are stupid. This is not Diaspora, the entirety of humankind is still stuck in the solar system, and the movie says that the sun will soon burn everything to a crisp. This is just digital suicide. They even have the evidence of what will happen, when sun destroys all digital life on the moon.

When they finally decided to continue building the engines, the film jumps through years in a montage. And then the mood switches from Emmerich to overly dramatic drama drama. That is effective with its cinematography. But this is still a movie where literally everything literally always literally goes literally wrong in the last second, only to be fixed in the laster second. Don't worry if the timer shows 00:00, there's always overtime. A nuclear blast fireball behind you will wait for 10 seconds so you can deliver your speech. People who love cheap drama and don't care for the plot can probably enjoy this film immensely.

While this film is more coherent than the original, they still have introduced a ton of unneeded garbage that makes everything dumber. First of all they show how HAL9000 ruins everything for the whole run-time, decades before it was even created. It literally didn't exist when it orchestrated all the bad things. Second, there is some 70 years old prophecy that predicted everything that HAL9000 did decades before it was created. They show that nonsense three times, and i don't remember it being present in the second film, which it predicted in this one. This film tries to build tension with its cinematography, but besides it being a prequel, the countdown subtitles literally reveal plot-points hours before they happen. Like, oh noes who will reboot the router if there's nobody home? Don't worry the text on screen already said that internet will be rebooted in 30 minutes.

So they hired real english- and russian-speaking voice actors (maybe also for other languages) but they didn't explain to one of them the plot, so he read 550w as 550 watt.

This is an overrated movie, flood with bot reviews. This movie line is very poor and not intended for international viewers. Things are just not making senses.

I'm not one to revel in negativity, but it's my duty as a critic to be honest. "The Wandering Earth 2: Lost in Space" is, without a doubt, one of the most disappointing cinematic experiences I've had in recent memory. After the groundbreaking success of the original "The Wandering Earth," which garnered praise for its ambitious storytelling and visual effects, I had high hopes for the sequel. Unfortunately, my high expectations were met with a resounding thud as "The Wandering Earth 2" crashed and burned in spectacular fashion.

The plot, if you can even call it that, meanders aimlessly, jumping from one contrived crisis to another without any sense of purpose. It's as if the writers threw a bunch of random sci-fi elements into a blender and hit the "puree" button. The result is a hodgepodge of poorly explained scientific jargon and contrived obstacles that left me scratching my head and rolling my eyes.

The characters in "The Wandering Earth 2" are equally uninspiring. Gone are the relatable, fleshed-out individuals we grew to care about in the original. In their place, we get a cast of one-dimensional archetypes that feel like cardboard cutouts. The protagonist, played by a woefully miscast actor, is the generic action hero with no depth or personality. His motivations are so vague that it's impossible to invest in his journey.

The result is a jarring contrast between stunning, lifelike space vistas and laughably bad, video game-like graphics. The alien creatures, which play a significant role in the story, are a particular low point. Their design is uninspired, and their movements look more like a bad B-movie monster than a threat to humanity. The shoddy effects work consistently pulled me out of the film's world, reminding me that I was watching a poorly executed sci-fi flick.

The film's pacing is also a major issue. At a staggering 2 hours and 40 minutes, "The Wandering Earth 2" is an exercise in tedium. The plot drags on and on, with seemingly endless detours and pointless subplots that do nothing to advance the story or develop the characters. It's a classic case of a bloated runtime that could have benefited from some ruthless editing.

In summary, "The Wandering Earth 2: Lost in Space" is a colossal misstep in the world of sci-fi cinema. It squanders the potential of its intriguing premise, offering up a muddled, incoherent story, one-dimensional characters, and lackluster visual effects. It's a perfect example of how a promising franchise can be derailed by a lack of creative vision and a focus on spectacle over substance. Save your time and money, and avoid this cinematic black hole at all costs.

The whole film is based on grand narrative tone, currently the best Chinese science fiction film. For a long time to come, it will also be the ceiling of Chinese science fiction movies.

The whole film is balanced, with the large-scale modern terrorist attacks, the differences between countries due to contradictions, and the choices and observations of small people. Humans are complex, but proud to be a species. In the context of the Russia-Ukraine war and the end of the epidemic, it will give you courage and confidence to live in the future to see how we overcome the common difficulties of mankind.

In fact, the most science-fiction line in the whole film is a branch line, which is the relationship between Ma Zhao and Tu Hengyu. The author uses them to directly reflect the alienation of human beings from science and technology. However, I am deeply afraid and hesitant about the idea that "science and technology can produce the same free will as human beings, and machines can replace human flesh and blood". That conversation with moss at the end of the film opens up a new dimension to the franchise

"Civilization without people is meaningless."

As a big fan of Liu Cixin's work, I was once again excited going in as much as I was with the first (just started watching the TV version of Three Body). The previous movie left me disappointed, but optimism and the first time popcorn was available in a Chinese theater after THREE YEARS of COVID restrictions, I was ready to be impressed! The seats even had massaging pads, yippee!

This review is by an American living in Shanghai. I state this as I find it frustrating to see a site like IMBD taken over by reviewers who seem bent on pushing a narrative - all 10/10's, glowing reviews about China's victory over Hollywood cliches. This site typically offers differing perspectives; often challenging my own view. But, it is off-putting when hijacked by ultranationalism - nearly all are single-reviews, looking like spam. I would like to see Chinese movies succeed as much as American - I'm a movie buff. I also really enjoy seeing the country I reside in on the big screen - in dystopian situations and global disasters, as much as seeing the US and other parts of the world. Reading the Chinese subtitles gives insight to what the non-native Chinese say on screen and how it is translated to the audience. Let me break down my score below. Initially, it was an eight. But, after segmenting, the score was left at a 7.

10/10 Effects The Wandering Earth II's main attraction was the effects. Incredible. I wasn't impressed with Avatar - please don't hate! As much because it was similar to watching a video game. But, this had a very real feel to it - though science would probably disagree. I happily detach myself from reality to enjoy a big-action, sci-fi romp popcorn flick. Bringing to life the space-elevator, which I struggled to imagine in print was a feat unto itself. Major step up for Chinese sci-fi and blockbusters to come.

7.5/10 Characters The first movie was a disappointment as the characters were so unlikable. Wu Jing's (once called the Sly Stallone of Chinese action - a bit of a stretch) character was the only one I cared to see if he lived or died. The prequel did a better job. Both Andy Lau's character - multifaceted, almost an anti-hero and his daughter did an exceptional job. Really enjoyed Teacher Ma, his mentor, as well. Seeing Wu Jing, a 50-year-old act like he was fourteen, swooning over a fellow astronaut was just weird. The object of his affection was supposed to be a tough lead, but he treated her like a damsel in distress throughout. Their storyline was over-extended - way too sentimental, distracting from the movie's energy. No other real female roles minus a wooden spokeswoman.

4/10 Non-Chinese characters This deserves its own section as it was painfully bad. Awful dubbing followed by ridiculous voice-overs were big distractions. Not sure why this was necessary. The acting was in general cartoonish - the Indian scientist at the beginning dropping f-bombs (though without in the Chinese subtitles); gravelly-voiced English-speaking white guy (covering North America/Europe) of some nationality ranting and raving about China; most black actors crying or acting comedically hysterical. Having been in bit commercials and TV shows over here, I know that non-Chinese are available and talent isn't a concern. I was one of the talentless, but enjoyed my time as a low-budget Bruce Willis :)

7/10 Storyline While there's a great story to be told, there was just way too much being squeezed into a single movie. With countless voiceovers - especially towards the end, explaining what was happening was heavy on the TELL, and little on the SHOW. Again, believe this is because there was just too much. It really deserved to be separated into two works. An early attack by a terrorist organization that wanted a 'digital future' as opposed to moving the earth forward could have been better implemented. Cartoonish. The last thirty minutes required so much narrative explanation that by the time the credits arrived, I was ready to split. Even an employee's statement, "Sir, there's after credit scenes, please return to your seat," we decided we had enough.

6/Emotion Factor The Chinese audience prefers the overly sentimental - this was apparent. A number of soldiers sacrificing themselves was quite moving. BUT, the movie ignored the fact that half the population were to be 'sacrificed' as the underground shelters had only enough room for half the population. Hard to feel moved by 300 soldiers giving it up when half the planet is thinking, "Well, no one even gave us a choice." Wu Jing's wife losing her battle with cancer drove home one of the consequences of the earth's deteriorating relationship with the moon, but it moved the story into a drama, removing us from the bigger picture. Way too many scenes could have been reduced by 90%, but meant to pull at our hearts, the piano keys tapped longer than necessary. Also, in regards to the jokes/humorous bits - I was the only non-Chinese in the theater and at no point during the movie did anyone laugh. I don't think it reflects on a boring audience, just flat jokes - just didn't fit the darker story.

8/Politics In regards to being overly political - honestly, as an American who grew up in the seventies and eighties - when the US led the way in all things Hollywood, living in China, but as the constant outsider, I didn't see enough to distract from the film. Sure, it was a bit heavy in the 'Unity' and 'duty above all else', which may be in reference to China's handling of COVID. But, China is also a collective society as opposed to an individual one more often found in the US. China and Russia buddy-buddy, the US taking on a side role, one that could be seen as a bit of the protagonist? Yes, obvious. Though, it wasn't necessarily sinister, just showing another perspective. The Party leading the way? Well, it wasn't directly stated, but was pretty clear - it seemed the old man who was a central figure, could be seen somewhat as The Party's role as leader and caretaker. Again, no more than how many US movies depict democracy (though typically not a specific party).

5/Reviews on this site Seeing this site flooded with reviewers amping up the, "China is showing the US", making it a weird competition that the former must win. "This is so much better...Marvel only knows the solo hero...no mixture of people coming together...not like China" comes across as forced and not overly realistic. The Avengers is plural for a reason. Every walk of life makes up the group - even the non-human kind. "American movies have become cliched...best sci-fi ever!" drown out honest reviews - not that many American movies aren't cliched, of course, but it ignores the diversity of films shown in the US. An extraordinarily small number are shown in China, typically only of the blockbuster variety, limiting audience exposure. The reaction over here to a NYTimes review shows how sensitive to criticsm many continue to be.

7.5/10 Innovative Did the director take inspiration from other sci-fi directors? Of course. Though I believe it is more about paying homage than copying. Serious Michael Bay - Armageddon vibes when they showed people from around the world listening to reports/seeing fireballs striking the earth. Heck, even at one point a main character was going to single-handedly blow up the moon with a detonator - Bruce Willis in another dimension. Hollywood with Chinese characteristics - nothing wrong with that. The cinematic universe is a large place - the more variety the better. Then there is 2001, A Space Odyssey and Hal vs. MOSS in this and the original Wandering Earth. But, plenty of new tech was introduced as was the theme of a digitalized future vs a wandering earth. They explored the pros and cons of each. Perhaps, unrealistic, but it is sci fi and fun to explore.

China's cinema continues to improve, though certain elements have kept it from offering more. An over-abundance of nationalistic films and denial of films beyond its borders - alongside the standard strict, yet vague censorship, has made the Chinese audience hungry for more than the past three years have provided. Perhaps naive, but I believe with the end of COVID restrictions, another corner is being turned, one that will offer better films not just from the Mainland, but allowing for greater variety from beyond.