Reviews

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.

In a slasher flick, you expect the silly, "Never split up..." to quickly split up; or the "Don't go in there..." to immediately going in there. Yet, to do the same in a film that supposedly carries a bit more thought it just seems lazy.

The son is terrified (showed it's part of his personality when even a baseball pitch freaked him out), eyes wide in every shot. But after getting his foot caught in a bear trap and told to watch a baby that he fears he cannot, he takes off on his own to look out a window with binoculars late at night. Good luck, baby.

The daughter is all about the family, but only a day after leaving their burning home, she is leaving the remaining family to help strangers with a radio. Not to mention, she is deaf, so has little idea if her footsteps are making noise or the windows/doors she pushes open may produce a screech or other give-away that will bring the aliens coming.

There's a mysterious group of baddies that were apparently horribly burned when they tried to escape by ferry to an island on day one of the attack. For whatever reason, they never attempt to go the island again, even though they have a marina full of boats. Instead, they try to lure outsiders to 'sacrifice to the aliens'? No reason is given. But the 'good guys' take a boat and soon arrive on the island. Seemed easy enough.

Their old neighbor wears shoes. The family insists on going barefoot. Doesn't seem to cancel out the sound much and leaves for bloody feet.

They inadvertantly bring an alien to the island - nice work. When running from the alien, hiding in a radio station garage, they only close the gararge door halfway. Hard to imagine what happens next.

Instead of the daughter putting her hearing-aid to a stereo found in a house on the island (after just showing that she can do that), which would produce a head-splitting frequency for the aliens, they take off in a Mustang (or other classic)

Only was rooting for Emily Blunt and the baby.

First 30 minutes had me on my toes. After that, it was a snooze-fest.

Perhaps the version released in China had a lot of parts clipped, and that's why the movie didn't seem to make much sense. But I believe that's a bit of a stretch.

Finding quality TV series out of mainland China are a real challenge due to multiple restrictions on content. "The Bad Kids" did their best to circumnavigate the rule makers to get the story before an audience.

The show began with a shock that grabs you early on. There was a sense of realism that is rare in the series here - where over-dramatization, period pieces and hokey WWII dramas are produced like American soap operas. Divorce, mental health, and other taboo subjects rarely seen on Chinese TV were present, which is important as it is a fact of life and good for people to see this with, without exploiting to the point of doing so simply for fanfare.

The characters looked like real people you would meet, not overly 'beautified', making them relatable. Chao Yang, Yan Liang and Pupu could all be seen as normal kids who got caught up in something beyond their control. Same can be said about the supporting cast. The background setting in Guangzhou (believe that's where it was filmed) also added a very nice authenticity to the story.

After around the 7th or 8th episode, the show seemed to take a detour, leaving you questioning what was happening, why most of the characters showed little emotion or after-effects from serious loss of life happening around them. The story line was altered from the original novel to satisfy the regulators, but having not read it, I'm not sure what they are. Editing seems to have left some parts unclear to why they came about or where they went. The final two episodes were pretty disappointing.

One question: Yan Liang's father was arrested for something (drugs I believe), and at the time, he seemed mentally normal. Though later in the movie he was semi-catatonic or at least mentally lost. There was no explanation, and curious why.

Would love to see more reviews from China if they weren't so unnaturally positive - as in not legitimate and typically saying nothing about the actual movie.

Went in expecting a version of "Pearl Harbor" minus the romance. Went out wondering, perhaps alongside the romance, the editing dept. got snip-happy and hacked the film apart, only to have to tape it all back together again without much attention. Hard to follow even with BIG PRINT on the screen, as more often then not, those scenes were on the vast Pacific, not much to help the audience; planes, ships, submarines were suddenly one place before appearing/disappearing with little comprehension/logic.

When the main actor, playing the role of Dick Best is unlikeable due to a fifties actor mockery, all brash, every word delivered from the side of his mouth, more hammed than all of Easter, yet none of the underlying charisma, can't invest much emotion. Nick Jonas matched in over-stated cheese'mo. Woody Harrelson was doing his best Bruce Willis impression, making that same Bruce face - no real effort at acting, a semi-smile leaking out of every shot. Real shame as I love Woody.

Squeezed in a subplot about bombing Tokyo, with even a tighter fit, landing in China and squeezing in a scene that would get it onto the Chinese big screen. Unnatural.

Code breakers bit could have been interesting. Editing could have made sense and not assumed the audience would fill in the blanks as would fans of Pacific military engagements.

No reason a movie, a re-make, which was shooting for historic accuracy, couldn't have been well played on the big screen. Does an actor; director; producer ever sit back and watch the final product and sink into their chair and whisper, "WTF, that's not how I imagined it would come out?"

Living in Shanghai, had high hopes going in. Seeing Lu Han, a member of the 'little fresh meat' a term given to actors or young, overly boyish guys (typically only 2-3 of them at a time) who are featured in around 70% of the ads in China, playing the lead role, hurt those hopes. But love a good movie and supportive of China's growth in big screen entertainment.

Shu qi, the biggest name, played her role with as much emotion as a block of wood. A good looking woman with a lengthy history of acting should have been able to do more - maybe having the romantic interest of what looked and acted like a 12-year old boy (Lu Han) took away her acting chop desires.

Effects were video game level, if that.

Plot was confusing, characters jumping all over the place.

Looked forward to seeing the destruction of Shanghai - something surreal about seeing where you live blown to bits by aliens - just as NYC, London, Paris and countless other big cities have been left ruin. Was very cool seeing what I call home on the big screen, but was the only thing that kept me in my seat. My wife fell asleep.

Theater was only 3% full on opening night - typhoon did not help. Lu Han, the director, and most everything else about the movie, were the real disaster, though this one man made.

Saturday Night Live had "More Cowbell", China unfortunately has "More Piano!" Finally, enough with the piano - any scene that involves two people speaking, with the slightest hint of love or nostalgia, off goes a piano, keys strikes attempting to stir the emotional heart of the audience.

Incredible acting, similar with the make-up, leaving characters looking and acting like the original versions. Great flow, highilighting one man's rise to power and the addiction to power it can bring with it. While not all the 'mini-shots' slipped in were overly enjoyed, the fly fishing ones were spot on perfect. Unfortunately, learning how much liberty the director took in altering the story and the overall voice-over commentary left it Michael Moore-ish, thus the ketchup on a fabulously cooked steak. Not a fan of Dick Cheney by any means, a blight upon our humanity, but it reduces the strength of the movie when director admits (not that he shouldn't) that much of the story is false.