Panda Plan (熊猫计划, Zhang Luan, 2024)

Now 70 years old, Jackie Chan’s later career has mostly seen him trying to find ways to mitigate his age. Often he’s played the role of a mentor figure taking part in a limited number of action scenes while a younger actor does the heavy lifting and takes care of any romantic subplots. Rest assured, there’s no romance in Panda Plan (熊猫计划, xióngmāo jìhuà) but it does otherwise see Chan trying to recapture past glory in seemingly appearing in lengthier action scenes while playing a version of himself.

As the film’s Jackie, he tells young panda nanny Zhuzhu (Shi Ce) that the reason he can’t bring himself to retire is that as soon as someone shouts “action” he can be an all powerful hero rather than a flawed human being that gets sad or tired or beaten down. He even pokes fun at himself with an early scene of Jackie shooting a movie and challenging the director that it’s unrealistic for him to take out all these bad guys all on his own. Though he is apparently sick of doing action, all of the directors future ideas for him sound like they will once again involve quite a lot of fighting. 

It is then a bit ironic that Panda Plan’s action scenes are often choppily edited because it’s obvious that they’re cutting back and fore between Chan and a stunt double with quite a lot of CGI filling in the blanks. You can even clearly see the heavy duty knee pads Chan is wearing under his suit, not that he shouldn’t have them, only that more care wasn’t taken to make them less visible considering there’s no situational explanation for why he’d be wearing knee pads to attend this ceremony marking his decision to “adopt” a baby panda at a random zoo in a fictional country where almost everyone speaks Mandarin. 

The baby panda has become a viral star because of its “unique” look with one eye patch smaller than the other. A sheik apparently decides he must have this panda and hires a bunch of mercenaries to kidnap it when his attempts to buy it fail. Of course, Jackie can’t let this happen and is determined to protect the baby panda from the international kidnappers. A panda is after all a symbol of China itself which can’t simply be bought by outside powers or the super rich while many of the mercenaries, who it’s implied are probably Eastern European, speak with American accents though in a stroke of luck, the main two turn out to be huge Jackie Chan fans and decide to help him so they aren’t that bad really while the leader actually seems to be Chinese anyway. That said, the guards at the zoo are both American and are shown to be slacking off at their job, eating donuts while remarking that they have an easy day ahead of them. It turns out the sheik had a heartrending reason for wanting the panda which wasn’t about the excesses of the super rich and Jackie’s decision to help him out paints China as generous and compassionate rather than coldhearted and possessive over its pandas.

In any case, despite the mild violence of the action scenes the film appears to be aimed at a family audience and has plenty of farcical humour as Jackie and Zhuzhu try to outsmart the kidnappers and save the panda who is eventually deposited at a panda park in China proper which is to say brought home again, where it belongs. The panda is rendered in unconvincing CGI but as using an actual panda would not be appropriate perhaps that really is the best solution and at least it’s a pretty cute CGI panda even if it’s obvious that it was added afterwards. The panda rescue being so successful, Jackie also gets asked to rescue the late Queen’s kidnapped corgis though it’s quite clear that he already has a very busy social calendar and is really getting fed up with doing action. Even so it has to be said that there’s already a Panda Plan 2 scheduled for release later this year, so he’ll presumably have to do some rescuing again.


Panda Plan is released in the US on Digital, Blu-ray & DVD February 18 courtesy of Well Go USA.

Trailer (English subtitles)

Give Me Five (哥,你好, Zhang Luan, 2022)

A struggling 30-year-old begins to repair his relationship with the difficult father he believed never liked him after being unexpectedly thrown back to the past and almost erasing himself from history in Zhang Luan’s sci-fi-inflected tale of filiality, Give Me Five (哥,你好, gē nǐhǎo). What begins as a Chinese riff on Back to the Future eventually skews closer to recent hit Hi, Mom which the Chinese title subtly echoes as the hero comes to appreciate the power of maternal love and sacrifice through bonding with the younger versions of his parents. 

Now 30 years old, Xiaowu (Chang Yuan) explains that he was long estranged from his grumpy father Wu Hongqi (Wei Xiang) and rarely visited him but has since become his main carer now that he is living with Alzheimer’s. Xiaowu makes his living as an e-sports entrepreneur which is not something former engineer Hongqi can well understand and in truth Xioawu doesn’t seem to be that successful as he’s been putting off proposing to longterm girlfriend Huahua because of an anxiety about his finances. When Hongqi suddenly jumps off a bridge for no apparent reason and ends up in a coma, Xiaowu is at first oddly pleased and immediately begins raiding his office looking for his bankbooks only to find a mysterious ring and an old diary penned by his mother who died when he was a baby. Putting the ring on sends him back to 1986 where he manages to mess up his parents’ meet cute, endangering his own existence. In order to put things right he has to go back in time Marty McFly-style to ensure his mum and dad fall in love just like they were supposed to. 

Back to the Future is a film from the 1980s expressing nostalgia for an idealised 1950s small-town America. Give Me Five to a degree romanticises the China of the mid-1980s but does so from an entirely different angle than the recent trend in 80s nostalgia which has taken hold in the West in that, other than a brief romantic moment featuring Teresa Teng’s Tian Mi Mi along with a few other retro hits, it is largely uninterested in pop culture or revisiting childhood memories but is attempting to draw a comparison between China before economic reform and the ultra-capitalist society of today. In what some might see as a simpler time, Xiaowu’s mother Daliu (Ma Li) is, as she’s fond of saying, a “model worker” in a factory which is in danger of closure while the “Biff” character, Qiang (Jia Bing), is a former employee who was dismissed for stealing coal. Having become wealthy after almost certainly doing something dodgy in Hong Kong he’s returned with a prominent Cantonese accent to buy the factory as part of a public-private partnership. A feisty young woman, Daliu sends him packing insisting she won’t let anyone disadvantage her fellow workers. 

The comparison is further borne out by the melancholy figure of Qin (Huang Yuntong) who dated Hongqi after getting the meet cute that was supposed to go to Daliu but thew him over for the promise of riches with Qiang only to be left lonely in her old age having unwisely betrayed love for material gain. Meanwhile, there’s an interestingly progressive element to the relationship between Daliu and Hongqi in which Hongqi is somewhat feminised as the domestic partner cooking and shopping for his wife while Daliu is the uncompromising model worker as she proves during a high impact welding competition while eight months pregnant. The couple first fall in love talking over industrial plans with Daliu offering advice from the shop floor to help improve educated engineer Hongqi’s designs. While interacting with his parents before he was born, Xiaowu gains the familial experience he always felt he lacked in being able to share a family meal while touched by the love that existed between his mother and father and the knowledge that his parents were at least blissfuly happy with each other even if it was only for a short time. 

Xiaowu had been resentful of his father that he never really told him how his mother died. He decides to try saving his mother’s life too and through his various experiences comes to an appreciation of maternal love not least through somehow being able to time travel into the womb to forge a more direct connection with her. In part an advocation for a more traditional filiality in which Xiaowu develops an understanding of the interplay between love and sacrifice between parent and child while coming to understand his relationship with his father after learning his family history, the film also offers a subtle rebuke against the consumerist society in idolising Daliu and her model worker attitude insisting that everything was better when people worked together for the good of all rather than for personal gain. It might be a slightly disingenuous message, Daliu’s factory life is indeed somewhat idealised, but there is something touching in Xiaowu’s eventual conversion and belated bonding with his heartbroken father. 


Give Me Five is in cinemas across the UK, Australia and New Zealand courtesy of CMC and Well Go USA in the US and Canada.

International trailer (Simplified Chinese / English subtitles)